MEDIA STUDIES Access 3 - SQAMedia Studies: Access 3 5 National Cluster: details (cont) CLUSTER Media...

Second edition – published April 2000

MEDIA STUDIESAccess 3

Media Studies: Access 3 1

NOTE OF CHANGES TO ACCESS 3 ARRANGEMENTSSECOND EDITION TO BE PUBLISHED APRIL 2000

CLUSTER TITLE: Media Studies (Access 3)

CLUSTER NUMBER: C058 09

National Cluster Specification

Cluster Details:

Rationale Minor changes

Course Content Unit 1 Media Analysis

Advertising added to the range of media texts, other changes

Language heading Changes

Narrative Changes

Representation Changes

Audience Changes

Institutional contexts Changes

Technology Added

Unit 2 Media Production

Changes throughout

Details of the instrument for external assessment Major changes

National Unit Specification

D332 09 Media Analysis

Changes to outcomes, PCs, range, evidence requirements

D334 09 Media Production

Changes to outcomes, PCs, range, evidence requirements

Administrative Information

Publication date: April 2000

Source: Scottish Qualifications Authority

Version: 02

© Scottish Qualifications Authority 2000

This publication may be reproduced in whole or in part for educational purposes provided that no profit is derived fromreproduction and that, if reproduced in part, the source is acknowledged.

Additional copies of this specification (including unit specifications) can be purchased from the Scottish QualificationsAuthority for £7.50. Note: Unit specifications can be purchased individually for £2.50 (minimum order £5).

2

National Cluster

MEDIA STUDIES (ACCESS 3)

CLUSTER NUMBER C058 09

STRUCTURE

This programme of study comprises three mandatory units, as follows:

D332 09 Media Analysis (Acc 3) 1 credit (40 hours)D333 09 Media Practical (Acc 3) 1 credit (40 hours)D334 09 Media Production (Acc 3) 1 credit (40 hours)

In common with all clusters, this programme of study includes a further 40 hours over and above the120 hours for the component units. This is for induction, extending the range of learning and teachingapproaches, support, consolidation, integration of learning. This time is an important element of theprogramme of study and advice on its use is included in the cluster details.

RECOMMENDED ENTRY

Entry is at the discretion of the centre.


National Cluster: general information (cont)

CLUSTER Media Studies (Access 3)

CORE SKILLS

This cluster gives automatic certification of the following:

Complete core skills for the cluster Problem Solving

Working with Others

Acc 3

Acc 3

Additional core skills components for the cluster None

For information about the automatic certification of core skills for any individual unit in this cluster,please refer to the general information section at the beginning of the unit.

Additional information about core skills is published in Automatic Certification of Core Skills inNational Qualifications (SQA, 1999).


National Cluster: details


RATIONALE

The media play a central role in the modern world and affect society at all levels: economic, political,social, cultural and individual. The aim of Media Studies is to develop critical understanding andappreciation of the media and their products and to develop practical skills in media technologies.

Media Studies (Access 3) is concerned with developing basic knowledge and understanding of themedia and their products through a balance of analytical and practical work within a supportedlearning environment. It also develops skills in planning, producing and evaluating simple mediaproducts both as an individual and within a group.

The cluster develops a range of generic practical, problem-solving and teamworking skills which areapplicable to a range of subjects, contexts and activities.

AimsThe aims of this cluster are:

• to develop a critical awareness of media texts• to foster enjoyment of media texts• to enable candidates to communicate basic knowledge and understanding of media texts• to encourage the use of practical knowledge and understanding in analytical activities• to develop basic skills in the use of technology to create meaning• to encourage the ability to work independently and as part of a team• to develop a structured and evaluative approach to production work• to enable candidates to communicate about the planning, implementation and evaluation stages

of media production• to encourage the use of analytical knowledge and understanding in production activities• to provide enjoyment of the subject

CONTENT

The component units have been designed to be as flexible as possible so that both the texts studiedand the kind of production work undertaken can be selected by candidates in negotiation with theirteachers/lecturers.

The seven key aspects of Media Studies – Categories, Language, Narrative, Representation,Audience, Institution, Technology – are integral to the work in all units.

The cluster is designed on the principle that theory must inform practice and practice must informtheory. Therefore the programme should be delivered in such a way that there is a balance of practicaland analytical activities. Although the units may be delivered sequentially or concurrently, it isrecommended that Unit 1, Media Analysis and Unit 2, Media Practical be run in parallel prior to Unit3, Media Production.


National Cluster: details (cont)


Unit 1: Media Analysis

In this unit, candidates will develop basic skills in understanding media texts and identifying the maincontexts of their production. Candidates will also develop skills in describing their personal reactionsto media texts. The content of this unit will include an introduction to the programme of study and themain forms of media, and identification of the media texts which most influence the lives of thecandidates in the teaching group.

The choice of texts is at the discretion of the centre but it is likely that they will be selected accordingto the interests, abilities and needs of the candidates within any teaching group. Textual featuresselected for study should be simple so as to aid identification and interpretation.

It is recommended that a range of appropriate media texts should be explored. It will be necessary forcandidates to record the analysis of least two media texts in order to cover the mandatory range. Therange of media texts to be studied is:

• print (eg newspaper, comic, magazine, popular literature, advertising)• non-print (eg radio, television, cinema, popular music, advertising)• fiction (eg story in a comic, soap opera episode, blockbuster film)• non-fiction (eg documentary on a pop group, newspaper story, radio news)

Suitable examples of texts for study might include:

• print: press/magazine/comic front covers; tabloid news stories; comic stories• radio: news bulletins/stories; drama; magazine programmes• television: news programmes; soap operas; quiz shows; animated shorts• cinema: blockbuster films; film stars, animated films• popular music: the product and marketing of the current number one male and female acts;

products in a range of musical genres; music videos• advertising: in a range of the above media

Candidates should gain a knowledge and understanding of the following in print and non-print media:

• medium (eg radio, television, press)• purpose (eg to inform, to entertain, to persuade, to make profit)• form (eg TV drama, radio light entertainment, newspaper)• genre (eg soap opera, action movie, tabloid, broadsheet and their conventions)• narrative (eg characters, settings, actions; narrative conventions)• codes (eg technical codes such as shot distance or page size; cultural/symbolic codes such as

gesture and costume; media language conventions)• stereotyping (eg scotland as a land of mountains and lochs)




Candidates should be able to:

• categorise the text in terms of medium, purpose, form, genre• identify both technical and cultural codes appropriate to the medium and to explain why these

codes are being used• describe what is happening in the text in terms of characters, setting and action• identify the media’s use of conventions (established ways in which the media handle genre,

technical and cultural codes, narrative and representations)• identify stereotypes (established ways of representing people, places and events)

Candidates should be able to give personal reactions to media texts. Initially these reactions may bespontaneous and unstructured but the study of media texts should allow candidates to learn aframework and terminology for describing their personal reactions to texts in a more structured andknowledgeable way. Candidates should be taught how to justify their personal reactions throughreference to:

