The Film Industry: Institutions and Audiences

Revision Pack

Section B of the exam paper will assess:

1. Your understanding of how media institutions (film companies) currently operate

2. Your ability to explore ideas about how audiences use media 3. Your understanding of the relationship between audiences and

institutions (film companies) The word institution refers to the companies and organisations that provide media content, whether for profit, public service or another motive. We need to talk about media institutions in the plural and to recognise that it is possible, through such distribution networks as MySpace and YouTube, to be a producer and distributor of content some time, and a consumer of media produced by powerful corporations the rest of the time.

CONVERGENCE• Convergence describes two phenomena: First, technologies

coming together, for example, a mobile phone you can use as a still and moving image camera, download and watch moving images on, use as an MP3 player and recorder and access the internet with. Second, media industries are diversifying so they produce and distribute across several media—for example, a newspaper with an online version and audio podcasts or the coming together of videogames with films. We no longer live in a media world where television, videogames, films, newspapers, radio, magazines and music exist separately. For this reason it is essential that you study the impact of convergence on the film industry — the focus here is on the contemporary.

AUDIENCES• Audience is a huge area of media studies, so it’s important to be precise about our focus in

this section, which is on the relationship between audiences and institution. You will need to analyse the more complex nature of new media audiences and how digital media distribution and consumption has allowed consumers to become producers (prosumers) or at least interactors, and thus far more active users of media.

• The ways in which convergence, user-created content and social networking have transformed the audience are often thought about in terms of audience 'fragmentation'. In this climate media institutions are desperately trying to provide 360- degree branding for their products—to surround us with them across all the various converged media forms that we come into contact with—a good example of this is Star Wars The Force Awakens

• Converging media, then, can lead to both control by media producers and resistance by the consumers, who now get to produce their own media. For media institutions, this imposes key changes: the media world changes from a 'value chain' (cultural products made and distributed to audiences) to a social network (a complex system where producers and audiences are mixed up). Another way of describing this is the shift from 'push media‘ (where producers push media at us and we receive and consume it) to 'pull media' (whereby we decide what we want to do with the media and access it in ways that suit us).

Fans interact with Ex-Machina

• https://www.reddit.com/r/FanTheories/comments/2vae5e/ex_machina_theories_speculation/- fans discuss the science behind the film

• http://www.fandango.com/exmachina_180791/moviereviews- fans give the film ratings and reviews

• https://ava-sessions.com/- fans encouraged to upload a photo of themselves to be drawn by ava

• https://www.facebook.com/ExMachinaMovie/videos/653814868064110/- the director Alex Garland answers questions from fans.

• http://oscar-isaac.com/- a web-site run by fans of the actor Oscar Isaac

Fans interact with SWTFA

• http://time.com/4116403/star-wars-force-awakens-fan-theories/- Time magazine prints a list of fan predictions before the film’s release

• https://www.youtube.com/watch?v=U-3esPg3iPk- fans react to the SWTFA trailer

• https://www.youtube.com/watch?v=H6_zvQQ5P8w- everything wrong with SWTFA ( 24,000 comments!)

• https://www.youtube.com/watch?v=4fDlPI1vI2A- a “sweded” trailer ( a home-made re-make)

• To succeed in this section of the Key Media Concepts exam you need to develop a case study on a particular studio or production company. This institution must be located in a contemporary film industry and it must produce and/or distribute films to the UK. The focus will be on how this institution relates to:

• Production: making films • Distribution: promoting films and getting them into cinemas and

out on DVD/VOD , as well as any spin offs/related media products

• Consumption: people paying at the cinema, renting or buying DVDs/VOD, downloading FILM

DISTRIBUTION• Film distribution describes everything that happens in between production (making the film) and exhibition (people watching

the film in cinemas or on DVD/ VOD , on television, via the internet or on a plane, or anywhere else).• Far from being a straightforward state of affairs, distribution involves all of the deals done to get films shown (many films

never get seen) and, just as importantly, promoted. This promotion involves paid for 'above the line' advertising, which will be funded as part of the project, such as trailers, posters, billboards and various spin-offs which are of mutual benefit to the film and another commercial agency, for example a McDonalds 'Happy Meal' with a film theme. It also includes related merchandising and 'below the line' publicity which is not paid for, but again generates mutual interest. For example, an interview with a star in a newspaper or magazine and reviews (the former will generally be positive, but the latter is, of course, the great unknown for film producers).