• textual features (for example: the pleasure of wondering what will happen next in a fictional orfactual narrative; identification with the main character/star/personality; enjoyment ofcinematic special effects)

• personal factors – these may include age, gender, personal interests, experiences and taste (forexample: a male teenager who likes action movies and computer games is likely to find ascience fiction blockbuster to his taste)

Candidates should investigate the contexts in which media texts are produced. The investigationshould cover the following areas:

• target audience(s)• the basic economics involved in the production of a media text – for example, in a blockbuster,

identifying how the budget is used to pay for big name stars and special effects and how theproduction company hopes to make a profit through the box office, video hires and sales andother merchandising such as soundtrack album, computer game, tie-ins, etc

TechnologyThe performance criteria of the Media Analysis unit relate to six of the key aspects but there is nolearning outcome which focuses on the seventh key aspect – Technology. The reason for this is thattechnological issues should not be taught as separate from the other aspects but should be raised asappropriate. For example:

• in analysis of technical codes candidates should have a basic understanding of the technologyused to construct the text (eg how the camera is moved in a tracking shot)

• in discussion of the candidates’ own media consumption the technology of reception availableto them should be discussed (eg terrestrial, cable and satellite TV; ‘timeshifting’ using a videorecorder; ‘zapping’ using a remote control)

• in discussion of production companies the kinds of technologies available to them could beidentified and the effects noted in product (eg colour technologies available to somenewspapers)

Candidates will of course gain further practical experience and knowledge of media technology in theMedia Practical and Media Production units.




Unit 2: Media Practical

This unit is designed as a ‘bridge’ between the Media Analysis and Media Production units. Thebenefits of this unit are:

• candidates can have practical experience of some of the issues addressed in Unit 1, MediaAnalysis

• candidates can have practical experience of planning and making products in more than onemedium

• activities in this unit do not require a high level of technological provision; they can be ‘low-tech’ (eg using a cassette recorder) or ‘no-tech’ (eg a photoplay exercise, manual ‘paste-up’ offront page)

• candidates have the opportunity to acquire and to practise some of the component individualand group skills which they will further develop in Unit 3, Media Production

In this unit candidates will explore the key aspects of Media Studies in a series of practical activities.The unit is designed to be complementary to the Media Analysis unit and should be taught in anintegrated way. It requires candidates to have experience of working in both print and non-printmedia. For example, if they have studied newspaper stories they might then gain practicalunderstanding of production through selecting text and photographs in a ‘paste-up’ of a front page. Ifthey have studied film, practical understanding of planning might be gained through storyboarding asequence. Alternatively, such practical exercises might precede analytical work.

To meet assessment requirements the candidate will be required to complete two individual plans andto make two individual products. Although the planning and making of products must be individual,the exercises should be preceded by group discussion of the briefs. This enables candidates to developsome of the individual and co-operative skills required in Unit 3, Media Production.

Planning a productCandidates should be introduced to the concept of a brief which provides a specification for a mediaproduct. The brief should be ‘open’ in that it allows the candidate some leeway in decisions over styleas well as the selection and structuring of content. At this level, a brief should be simple and shouldinclude guidance on medium, form, purpose and target audience. The brief should be provided by theteacher/lecturer but should take account of the candidates’ needs, interests and abilities.

Candidates should learn how to use a brief to create a plan for a media product. Plans should includeoutline proposals or treatments for complete products and more detailed plans. Such plans should besufficiently short in order to allow individual completion in around one hour. Such detailed plans maybe for complete products (eg roughs for print advertisements) or for short sections of completeproducts (eg single page layouts for a magazine, short storyboards or scripts for a short sequence). Inthe planning process candidates should appreciate the importance of target audience in makingdecisions over the selection and structuring of content.




For example, print product plans could be proposals or roughs. A print proposal for a magazineshould be around one side of A4 and should specify the title, logo, price, size, purpose, targetaudience, content and style as well as outlining how the intended product compares with actualproducts aimed at the target audience. A print layout or rough should use a dummy page with a pre-printed grid. It should specify typographic codes (eg font, size, style, colour) as well as major contentelements (eg headlines, graphics, photograph choice, cropping and captions for newspapers; slogans,copy, photographs and graphics for print advertisements).

For moving image products, a plan could be a treatment specifying title, purpose, length, form, genre,content and style with reference to actual products aimed at the specified target audience.Alternatively a plan could be in the form of a short storyboard (sketches and technical description ofeach shot with dialogue/music/sound effects) or short script (brief descriptions of locations anddialogue/music/sound effects).

Making a productIn making media products from a brief, candidates should be able to take a plan in either outlineproposal or detailed form (eg page layout, storyboard, script) and make a product from it. The briefmay be designed by the teacher/lecturer. Alternatively the candidate might use the brief from anactivity related to Outcome 1, and use their own plan to make a product. Each practical task willproduce a straightforward media product but these products need not in themselves be completemedia productions.

Examples of straightforward media products include:

• print: ‘paste up’ of the front page of a tabloid or local newspaper from given materials• audio: recording of one or more short radio news items scripted and selected from given

materials• video: selection of various soundtracks to accompany video sequences on a familiar topic• computer animation: creation of characters for a new animation series aimed at teenages• popular music: creation of a cover for a new CD by a top pop group

Candidates should develop skills of co-operation with other candidates and the teacher/lecturer indiscussions of the briefs and should learn how to divide an activity into its component tasks.

Candidates should develop skills of contributing to group discussion of the briefs and of noting downideas that emerge from the discussions. They should learn how to select from these ideas and how todivide subsequent activity into its component tasks.

Review and evaluationCandidates should be introduced to the process of review and evaluation and it will be important toensure that they are aware of the criteria and the vocabulary for this process. This process should besupported by restricted response questions and should include consideration of the following (thequestions would be adjusted according to the nature of the task):




• strengths and weaknesses of plan (Does it meet the brief? Are the content and style appropriateto the target audience? Would there be any resource difficulties in carrying out the plan?)

• strengths and weaknesses of product (Does it match the plan? Are the content, cultural andtechnical codes appropriate to the target audience? How good is the product technically? Howcould the product be improved?)

• what has been learned about media productions processes (What did you learn about thefollowing: planning, practical skills, effect of target audience, choice of content/style,resources, deadlines?)

Unit 3: Media ProductionWhen this unit is taken as a component of the Media Studies (Access 3) programme, candidates shouldintegrate and consolidate the knowledge, understanding and skills acquired in Units 1 and 2. Candidatesshould be informed that in this unit their performance in group activities will be assessed ie:

• contributing to discussing the brief• contributing to agreeing task allocation• co-operating with others in production tasks• sharing ideas in production tasks

They should also be informed that in their evaluation they will have to look back at what they did andidentify the strengths or weaknesses of the production process and of their own performance inindividual and group tasks. Candidates must therefore use a logbook or other appropriate record todescribe the individual and group decisions and actions and the reasons for these decisions/actions.The logbook must also reflect all stages in the planning and implementation of the production.

The main focus of the unit will be on contributing to a structured group production which involves thedesign of a media product with a specific audience in mind. Candidates should be given personal andpractical experience of some of the issues which face media professionals. The size of the group is atthe discretion of the teacher/lecturer and groups may work in different media.

Although the production is essentially a group activity, each candidate should have identifiableindividual contributions to planning and implementation. Candidates should gain experience of bothtechnological and non-technological production tasks in lead-up exercises. However for theassessment exercise, candidates need only undertake a technological or a non-technological task inimplementing the production.

The briefs chosen throughout the unit and in the final assignment should be within the experience ofthe candidates and should be readily researched within the confines or immediate environs of thecentre (eg in the library or among staff or parents). Purpose and target audience should be within theirexperience (eg to entertain teenagers, to inform film and video enthusiasts about the latest releases).

The production may be quite simple but should provide progression from the media products createdin Unit 2, Media Practical (eg a short programme edited with a few cuts; or a teenage magazine basedon a simple two- or three-column grid; or a simply edited audio sequence). The length of theproduction will be dependent on the nature of the product and group size. Typical lengths could be:

• newspaper or magazine: 4 pages of A4 including photographs and graphics• video or audio programme: around 2-3 minutes




Planning a group productionCandidates will be given a brief which should specify:

• familiar topic• medium• purpose• form• target audience

Planning should build on the candidate’s experience of planning in Unit 2, Media Practical. Howeverin this unit planning will be more detailed and will require the following:

• group discussion of the brief• identification of research required (eg sources of information on topic, research into

conventions of genre)• plan of format, content, style of a complete product• identification of resource requirements (eg hardware/software requirements and availability)• stages in the production (identification of planning, making and post-production and their

component tasks)• allocation of tasks taking account of candidate preferences

Implementing a group productionFor any group production, candidates will require knowledge and understanding of the main steps ofproduction in their chosen medium. The production process in which the candidates engage shouldreflect these steps, although the candidate group production is unlikely to simulate accuratelyprofessional roles and practice.

Review and evaluationCandidates should develop the skills of review and evaluation gained from Unit 2, Media Practical. Inthis unit, the review process involves looking back at both the process (recorded in their individuallogbooks) and the product. Again the process should be supported by short answer questions andshould include consideration of the following (the questions might need to be adjusted according tomedium and the nature of the task):

• strengths and weaknesses of the production (Does it meet the brief? Are the format and content,appropriate to the target audience? How could the product be improved?)

• strengths and weaknesses of performance in individual planning/implementation (Did youcomplete your tasks? How well did you carry out your tasks?)

• strengths and weaknesses of own performance in group planning/implementation (Did youwork well with others? Did you listen to others’ ideas? Did the group work as a team?)

• what has been learned about media production technologies and stages (What were the mainstages in the production? What hardware/software was used at each stage?)




Added benefit from taking the cluster group of unitsThere is added benefit to be derived from taking the units as a cluster rather than as discrete units:

• together, the component units offer opportunities for delivery as a coherent, integrated, holisticexperience

• balance and breadth of candidates’ experiences and learning will be promoted• analytical/practical activity may be integrated so that theory reinforces practice and vice versa• candidates develop abilities to sustain effort and concentration, come to conclusions, make

decisions, complete a process and evaluate their work

ASSESSMENT

The units which make up this cluster will be assessed internally. Details of the internal assessment areprovided in the unit specifications. Candidates should be made aware of assessment instruments andperformance criteria.

While a variety of instruments of assessment is possible, teachers/lecturers are encouraged to adopt anintegrated approach. The unit specification suggest ways in which assessments might be combinedwithin units. It is anticipated that continuous assessment will take place to inform and supportcandidates’ progress.

APPROACHES TO LEARNING AND TEACHING

General adviceThe design of the cluster will enable candidates to work alongside others operating at Intermediate 1,affording them opportunities to progress beyond those outcomes which can be achieved at MediaStudies (Access 3).

MethodologyIn the main, candidates should be learning through a problem solving approach supported bydiscussion and either analytical activity or practical activity. Expository teaching should be limitedbut may be necessary to introduce analytical concepts and to demonstrate specific practical skills.

Both individual and group work should be used. For example, discussion groups in the MediaAnalysis and Media Practical units may vary from small group to whole class. In Media Productionthe size of the group may depend on the size of the task and available technologies. Candidates shouldhave the opportunity for sustained discussion with others to comment on and to acquire the skills toevaluate work in progress and, where appropriate, the product.

Although candidates at this level may require a lot of support, it will be important to introduceopportunities for them to take increasing responsibility for their own learning within a supportedenvironment.




Preparation for AssessmentFormative assessment should operate as an integral part of the learning and teaching in all units. Itwill include assessment of the candidate’s work by the candidate, by the teacher/lecturer and, whereappropriate, by other members of the group. This can be achieved in the main through discussion,individual tutorials and observation of the candidate’s work supported by checklists.

For each unit, candidates should keep in a folio materials which have been generated by analytical,practical or production activities. These materials may be produced in the manner most suited to theindividual communication needs of candidates. They may be hand-written, word processed, scribed,written in Braille or taped. At Access 3 this can be achieved most easily by the use of a structuredanalysis sheet or tape with headings and questions for analysis work, and a pre-formatted written ororal logbook for preparation/planning and evaluation of practical activities.

Time should be allocated for giving extra support to candidates who are very challenged by one ormore of the performance criteria. All candidates should have the opportunity for improving on anyarea of weakness through strategies such as extra practice in individual skills and revising orredrafting of work.

The additional 40 hours available for this programme of study may be used for:

• preparation of folio materials for assessment• consolidation of learning• developing practical skills• visits to media organisations, cinemas, etc• visits from media professionals• extending the range of media studied

Unit specific adviceFurther details of suggested approaches are given in the individual unit support notes and SubjectGuide.

SPECIAL NEEDS

This specification is intended to ensure that there are no artificial barriers to learning or assessment.Special needs of individual candidates should be taken into account when planning learningexperiences, selecting assessment instruments or considering alternative outcomes for units. Forinformation on these, please refer to the SQA document Guidance on Special Assessment andCertification Arrangements for Candidates with Special Needs/Candidates whose First Language isnot English (SQA, 1998).




SUBJECT GUIDES

A Subject Guide to accompany the Arrangements documents has been produced by the Higher StillDevelopment Unit (HSDU) in partnership with the Scottish Consultative Council on the Curriculum(SCCC) and Scottish Further Education Unit (SFEU). The Guide provides further advice andinformation about:

• support materials for each cluster• learning and teaching approaches in addition to the information provided in the Arrangements

document• assessment• ensuring appropriate access for candidates with special educational needs

The Subject Guide is intended to support the information contained in the Arrangements document.The SQA Arrangements documents contain the standards against which candidates are assessed.