• It is crucial not to see film distribution as a 'helpful' stage in the life of a film whereby distributors treat all films equally and ensure fair play in getting films to the public's attention. The key players, the big companies who control much of the industry,

control distribution of their own products, and of others ( Disney, Star Wars the Force Awakens). Effectively films are loaned out to cinemas for a finite period and release deals are done that secure access to a certain number of screens at a time. In the UK film market, an increase in the quantity of screens showing films has not led to an increase in the number of films

shown. Five major distributors dominate the UK film industry: United International Pictures (Universal is part of this company), Warner Brothers, Buena Vista, Twentieth Century Fox and Sony. Roughly nine of every ten films seem in the UK are

viewed as a result of these distributors. In most cases these distributors are directly linked to the Hollywood production companies who make the films. They deal with exhibitors who are no longer (as used to be the case) owned by the same

Hollywood companies, but who do, for reasons of profit, prioritise Hollywood films over others. Usually the blockbuster films we are familiar with are distributed via 'blanket release', so even if a small UK independent company manages to get its

product into cinemas, it is usually competing for attention with one or more films that take on the status of an 'event One of the outcomes of the distribution arrangement outlined above is that half of the films released in Britain do not reach

the whole country. Perhaps surprisingly, given we live in the digital age, one of the obvious problems smaller companies face was a rather old fashioned one. Every film shown in a cinema was a separate 'print' of the film, projected via a reel. The major companies could afford to produce far more prints than the smaller companies, knowing the expensive outlay of funds at this stage will be worth it in relation to box office returns. A small company producing a less commercial product could not afford to do that, so people who do want to see more 'alternative' films often have to wait until their local independent cinema had a print, and often there was little choice over where and when to see it. The UK Film Council has addressed this problem via its Digital Screen Network —the deal is that cinemas receiving financial support to equip themselves with digital facilities (thus avoiding the issue of prints) will in return be expected to show more films from independent distributors.

• There are various different 'official' ways of categorising British film. The British Film Institute divides films into the following categories:

• Category A: films made with British money, personnel and resources. • Category B: films co-funded with money from Britain and from foreign investment, but the majority

of finance, cultural content and personnel are British. • Category C: films with mostly foreign (but non USA) investment and a small British input, either

financially or creatively.• Category D: films made in the UK with (usually) British cultural content, but financed fully or partly

by American companies. • Category E: American films with some British involvement. • It is fairly obvious that Britain can claim a great number of films under the D and E descriptions, a

decent number in categories B and C and very few that have been successful as category A films. There are few well known 'purely British' films. And this equation becomes even more complicated when we start to explore the notion of where the money comes from. For example, if a film is made by a British film company, but that company is owned by a larger American group, is the production financed in the UK? And what is the significance of distribution? If a film is 'purely British' at the production stage but it is distributed in this country by an American company (who then claw back a chunk of the box office profits), is this film really a success story for the British Film Industry?

• To what extent are Star Wars the Force Awakens and Ex-Machina British films?• In what ways are they targeted at UK audiences?

DEFINING A BRITISH FILM• Cultural Test for Film- 2014. If a film scores more than 18 it gets tax relief. • Find out how points for the cultural test for film are allocated. A:Cultural Content • A1Film set in the UK or EEA :4 points• A2Lead characters British or EEA citizens or residents :4 points• A3Film based on British or EEA subject matter or underlying material :4 points• A4Original dialogue recorded mainly in English or UK indigenous language or EEA language: 6 points • Total Section A 18 pointsB: Cultural Contribution The film demonstrates British creativity, British heritage and/or diversity : 4 points • Total Section B4 pointsC: Cultural Hubs • C1(a) At least 50% of the principal photography or SFX takes place in the UK : 2 points • (b) At least 50% of the VFX takes place in the UK: 2 points • (c) An extra 2 points can be awarded if at least 80% of principal photography or VFX or SFX takes place in the UK: 2 points• C2Music Recording/Audio Post Production/Picture Post Production: 1 point • Total Section C (Maximum 4 points in total in C1) : 5 points• Cultural Practitioners (UK or EEA citizens or residents)• D1Director: 1 point• D2Scriptwriter: 1 point• D3Producer: 1 point• D4Composer: 1 point• D5Lead Actors: 1 point• D6Majority of Cast: 1 point• D7Key Staff (lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor,

lead hair and makeup supervisor) :1 point• D8Majority of Crew: 1 point • Total Section D8 points• Total all sections (pass mark 18) 35 points