Superclass: KA



Version: 02



Additional copies of this unit specification can be purchased from the Scottish Qualifications Authority. The cost for eachunit specification is £2.50 (minimum order £5).

14

National Unit Specification: general information

UNIT Media Analysis (Access 3)

NUMBER D332 09


SUMMARY

This unit is designed to develop basic skills in interpreting the meaning of a range of media texts andtheir relationships to social, institutional and audience contexts. The media studied could includeprint, radio, television, cinema, popular music, advertising and multimedia.

OUTCOMES

1 Understand media texts.2 Describe personal reactions to media texts.3 Identify the main contexts of the production of media texts.

RECOMMENDED ENTRY


CREDIT VALUE

1 credit at Access 3.

Media Studies: Unit Specification – Media Analysis (Acc 3) 15

National Unit Specification: general information (cont)


CORE SKILLS

This unit gives automatic certification of the following:

Complete core skills for the unit None

Additional core skills components for the unit Critical Thinking Acc 3



National Unit Specification: statement of standards


Acceptable performance in this unit will be the satisfactory achievement of the standards set out inthis part of the unit specification. All sections of the statement of standards are mandatory and cannotbe altered without reference to the Scottish Qualifications Authority.

NOTE ON RANGE FOR THIS UNIT

Media texts: at least two texts which cover print, non-print, fiction, non-fiction.

OUTCOME 1

Understand media texts.

Performance criteria(a) Categorisation of text is accurate.(b) Identification and explanation of codes is accurate.(c) Description of narrative structure is accurate.(d) Identification of stereotyping is accurate.

OUTCOME 2

Describe personal reactions to media texts.

Performance criteria(a) Personal reactions are clearly identified.(b) Personal reactions are explained in relation to the text.

OUTCOME 3

Identify the main contexts of the production of media texts.

Performance criteria(a) Identification of target audience is justified by reference to the text.(b) Main cost(s) and source(s) of finance are identified.


National Unit Specification: statement of standards (cont)


Evidence requirements for the unitEvidence may be in handwritten, word processed, scribed and/or oral form. Oral evidence should beon audio or video tape. Responses may be elicited by supportive questioning on paper, disk, tape orthrough a personal interview situation.

Evidence for this unit will be in the form of analyses of at least two media texts which togetherprovide exemplification for all classes in the range. Where appropriate, responses may be completedusing annotations, comments, short answer responses relating to the text.

The specified range of media texts requires candidates to analyse both print and non-print texts andboth fiction and non-fiction texts.

For each text, evidence must show the candidate’s ability to:

• identify category or categories (Outcome 1, PC (a))• identify at least two codes and explain their use (Outcome 1, PC (b))• identify personal reactions and explain these by reference to the text (Outcome 2, PC (a) and

PC (b))• identify at least one target audience, and at least one cost and one source of finance

(Outcome 3, PC (a) and PC (b))

For either text, evidence must show the candidate’s ability to perform the following:

• describe the narrative (Outcome 1, PC (c))• identify stereotyping (Outcome 1, PC (d))


National Unit Specification: support notes


This part of the unit specification is offered as guidance. The support notes are not mandatory.

While the time allocated to this unit is at the discretion of the centre, the notional design length is40 hours.

GUIDANCE ON CONTENT AND CONTEXT FOR THIS UNIT

The focus of this unit is on the exploration of a range of familiar media texts. Candidates shoulddevelop basic skills in understanding textual features of media texts and in describing personalreactions and identifying the main production contexts.

For further advice on the content to be covered for this unit please refer to the Content section of thecluster specification. Detailed exemplars on content for each of the media follow in Tables 1-6 (Print,Radio, Television, Cinema, Popular Music, Advertising).

GUIDANCE ON LEARNING AND TEACHING APPROACHES FOR THIS UNIT

The methods of learning and teaching should be candidate-centred and inductive. Where possible, theteacher/lecturer should negotiate the texts studied and tasks undertaken. A purely theoretical approachshould not be used – rather, the analytical skills and the related terminology should be situated anddeveloped within the social contexts of teacher/lecturer-candidate and candidate-candidate interaction.The teacher/lecturer and candidates should collaborate in a series of individual and collectiveactivities of gradually increasing complexity. Any technical or analytical terms involved should not betaught as separate from the activity itself but should be introduced as an integral part of that activity.

In this unit it will be important to establish the starting point of all candidates in terms of knowledgeand understanding, and practical skills related to Media Studies. Discussion, brainstorming and classsurveys are possible strategies to discover what particular areas of the media candidates know mostabout and which ones have most influence on their everyday lives.

Understanding of analytical methods should derive from direct experience of both analysis and relatedpractical activities. Similarly, analysis of institutions and the processes of production should becarried out in two ways: by working through various production stages from the end product, and bypractical experience of planning and making media products. An integrated approach should be usedto the study of texts so that outcomes within the unit are clearly linked.

At the start of each activity candidates should be introduced to the main stages involved in theexercise. The teacher/lecturer will assist candidates to develop their knowledge and skills by offeringhints, reminders, feedback and ‘tricks of the trade’. For example, in analysis, in helping candidatesunderstand why a particular code has been used, it is often productive to consider what other codemight have been selected, and to discuss the effect this would have on the text (eg considering why aclose up is used at a tense point in a drama rather than a medium or long shot). Such discussion of thechoices made by media professionals should help candidates develop the ability to make appropriate,informed choices in their own practical work.


National Unit Specification: support notes (cont)


Each exercise should finish with the candidates and teacher/lecturer reflecting on what has beenlearned from the activity. As the candidates develop their knowledge and skills, the teacher/lecturershould gradually give more independence and responsibility to the candidates. Indeed candidates maybe given the opportunity to negotiate their own choice of media texts.

GUIDANCE ON APPROACHES TO ASSESSMENT FOR THIS UNIT

In the assessment of Outcome 1, chosen textual features should be simple to ease identification andexplanation.

Note that for two of the performance criteria (Outcome 1, PC (c) and PC (d)), candidates need onlyprovide evidence of having satisfied the performance criteria once. The reason for this is that sometexts may have no narrative and/or no stereotypes and would otherwise have been excluded aspossible assessment texts.

There are opportunities to integrate assessment in this unit. For example, the assessment required forOutcomes 1, 2 and 3 might have been carried out using two assignments, one based on a non-fictionprint text and the other based on a fiction non-print text or one based on a fiction print text and theother based on a non-fiction non-print text.

SPECIAL NEEDS

This unit specification is intended to ensure that there are no artificial barriers to learning orassessment. Special needs of individual candidates should be taken into account when planninglearning experiences, selecting assessment instruments or considering alternative outcomes for units.For information on these, please refer to the SQA document Guidance on Special Assessment andCertification Arrangements for Candidates with Special Needs/Candidates whose First Language isnot English (SQA, 1998).