THE CURRENT BOOM UK film production experienced a crisis in 2005 and early

2006. Investment in the making of films dropped, largely due to the rate of the English pound against the American dollar and the availability of low cost studios in Eastern Europe. But later in 2006 and since, investment has returned, and this is related to a new Government policy of tax relief. This allows producers to be exempt from certain tax payments. Previously there had been a compulsion for films to be mainly shot in the UK for them to qualify for the avoidance of tax, but in March 2006 this was revised to allow for more overseas filming, an attractive amendment for investors

Apply to our case-studies • It is fairly obvious that Britain can claim a great number of films through

this “cultural test”. There are few well known 'purely British' films. And this equation becomes even more complicated when we start to explore the notion of where the money comes from. For example, if a film is made by a British film company, but that company is owned by a larger American group, is the production financed in the UK? And what is the significance of distribution? If a film is 'purely British' at the production stage but it is distributed in this country by an American company (who then claw back a chunk of the box office profits), is this film really a success story for the British Film Industry?

• To what extent are Star Wars the Force Awakens and Ex-Machina British films?

• In what ways are they targeted at UK audiences?

SWTFA Release Dates • Star Wars: The Force Awakens premiered in Los Angeles at the TCL Chinese Theatre, El Capitan

Theatre and Dolby Theatre on December 14, 2015.A white tent stretched along Hollywood Boulevard from Orange Drive to Highland Avenue, covering the "massive" premiere event that hosted more than five thousand guests. The film was released in 12 countries including European nations (such as Italy and France, releasing it on a Wednesday), the Philippines and Thailand on December 16; 32 countries including the United Kingdom (releasing on a Thursday), Mexico and additional European, Asian, African, South American and Oceania countries on December 17; and in North America, Japan, Spain, and Venezuela on December 18,in 3D and IMAX 3D. It was released in India on December 25 and in China on January 9, 2016.

• In North America, it had the widest release of December across 4,134 theaters of which 3,300 were 3D locations, a record 392 IMAX screens (13 of which are 70mm), 451 premium large format screens, 146 D-Box locations, as well as releasing in the Dolby Vision format (High dynamic range Rec. 2020 color) in Dolby Cinema. Worldwide, it will be released across 940 IMAX theaters, a new record. On December 18, 2015, the film began playing on every IMAX screen in North America for four straight weeks up to January 14, 2016. This made it the first film since Warner Bros. Pictures' The Hobbit trilogy to receive such a release. The film finally shed some of its IMAX screens with the release of The Revenant and The Finest Hours in mid-January 2016.]

• Why do you think SWTFA might have been released the week before Christmas in the US and Europe?

• Why was its released staggered across the world?

KEY AREAS OF STUDY 1.• The issues raised by media ownership in contemporary media practice:• WHAT YOU NEED TO KNOW: - What is the affect on the British film

industry and Independent filmmakers of Major Film Studios?• KEY POINT: - The film industry is dominated by major Hollywood

studios – these studios often own companies that cover all aspects of the filmmaking process – These humongous-sized mammoths are able to use their size and ownership of a wide range of media to cross promote their films (and other media) across their wide media empires. The synergies of cross-promotion that can be created by these media organisations is mind-boggling.

• YOUR REVISION NOTES SHOULD INCLUDE – WHAT DO YOU THINK THE ISSUE IS WITH MULTI MEDIA CONGLOMERATES OWNING A RANGE OF COMPANIES?

WHAT IS THE IMPACT OF DIGITAL TECHNOLOGY ON FILM PRODUCTION

• Until recently Hollywood studios were the only ones who had the money to pay for digital tools, and for the labour involved in producing digital effects. However the shift to digital media effects not only Hollywood but film making as a whole. ( Ex-Machina used digital effects so creatively that its VFX team from DNEG VFX won the Oscar, beating SWTFA) As traditional film technology is replaced by digital, the logic of the film making process is being redefined.

• In today’s movie making, the creative work that takes place on a computer can be as important as what goes on in front of the camera, this technology is now a standard part of the movie making tool kit. The impact of digital technology on Hollywood has been gradual but all-encompassing. Today a movie can be shot, edited, and distributed from camera to theatre and beyond, without involving a single frame of film.( Remember, although SWTFA used lots of CGI and the Medusa Capture System, its director JJ Abrams preferred to shoot on film)

WHAT IS THE IMPACT OF DIGITAL TECHNOLOGY ON DISTRIBUTION OF FILM?

• For the exam be aware the various ways that a film can be distributed and the advantages/ disadvantages for institutions and audiences. Remember distribution includes marketing!