National Unit Specification: Table 1 – Exemplar content for Print


KEY ASPECT PRINT

Categories(Outcome 1)

• purpose: information, entertainment, persuasion, education, profit• form: newspaper, magazine, comic, popular literature, fanzine, CD-ROM,

Web pages• genre: tabloid, broadsheet, freesheet newspapers; teen/women’s/men’s/

special interest magazines

Language(Outcome 1)

Conventions of print genres (eg, layout, language, text, graphics) and features such as:

• page size• text elements: masthead, headline, copy, caption• character formatting: font (serif, sans serif, script, decorative), size, style (plain,

italic, bold, underline), colour• graphic elements: photographs, mug shots, logos, colour

Technical and cultural codes and why they are used.

Narrative(Outcome 1)

Understanding narrative in terms of who, where, what, when, why.Single and multiple storylines.Comic strip narrative.

Representation(Outcome 1)

Stereotypes of age, gender, race, social class, nationality

Audience(Outcomes 2

and 3)

Individual reactions to print texts (eg, interest, boredom, shock, surprise, anger).Pleasures of media texts (curiosity, escapism, identification with/attraction tostars/personalities/characters, fandom, social gossip, individual reading).Identification of target audiences for products.

Institution(Outcome 3)

Commercial operation of print press: identification of costs and sources of finance.Use of content to attract target audiences.Links with other media (eg promotion of new pop acts, television programmes, films).

Technology(any outcome

as appropriate)

Technology involved in production and consumption of traditional and electronicpublishing products.New developments.


National Unit Specification: Table 2 – Exemplar content for Radio


KEY ASPECT RADIO


• purpose: information, entertainment, persuasion, education, profit• form: news, light entertainment, drama• genre: news bulletins, outside broadcasts, quiz shows, phone-ins, magazine

programmes, comedies

Language(Outcome 1)

Conventions of radio genres (eg, format, length, participants, speech, sound, music) andfeatures such as:

• language: formal, informal• voice: accent, speed, volume• music: jingles, links, mood music• sounds: location, sound effects, silence• links



Understanding narrative in terms of who, where, what, when, why.Single and multiple storylines.Narrative elements: conflict, development, resolution in fiction and non-fiction.Radio programme formats.


Stereotypes of age, gender, race, social class, nationality.

Audience(Outcomes 2

and 3)

Individual reactions to radio (eg, interest, boredom, shock, surprise, anger).Pleasures of media texts (curiosity, escapism, identification with/attraction tostars/personalities/characters, fandom, social gossip, individual listening).Identification of target audiences for products.


Commercial operation of radio broadcasting: identification of costs and sources of finance incommercial and public service broadcasting.Links with other media (eg, pop music industry, use for promoting new televisionprogrammes and films).Use of content to attract target audiences.


as appropriate)

Technology involved in production and consumption of radio programmes.New developments.


National Unit Specification: Table 3 – Exemplar content for Television


KEY ASPECT TELEVISION


• purpose: information, entertainment, persuasion, education, profit• form: news and current affairs, drama, light entertainment, outside broadcast• genre: news programme, documentary, soap, sitcom, game show, talk show, sports

programme

Language(Outcome 1)

Conventions of television genres (eg, format, length, participants, visuals, sound) andfeatures such as:

• mise-en-scene: set, props, costume, make-up, performance• lighting: high-key, low-key• framing: shot distance (ELS, LS, MLS, MS, MCU, CU, ECU), establishing shot

(master shot)• angle: straight, high, low, canted• editing: cut, dissolve, fade in, fade out, wipe, shot/reverse shot, shot length• camera movement: pan, tilt, track, handheld• sound: speech, music, sound effects• titles: opening titles, end titles, font, colour



Understanding narrative in terms of who, where, what, when, why.Single and multiple storylines.Programme formats (eg, in news programmes, game shows).


Stereotypes of age, gender, race, social class, nationhood.Stars/personalities.

Audience(Outcomes 2

and 3)

Identification of target audiences for television products by star/personality, content,style, slotIndividual reactions to programmes (eg, interest, boredom, shock, surprise, anger).Pleasures of media texts (eg, curiosity, escapism, identification with/attraction tostars/personalities/characters, fandom, social gossip, family viewing).


Commercial operation of television industry: identification of costs and sources offinance in commercial and public service broadcasting.Use of content to attract target audiences.Links with other media (eg, promotion of new pop acts, books, films).


as appropriate)

Technology involved in production and consumption of television/film products.New developments.


National Unit Specification: Table 4 – Exemplar content for Cinema


KEY ASPECT CINEMA


• purpose: information, entertainment, persuasion, education, profit• form: feature film, animation, trailer• genre: feature film genres (eg, horror, science fiction, animation)• other categories: star, director, blockbuster, means of delivery (eg, video, satellite,

cable, terrestrial channel etc)

Language(Outcome 1)

Conventions of cinema genres (eg, format, length, characters, visuals, sound) and featuressuch as:

• mise-en-scene: set, props, costume, make-up, performance• lighting: high-key, low-key• framing: shot distance (ELS, LS, MLS, MS, MCU, CU, ECU), establishing shot

(master shot), continuity editing• angle: straight, high, low, canted• editing: cut, dissolve, fade in, fade out, wipe, shot/reverse shot, shot length• camera movement: pan, tilt, track, handheld• sound: speech, music, sound effects• titles: opening titles, end titles, font, colour



Understanding narrative in terms of who, where, what, when, why.Single and multiple storylines.Typical narratives of cinema genres.


Stereotypes of age, gender, race, social class, nationhood.Non-stereotypical representations.Stars.

Audience(Outcomes 2

and 3)

Individual reactions to films (eg, interest, boredom, shock, surprise, anger).Pleasures of media texts (eg, curiosity, escapism, identification with/attraction tostars/characters, fandom, social gossip, home video viewing, night out at cinema).Identification of target audiences for feature films by star, genre, style, release date,advertising.


Production, Distribution, Exhibition.Commercial operation of film industry: identification of costs and sources of finance.Use of content to attract target audiences.Links with other media (eg television, product placement, blockbuster tie-ins such assoundtrack albums, books, computer games).Comparison of television industry with other media industries.General effects on product.


as appropriate)

Technology involved in production and consumption of television/film products.New developments.


National Unit Specification: Table 5 – Exemplar content for Popular Music


KEY ASPECT POPULAR MUSIC


• purpose: entertainment, persuasion, profit• form: live, recording, music video• genre: current and past pop music genres

Language(Outcome 1)

Conventions of pop music genres in terms of:

• lyrics• vocal style• instrumentation• rhythm• melody



Understanding lyric of song in terms of who, where, what, when, why.Narrative elements in music video.


Stereotypes of age, gender, race, social class, nationality.Image of pop music stars used in marketing, press coverage, etc.

Audience(Outcomes 2

and 3)

Individual reactions to popular music (eg, musical taste, identification with/attraction tostars/personalities/characters, expression of emotions/ideals/dreams, fandom).Popular music and related social activities of teenage audience (eg, fashion, dance,concerts, subcultures).Identification of target audiences for pop music by genre, pop video.