• Advances in Technology In Distribution, marketing, exchange- • New digital technology not only affects the actual production, but also the way in which the film is distributed to audiences all

over the world. Movies encoded as digital data files –either recorded on optical disc and physically shipped or broadcast via satellite, has increasingly replaced film prints as the preferred method for distributing movies to theatres since 2005. Another advantage of broadcasting via satellite eliminates the current need to return and destroy film prints, as well as reduce the risk of film prints falling in to unauthorized hands. Using digital film is much easier than using just film. Film is heavy, hard to work with and fragile. The process of receiving, prepping, and showing, dismantling and returning a movie requires skilled labour and resources. Digital cinema movies can be managed with the simplicity of basic computer commands and operated just like a VCR. Compared with film cinema, the digital film has the clear superiority in maintaining constant quality with use. The first showing of a digital movie will be identical in quality to the 1,000th. Digital movies do not get scratches or break the way regular film does. Every copy of a movie is identical to the master reference print. Normal film wears out, gradually becoming too damaged for use. Digits on the other hand 15will never wear out. Another benefit is that the new technology will allow simultaneous global release of new movies, thereby reducing the ability of pirates to copy a movie in one region and sell DVDs in areas where the studios haven’t yet released the movie. Additionally, delivering a single copy or 100 copies ends up costing exactly the same amount for the cinema, therefore more cinemas are able to buy the latest releases, increasing their own custom. With digital cinema, the movie studios also have the ability to modify their content whenever it is found desirable. Movies can be changed even after they are released. In effect, extras on DVDs are becoming increasingly popular, giving the director a chance to give an insight in to his latest piece of work, the production process, along with background facts and figures, interviews with cast members, snippets of the film, etc. Overall the transition from film cinema to digital cinema, has in fact, lowered the cost of movie distribution for studios. By eliminating film prints, studios could eliminate the £2,000 to £3,000 cost for each print made of a motion picture. This translates into an expense equal to about 10% of a movie’s production budget.

WHAT DO FILM COMPANIES HAVE TO THINK ABOUT WHEN THEY ARE TARGETTING GLOBAL AND LOCAL AUDIENCES?

• Key point: The consideration of local and global audiences begins at the stage of PRODUCTION: producers think about who will be the audience for the film, how the audience will relate to the idea, how many people would be up for watching the film – They need to decide whether it will be a film with global or local appeal WHEN PRODUCING A FILM – the following impact on whether the audience will be local or global THE CAST (Hollywood actors tend to have more global appeal than actors from other countries – unless they have acted in a Hollywood film). THE DIRECTOR (big name directors help to sell the film to a global audience – especially if they have created a global hit before). THE IDEA OF THE FILM: -Producers must ask the question – will the idea of the film be something that people from a variety of cultures can relate to or people from a specific culture.

• TO WHAT EXTENT DO SWTFA APPEAL TO GLOBAL AND LOCAL ( UK) AUDIENCES?

HOW DOES THE WAY IN WHICH YOU CONSUME FILM GIVE AN INDICATION OF THE PATTERNS OF

CONSUMPTION OF FILM?• Key points: What is the current situation with cinema going? Look at this BFI

Report about UK film audiences http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-opening-our-eyes-2011-07.pdf

• What do people watch? How do they watch it? Why do they watch films?• HOW DO PEOPLE CONSUME FILM:• Cinema • DVD and Blue Ray • TV – VOD • Internet • Pirates / Illegal downloads Do you and your friends buy pirates or illegally

download? • Here are some key facts about illegal downloading and pirates • The film industry (according to experts) loses around £500- £700m a year to piracy • The revenue gained from pirate DVD’s alone is approximately £278m pounds a

year

Ex-Machina

• Alex Garland’s writing credits include 28 Days Later, Sunshine, Never Let Me Go, and Dredd. He has producing credits on 28 Weeks Later, Never Let Me Go, and Dredd, and he also wrote the novels The Beach and The Tesseract, both of which have been made into films. Ex Machina is Garland's directorial debut.