Commercial operation of popular music industry: identification of costs and sources offinance in major and independent labels.Use of popular music to attract target audiences.Links with other media (eg, charts, radio play-lists, music press, concert tours, video).


as appropriate)

Technology involved in production and consumption of popular music.New developments.


National Unit Specification: Table 6 – Exemplar content for Advertising


KEY ASPECT ADVERTISING


• medium: eg, Television, Radio, Cinema, Press, Outdoor, Internet• purpose: persuasion, profit, information, education• form: public service, product, company, classified, display• genre: eg, ‘soap’, animation

Language(Outcome 1)

Conventions of advertising, depending on medium.See relevant content table for particular medium in question.Technical and cultural codes and why they are used.Slogans, straplines, copy, image, pack shot.Display, classified, earpiece, etc.


Understanding narrative in terms of who, where, what, when, why.Typical narratives of radio, cinema, television commercials.


Stereotypes of age, gender, race, social class, nationality.

Audience(Outcomes 2

and 3)

Identification of target audiences by analysis of product, content, style, etc.Ratings, circulation figures.Audience research.Individual reaction to ads – pleasure of ads (eg, humour, special effects, music,expression of emotions/ideals/dreams, references to other texts).


Commercial operation of advertising industry: identification of costs and sources offinance.Rate cards.General effects on product.


as appropriate)

Technology involved in production and consumption of different media.New developments.


Superclass: KA



Version: 02




26


UNIT Media Practical (Access 3)

NUMBER D333 09


SUMMARY

This unit is designed to develop basic knowledge and understanding of the media through individualplanning and making of simple products in several media. Practical exercises could be related tomedia such as print, radio, television, cinema, popular music, advertising and multimedia.

OUTCOMES

1 Plan media products from briefs.2 Make media products from briefs.3 Review and evaluate practical media activities.

RECOMMENDED ENTRY


CREDIT VALUE


Media Studies: Unit Specification – Media Practical (Acc 3) 27



CORE SKILLS


Complete core skills for the unit None

Additional core skills components for the unit None







Media product plans: at least two products should be planned, one in print and one in non-print media.Media products: at least two products should be made, one in print and one in non-print media.Specified aspects of the briefs: medium; form; purpose; target audience.

OUTCOME 1

Plan media products from briefs.

Performance criteria(a) Selection of content is appropriate to the brief.(b) Structuring of content is appropriate to the brief.

OUTCOME 2

Make media products from briefs.

Performance criteria(a) Selection of content is appropriate to the brief.(b) Structuring of content is appropriate to the brief.

OUTCOME 3

Review and evaluate practical media activities.

Performance criteria(a) Strengths and weaknesses of plans and products are identified in relation to the briefs.(b) Review is clear in identifying what has been learned about media production processes.




Evidence requirements for the unitEvidence may be in handwritten, word processed, scribed, diagrammatic and/or oral form. Oralevidence should be on audio or video tape.

Evidence should demonstrate:

• the candidate’s ability to create and evaluate at least two simple media product plans in printand non-print media from briefs

• the candidate’s ability to make and evaluate at least two simple media products in print andnon-print media from briefs

The plans/products should be simple in that they require a level of planning, organising and practicalskills which make realistic demands on candidates at Access 3. The briefs may be discussed in groupsprior to planning/making but the plans/products must be individually produced and evaluated.

Evidence must include:

• Outcome 1: a copy of the brief for each plan• Outcome 1, PC (a) and PC (b): two plans• Outcome 2: a copy of the brief for each product• Outcome 2, PC (a) and PC (b): two products• Outcome 3, PC (a) and PC (b): a set of short answer questions which require the candidate to

evaluate each plan and product in terms of the brief and to identify what has been learned aboutmedia production processes in each exercise.

Evidence should be retained in individual folios.







The focus of this unit is on the exploration of the key aspects of Media Studies through a series ofshort practical activities (planning and making) in print and non-print media. The unit allows for bothgroup discussion and individual activities and can be completed with ‘no-tech’ or ‘low-tech’equipment provision. The planning/making activities should be capable of individual completion bythe candidate in around one hour.

For further details about the content to be covered in this unit, please refer to the Content section inthe cluster specification.


The teacher/lecturer and candidates should collaborate in a series of practical activities from briefs.Briefs should be ‘open’ in that they allow the candidate some leeway in decisions over selection andstructuring of content.

The importance of planning in media production is emphasised by Outcome 1 concentrating onmaking plans from briefs. These plans may be of two kinds: outline proposals (or treatments) andmore detailed plans of format, content and style. Candidates should have experience of creatingindividual plans of both kinds in a range of media. The importance of target audience should beemphasised in these exercises. Although the planning and making of products must be individual theexercises should be preceded by group discussions of the briefs.

The activities in which each candidate engages should form a progression of learning for thatcandidate. The sequence of such activities might include:

• captioning given still images• planning and creating a print advertisement• photoplay (ie selecting and sequencing given still images)• storyboarding or scripting exercise• short audio exercise exploring the effect on meaning of using different words and/or sounds

and/or music• adding music and sound to a short piece of video footage

Candidates should be provided with help in materials they will use in the activities: for example, aseries of photographs to be sequenced; a CD-ROM which contains many examples of popular musicgenres and allows simple ‘composition’; a CD-ROM which contains moving image sequences whichcan be digitally edited and dubbed; templates for newspaper, magazine or Web pages.




Any technical terms involved should not be taught as separate from planning or making activities butshould be used as an integral part of these activities. As the candidates gain experience theteacher/lecturer should gradually give increasing responsibility for practical activities to thecandidates.

At the start of each activity the candidates should be introduced to the main stages involved in theplanning or making of products in the chosen medium. The teacher/lecturer should assist candidates todevelop their planning, production and evaluation skills by offering hints, reminders, feedback and‘tricks of the trade’ and by continuing to support candidates in terms of promoting understanding ofthe production process. Some of the exercises should follow the three stages of planning, making andevaluation.

Each exercise should finish with the candidates and teacher/lecturer reviewing and evaluating the planor product as well as identifying what has been learned about professional media planning andproduction processes.

The practical exercises should be supported by analytical activities based on the key aspects of MediaStudies. For example, purpose, form and genre might be examined by examining a number ofproducts in a particular genre. The technical conventions, narrative conventions and typicalrepresentations of the genre could be identified. Target audiences could be investigated throughstraightforward surveys of media consumption of texts in the genre. The costs and sources of financeof companies producing texts in that genre could be investigated. Candidates could then be required toplan and a make text in that genre.


The recommended instrument of assessment for this unit is individual folio containing briefs, plans,products, reviews/evaluations. A pre-formatted logbook, in either handwritten, word processed ortaped form, could be used to support candidates in recording actions and decisions, and in evaluatingtheir products. The recording may be quite brief and the evaluation should be aided with supportivequestioning.

Any assessment pro-formas and checklists should be used by the candidates during the unit. Thesecan be used to monitor candidates’ progress as well as to provide feedback. Candidates should then beclear about what is expected to them in unit assessment exercises as well as having a bank ofmaterials to which they can refer.