• Ex Machina, the new sci-fi film from director Alex Garland, is now in limited release - but the sad news is that so far it's only available to see in a grand total of four theaters. There is some good news, however. Not only is the critically-acclaimed movie is performing well, but it should soon be arriving to a theater near you. Limited Release:

• As part of a theatrical roll-out, A24 only released Ex Machina in select theaters in New York and Los Angeles this past weekend:Regal Union Square Theater (100 E 17th St, New York)

• AMC Lincoln Scquare Theater (1998 Broadway, New York)• The Arclight Hollywood (6360 Sunset Blvd, Los Angeles)• The Landmark (10850 W Pico Blvd, Los Angeles)•

Sneak Screenings In Select Cities• Following the limited release, A24 has also scheduled nationwide screenings of Ex

Machina that will take place this Thursday, April 16th. In order to find out if there is a screening near you, all you have to do is go to this link and enter your Zip Code to see if it's playing near you. As a bonus, each of these events will give attendees the opportunity to sign up for a contest that could send them to the Juvet Landscape Hotel in Norway, the incredible shooting location for most of the movie. Wide Release

• And for those outside the limited release and sneak screening locations will only have to wait until April 24th for the chance to see the film for themselves. On that Friday, the movie will be expanding into wide release, and going up again both The Age of Adaline and Little Boy at the box office.

http://exmachina-movie.com/

https://www.youtube.com/watch?v=vFsks1z_b9Q

South by Southwest (SXSW) is an annual set of film, interactive media, and music festivals and conferences that take place in mid-March in Austin, Texas, United States. It began in 1987, and has continued to grow in both scope and size every year. In 2011, the conference lasted for 10 days with SXSW Interactive lasting for 5 days, Music for 6 days, and Film running concurrently for 9 days.

Ex Machina stunt at SXSW has users falling for a robot on TinderApp-users at the SXSW festival in Austin have been unwittingly mimicking the plot of Alex Garland’s new film, by finding themselves quizzed by a gorgeous robot-in-disguise

British Board of Film Classification

Critical Acclaim • A remarkable piece of mesmerizing science-fiction, and one that should

be buzzed about for months to come. • Eric Eisenberg·Cinemablend• A sleek, spare chamber piece: Mary Shelley's "Frankenstein" redreamed

as a 21st-century battle of the sexes. • Guy Lodge·Variety• Ex Machina is memorable and downright challenging, full of sharp

performances that blur the lines between humanity and programming.• Ben Kendrick·Screen Rant• 'Ex Machina' is easily one of the best films of the year so far and a

remarkable directorial debut for Garland. • David Sims·

https://www.youtube.com/watch?v=c9pIZkV2b2s

STAR WARS TFA A FILM INDUSTRY FRANCHISE

Lucas Films, Bad Robot and Industrial Light and Magic: Production

Walt Disney Studios: Distribution

The Star Wars Franchise- Films • IV – A New Hope (1977)• V – The Empire Strikes Back (1980)• VI – Return of the Jedi (1983)• Prequel trilogy• I – The Phantom Menace (1999)• II – Attack of the Clones (2002)• III – Revenge of the Sith (2005)• Sequel trilogy• VII – The Force Awakens (2015)• VIII (2017)• IX (2019)

https://www.youtube.com/watch?v=c9pIZkV2b2s

THE SUCCESSFUL FORMULA• The Star Wars Franchise • An already existent fan base = hype already exists • Lucas Films, JJ Abrams, original cast + new faces • Big production company = big budget • IMAX technology and screening deal• Tons of advertising• Merchandise• Hype on social media

PRODUCTION – BIG NAMES • JJ Abrams : Director and co-writer- director of Star Trek and

Mission Impossible III. Huge Star Wars fan • Harrison Ford , Carrie Fisher and Mark Hamill : All members

of original cast- nostalgic appeal• John Boyega: British actor, starred in UK film “ Attack the

Block”• Daisy Ridley : British actor, starred in UK TV but unknown in

US • Follows George Lucas casting unknown actors in the original

1977 film-appeal to British audiences/ younger demographic

PRODUCTION – EXISTANT FANS

• BUDGET $200 MILLIOM• GROSS REVENUE $2 BILLION

PRODUCTION VALUES• Shot on film• One scene shot on 70 mm

IMAX camera• JJ Abrams # bestformatever • SFX created by Industrial Light

and Magic- mixture of practical SFX including

prosthetics, make- up and models with CGI and sophisticated motion-capture technology

Medusa Performance Capture System

• The Medusa Performance Capture system, developed by Disney Research in Zurich, consists of a mobile rig of cameras and lights coupled with proprietary software that can reconstruct actor’s faces in full motion, without using traditional motion-capture dots. The technology comes as the result of many years worth of research and scientific advances in capturing and modelling of human faces.

• Medusa delivers high resolution 3D faces, with the ability to track individual pores and wrinkles over time, providing very realistic facial geometry that is ideal for creating digital doubles for visual effects and computer games.

ADVERTISING AND MARKETING

Digital• Highly interactive website• Many blog sites (cast and crew and

fans)• Throwback Thursday • Force Friday- merchandise

unwrapping • Youtube Channel• Social networking sites• Online reviews• Apps • Partnerships with Google, Facebook

and Verizon phone network

Traditional • Posters• Trailers• Newspaper/magazine reviews

and exclusives ( Vanity Fair/ Empire magazine)

• Press junket in many countries

• TV interviews • Screening at the Whitehouse!

Five hundred replicas of 'Star Wars' stormtroopers stand China's Juyongguan section during a promotional event for 'Star Wars: The on the steps of the Great Wall of Force Awakens' outside Beijing on Oct.

20

ADVERTISING AND MARKETING

SYNERGY • ABC News presenters

dressed in Star Wars costumes

• Trailer shown during football match on ESPN

• ABC viewers kept waiting to see trailer for first time

MERCHANDISE

• Toys• Costumes• Movie memorabilia • T-Shirts/ Clothing• Partnership with LEGO

ADVERTISING AND MARKETING

• DVDs• Blu-Ray DVDs with added extras • Special Edition DVDs• Digital download of film from I-tunes,

Googleplay, Amazon etc.• Video Games

Star Wars and Social Media

Case-study revision In the exam, you will be required to answer the film industry question using your knowledge of two case study films.Star Wars the Force Awakens and Ex-Machina Research into both films and find everything you can about its production, distribution, marketing and exhibition , with the relevant information, videos and images underneath each heading. You might want to delegate an aspect of the film chain for each group member to ensure that you have enough examples. Some things that you will need to find out are listed below, but try to find out as much as possible about the films and not just what is listed here:

• Who produced the film? • Who owns this production company and what other films have they produced? • Who directed the film? • What other films have they directed? • What was the budget? • Who stars in it? • What other films have they been in? • What technology has been used to make the film? (What cameras did they use? How was the film edited? What CGI was involved?) • How was the film marketed? Which different marketing tools were used? • What examples of synergy with other products/merchandise can you find? • What examples of cross media convergence can you find? • What examples of technological convergence can you find?• Where and when was Ex Machina (nationwide, worldwide) and in what cinemas?• What formats was it available in (digital / 3D etc…)? • Who is the target audience?

G322 SECTION B – EXAM QUESTIONS

• To what extent is multi-platform publication beneficial to media institutions and audiences?

• With reference to your chosen case study consider how important interactivity is to media institutions?

• What has the impact of increased connectivity been on the media production, distribution and exhibition process?

• Discuss the ways in which media products are produced, and distributed to audiences, within

a media area, which you have studied.

• “Media production is dominated by global institutions, which sell their products and services to national audiences.” To what extent do you agree with this statement?

• What significance does the continuing development of digital media technology have for media institutions and audiences?

• Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area.

Explanation/ Analysis/ argument Examples Terminology

LEVEL4 Shows excellent understanding of the task Excellent knowledge and understanding of institutional/audience practices – factual knowledge is relevant and accurate A clear and developed argument, substantiated by detailed reference to case study material Clearly relevant to set question

16-20 marks

Offers frequent evidence from case study material – award marks to reflect the range and appropriateness of examples Offers a full range of examples from case study and own experience Offers examples which are clearly relevant to the set question

16-20 marks

Use of terminology is relevant and accurate Complex issues have been expressed clearly and fluently. Sentences and paragraphs, consistently relevant, have been well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar.

8-10

LEVEL 3 Shows proficient understanding of the task Proficient knowledge and understanding of institutional/audience practices – factual knowledge is mostly accurate Some developed argument, supported by reference to case study material Mostly relevant to set question

12-15 marks

Offers consistent evidence from case study material Offers a range of examples from case study and own experience Offers examples which are mostly relevant to the set question

12-15 marks

Use of terminology is mostly accurate Straightforward ideas have been expressed with some clarity and fluency. Arguments are generally relevant, though may stray from the point of the question. There will be some errors of spelling, punctuation and grammar, but these are unlikely to be intrusive or obscure meaning.

6-7 marks

LEVEL 2 Shows basic understanding of the task Basic knowledge and understanding of institutional/audience practices – factual knowledge will have some accuracy Basic argument evident, with some reference to case study material Some relevance to set question

8-11 marks

Offers some evidence from case study material Offers a partial range of examples from case study and own experience Offers examples of some relevance to the set question

8-11 marks

Some terminology used, although there may be some inaccuracies

4-5 marks

A 45-50 B 37-44 C 31-37 D-24-30 E 18-23