There are opportunities to integrate assessment in this unit. For example, the assessment for Outcomes1, 2 and 3 could be generated by two assignments, each of which requires the candidate to plan, makeand evalulate a simple media product. Two possible integrated assessments are: individual print posterfor a comedy film aimed at teenagers (range: print); two minute commercial radio news bulletinaimed at a mass audience (range: non-print).




SPECIAL NEEDS



Superclass: KA



Version: 02




33


UNIT Media Production (Access 3)

NUMBER D334 09


SUMMARY

This unit is designed to develop skills of contributing to the planning, producing and evaluating of agroup media production in a single medium from a brief. The centre can select the medium: forexample print, audio, video, film, animation, multimedia.

OUTCOMES

1 Contribute to planning a group production from a brief.2 Contribute to implementing a group production from a brief.3 Review and evaluate a group production.

RECOMMENDED ENTRY


CREDIT VALUE


Media Studies: Unit Specification – Media Production (Acc 3) 34



CORE SKILLS


Complete core skills for the unit Working with Others Acc 3

Additional core skills components for the unit Planning and Organising

Reviewing and Evaluating

Acc 3

Acc 3







Specified aspects of the brief: familiar topic; medium; purpose; form; target audience.Research and planning: topic research, plan of format, content, style; resource requirements;production stages; task allocation.

OUTCOME 1

Contribute to planning a group production from a brief.

Performance criteria(a) Contribution is appropriate in terms of discussing the brief, and agreeing task allocation.(b) Research and planning are appropriate in terms of the brief and allocated tasks.

OUTCOME 2

Contribute to implementing a group production from a brief.

Performance criteria(a) Contribution is appropriate in terms of co-operation and sharing ideas.(b) Production skills are appropriate in terms of the brief and allocated tasks.

OUTCOME 3

Review and evaluate a group production.

Performance criteria(a) Strengths and weaknesses of the production are identified in relation to the brief.(b) Strengths and weaknesses of the candidate’s own performance are identified in relation to

individual and co-operative planning and implementation.(c) The review is clear in terms of identifying what has been learned about media production

technologies and stages.




EVIDENCE REQUIREMENTS FOR THE UNIT

Evidence may be in handwritten, word processed, scribed, diagrammatic and/or oral form. Oralevidence should be on audio or video tape.

Evidence should demonstrate the individual contribution to planning, implementing and evaluating astraightforward group production. The production should be simple in that it requires a basic level ofplanning, organising and practical skills which makes realistic demands on candidates at Access 3.The brief should be on a topic which is familiar to candidates so that there are not undue demands interms of research.

The assessment evidence must include:

• a copy of the brief• Outcome 1, PC (a), Outcome 2, PC (a) and PC (b): performance evidence recorded by means of

an observation checklist completed by the teacher/lecturer• Outcome 1, PC (a) and PC (b), Outcome 2, PC (a) and PC (b): individual logbook or other

appropriate record which records decisions/actions in individual and group planning andimplementation. The candidate should record reasons for the various decisions and actions. Thelogbook is likely to be pre-formatted by the teacher/lecturer to give extra support to candidates

• Outcome 2: the group production• Outcome 3, PC (a), PC (b) and PC (c): a set of short answer questions which require candidates

to identify the strengths and weaknesses of the production in relation to the brief, to identify thestrengths and weaknesses of their own performance in individual and co-operative planning andimplementation, and to identify what has been learned about media production technologiesand stages

Groups’ plans and product should be retained as evidence in a group folio but will only be called forat the discretion of the SQA. All other evidence should be retained in individual folios. Plans mayinclude graphics and diagrams.







The main focus of this unit is on the contribution to a structured group production which involves thedesign of a media product with a specific audience in mind. Candidates should be given personal andpractical experience of some of the issues which face media professionals. Candidates will plan,implement, review and evaluate a group media production involving both teamwork and individualtasks. The effectiveness of the candidate’s contribution is more important than the polish of thefinished product.

For further details about the content to be covered in this unit, please refer to the Content section inthe cluster specification. Detailed suggestions on content follow in Tables 7-10 (Print, Audio, Video,Computer Animation). It is possible to implement the unit in other media, eg, other types ofanimation, construction of simple multimedia products. Tables 7-10 should help teachers/lecturersestablish the level of technical knowledge which is required for other media. Candidates are notexpected to know all the terminology; however, they should be able to use the correct terminologywithin the context of their particular tasks.


Candidates should be introduced to the main stages involved in production in the chosen medium.Staff and candidates should then collaborate in a series of collective production activities of graduallyincreasing complexity. The technical terms involved should not be taught as separate from productionactivities but should be used as an integral part of these activities. Candidates should gain experienceof both technological and non-technological production tasks in lead-up exercises. However, for theassessment exercise, candidates need only undertake a technological or a non-technological task inimplementing the production.

The teacher/lecturer should assist candidates to develop their planning, production and evaluationskills by offering hints, reminders, feedback and ‘tricks of the trade’ and by continuing to supportcandidates in terms of promoting understanding of the production process and encouraging effectiveteamwork. As the candidates gain experience the teacher/lecturer should give more responsibility forthe production process to the candidates. At Access 3, the role of the teacher/lecturer is likely toremain directive and interventionist. In other words, the teacher/lecturer will direct activities to ensurecompletion of the productions and will intervene when individual, group or technical problems occur.




Planning will be detailed and should include:

• group discussion of the brief leading to agreement of an outline product plan• identification of research required (eg sources of information on topic such as staff, relatives,

fellow candidates, library; research into conventions of genre)• plan of format, content, style of a complete product• identification of resource requirements (eg hardware/software requirements and availability)• stages in the production (identification of planning, production and post-production phases)• allocation of tasks taking account of candidate preferences

Whatever the medium, the production should be at a simple level. For example, photographs might betaken using a digital camera; newspaper/magazine pages should use templates; video and audiosequences should be simply edited.

All stages of the planning and production should be written up in individual logbooks anddecisions/actions and reasons for these should be recorded. The logbook should reflect all stages ofthe production and should be used by the candidate in the review and evaluation process.


At Access 3 level, candidates will be expected to research a familiar topic. The group project willinvolve the planning, implementing and evaluation of a simple media production on a topic familiar tothe candidate.

An example of a brief is:

‘Talk Video’

You have to plan and produce a 3 minute radio programme informing male and femaleteenagers about the latest video releases. It should be entertaining and informative andfeature reviews of the videos.

Plans and production schedule should be prepared by the group and agreed with yourteacher/lecturer before production commences.

During the unit assessment production the teacher/lecturer may have a number of roles:

• as an observer and assessor of the candidates’ co-operative and production skills• as a troubleshooter when technical problems occur• as a participant in the planning and production processes• as the ‘production manager’ who monitors the progress of the production and offers help as

problems occur – at the assessment stage such help should be in the form of supportivequestioning or ‘lead-through’ (eg showing the candidate how to do a technical task, with thecandidate repeating the process)




For the unit assessment candidates should use pro-formas, individual logbooks and checklists torecord their progress. Logbook entries should record decisions/actions for each stage of theproduction along with reasons for these decisions/actions. The candidates’ responses in individual andgroup tasks should be recorded using a teacher/lecturer checklist. Finished plans or products might beannotated to explain choices. Once the product is finished, each candidate should complete anevaluation supported by short answer questions.

Pro-formas and checklists should be familiar to candidates and should have been used in lead-upexercises. They can be used to monitor candidates’ progress as well as to provide feedback.Candidates should then fully understand what is expected of them in the production as well as havinga bank of materials to which they can refer.

All evidence for the individual folio may be produced in handwritten, word processed or oral form.Plans may include graphics and diagrams. Any group materials produced, including the product,should be retained in a group folio as supporting evidence.

SPECIAL NEEDS



National Unit Specification: Table 7 – Exemplar content for Print


PRINT

Stages Planning and research, layout design, production of copy and images, selection of copyand images, editing and sub-editing, production, distribution, debriefing, evaluation.

Planning andResearch

• category: purpose, medium, form, genre, target audience• competition research• people, places and events: ie who, where, what, when, why• identification of resources and constraints:

i) institutional: purpose, layout, deadline, health and safetyii) technical: hardware, software, file backupiii) external: audience, representations

• identification of tasks. Certain tasks may involve technological and non-technological roles, eg, a reporter might enter her/his copy

• identification of sources (where relevant): reporter, press agencies, press release,other media, reference materials (cuttings, encyclopaedias, archives, Internet)

• remits and production schedule

TechnicalTerms

• hardware: microcomputer system, printer, digital camera, photocopier• software: DTP, word processing, drawing, painting, type manipulation• page formatting: size, orientation, margins, columns, grid, dummy• text elements: masthead, headline, subhead, copy, caption• character formatting: font (serif, sans serif, script, decorative), size, style (plain,

italic, bold, underline), colour• paragraph formatting: indentation, leading/line spacing, alignment, line length• graphic elements: photograph, logo, diagram, box, rule, colour, cropping• paragraph formatting: indentation, leading, alignment, line length• graphic elements: photograph, mug shot, logo, diagram, box, rule, colour,

cropping, white space

Use ofTechnical

Codes

Rules of thumb for technical codes and text and graphic content ; selection of words andimages.Print product conventions.

EvaluationCriteria

Brief, legibility, visual impact, variety, audience interest, narrative, representations.


National Unit Specification: Table 8 – Exemplar content for Audio


AUDIO

Stages Planning and research, scripting, rehearsing, recording, editing, broadcasting, debriefing,evaluation.


• category: purpose, medium, form, genre, target audience• competition research• people, places and events: ie who, where, what, when, why• identification of resources and constraints:

i) internal: purpose, deadline, health and safetyii) technical: location, live, pre-recorded, tape editing, sound effectsiii) external: audience interest, representations

• identification of roles and remits: non-technological (reporter, scriptwriter,interviewer, interviewee, performer, presenter); technological (location recorder,sound engineer, editor). Roles may be both technological and non-technological,eg, location interviewing

• identification of sources (where relevant): reporter, interview, vox pop, newssources, other media, reference materials (encyclopaedias, archives, Internet),recordings of sound effects, music and interviews


TechnicalTerms

• hardware: cassette recorder, reel-to-reel recorder, microphones, editor• software: word processor• words: appropriateness to genre and audience• voice: accent, speed, volume, delivery• music: station/programme jingles, links, mood music• sounds: sound effects, silence• script: voice piece, interview, dialogue, sound effects, links• recording: location, live, pre-recorded• edits: dub edits

Use ofTechnical

Codes

Rules of thumb for technical codes, words and sounds.Audio product conventions.

EvaluationCriteria

Brief, recording quality, editing, audience interest, use of words, voice, music, soundeffects and transitions, narrative, representations.


National Unit Specification: Table 9 – Exemplar content for Video


VIDEO

Stages Planning, treatment, storyboard, rehearsing, shooting, editing, screening, debriefing,evaluation.


• category: purpose, medium, form, genre, target audience• people, places and events: ie who, where, what, when, why• identification of resources and constraints:

i) internal: purpose, deadline, health and safetyii) technical: available hardware and softwareiii) external: legal and voluntary controls, representation issues

• identification of roles: non-technological (scriptwriter, storyboard artist);technological (director, camera operator, sound recordist, editor)

• identification of sources (where relevant): reporter, press agency, press release,other media, reference materials (encyclopaedias, archives, Internet)


TechnicalTerms

• hardware: video cameras, tripod, lighting, microphones, video editing suite• mise-en-scene: set, props, costume, performance• lighting: high-key, low-key• framing: shot distance (LS, MS, CU), establishing shot (master shot)• angle: straight, high, low• editing: cut, shot/reverse shot, shot length• camera movement: pan, tilt, track• sound: speech, music, sound effects• titles: opening titles, end titles, font (serif, sans serif, script, decorative), size, style,

colour

Use ofTechnical

Codes

Rules of thumb for technical codes, text, images, sounds and music.Genre conventions and style.

EvaluationCriteria

Brief, titling, mise-en-scene, quality of camerawork, sound, editing, audience interest,narrative, representations.


National Unit Specification: Table 10 – Exemplar content for Computer Animation


COMPUTER ANIMATION

Stages Planning (eg, action first or sound first), treatment, storyboard, creation of characters,backgrounds, titles, sound dubbing, screening, debriefing, evaluation.


• category: purpose, medium, form, genre, target audience• people, places and events: ie who, where, what, when, why• identification of resources and constraints:

i) internal: purpose, deadline, health and safetyii) technical: available hardware and software, file backupiii) external: audience interest, representation issues

• identification of roles: non-technological (director, scriptwriter, storyboard artist);technological (animator, artist, sound recordist). Certain roles may combinetechnological and non-technological roles, eg, the storywriter might also recordthe soundtrack


TechnicalTerms

• hardware: microcomputer systems, printer, microphones• software: painting, animation, sound recording, type manipulation,

CD-ROM clip art collections• character: key positions, in-betweens, cycles• settings: background• actions: head-turn, walk, special effects• framing: shot distance (LS, MS, CU) establishing shot (master shot)• editing: cut, dissolve, fade in, fade out, standard wipes• sound: speech, music, sound effects• titles: opening titles, end titles, font (serif, sans serif, script, decorative), size, style,

colour, animated

Use ofTechnical

Codes

Rules of thumb for technical codes, text, images, words, sounds and music. Animationconventions.

EvaluationCriteria

Brief, titling, characters, setting, quality of animation, sound, editing, special effects,audience interest, narrative, representations.

SPECIAL NEEDS


MEDIA STUDIES Access 3 - SQAMedia Studies: Access 3 5 National Cluster: details (cont) CLUSTER Media...

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