This is a tricky one to find clips for because of course people with disabilities are under-represented in the media. The links below will bring you to two examples.
Q. How is the representation of disability constructed in the extract?
http://www.youtube.com/watch?v=auSAGvpM7W8
Friday 7 January 2011
Revision 5: Cranford: How is the representation of class constructed in this extract?
Watch the video 4 times following theses instructions:
1st Viewing: DO NOT TAKE NOTES. Think about what is being communicated to you: Who, Why, What, Where & When
When the clip finishes, write down what you have 'decoded' (understood) from the extract - this will form your introduction
Now divide your page into 4 sections: Camera, Mise-en-Scene, Sound, Editing
2nd Viewing: TAKE NOTES on how the mise-en-scene AND the camera are working to represent CLASS - you have time between clips to tidy up/add to these notes to prepare your answer
3rd Viewing: TAKE NOTES on how the SOUND is working to represent CLASS
4th Viewing: TAKE NOTES on how the EDITING is working to represent CLASS
You will now have 45 minutes to answer the question.
Write a VERY BRIEF introduction stating how class is represented in the extract
Then write about how the mise-en-scene choices have encoded these messages
How the choices in camera shots, movement and positions have encoded these messages
How the editing has encoded these messages
Conclude with a summary on how the technical codes have communicated messages about class to the audience.
1st Viewing: DO NOT TAKE NOTES. Think about what is being communicated to you: Who, Why, What, Where & When
When the clip finishes, write down what you have 'decoded' (understood) from the extract - this will form your introduction
Now divide your page into 4 sections: Camera, Mise-en-Scene, Sound, Editing
2nd Viewing: TAKE NOTES on how the mise-en-scene AND the camera are working to represent CLASS - you have time between clips to tidy up/add to these notes to prepare your answer
3rd Viewing: TAKE NOTES on how the SOUND is working to represent CLASS
4th Viewing: TAKE NOTES on how the EDITING is working to represent CLASS
You will now have 45 minutes to answer the question.
Write a VERY BRIEF introduction stating how class is represented in the extract
Then write about how the mise-en-scene choices have encoded these messages
How the choices in camera shots, movement and positions have encoded these messages
How the editing has encoded these messages
Conclude with a summary on how the technical codes have communicated messages about class to the audience.
Sunday 10 January 2010
Revision 3: Skins
How is the representation of age constructed in this extract?
How is the representation of gender constructed in this extract?
View series 1 episode 3, starting around 19mins when you see the red door. Ending with the line 'you play clarinet and I look shaggable'.
http://www.channel4.com/programmes/skins/4od#2921871
How is the representation of gender constructed in this extract?
View series 1 episode 3, starting around 19mins when you see the red door. Ending with the line 'you play clarinet and I look shaggable'.
http://www.channel4.com/programmes/skins/4od#2921871
Friday 8 January 2010
Revision 2: The Hamburg Cell
WATCH FROM 06:37 and use as exam revision
How is the representation of ethnicity constructed in this extract?
How is the representation of ethnicity constructed in this extract?
Revision 1:HUSTLE
Series 3, Episode 4.
HW 1: Use this scene extract again - this time play to 05:55.
How is the representation of age constructed in this extract?
HW 1: Use this scene extract again - this time play to 05:55.
How is the representation of age constructed in this extract?
OUTLINE FROM SPECIFICATIONS
Access the specification online at:
http://www.ocr.org.uk/download/kd/ocr_9646_kd_gce_spec.pdf
PAGES: 16, 17, 18, 19
Access sample question paper and mark scheme online at:
http://www.ocr.org.uk/download/assess_mat/ocr_7949_sam_gce_unit_g322.pdf
THE EXAM IS 2HRS. YOU HAVE 30 MINUTES OF VIEWING TIME AND 45 MINUTES TO ANSWER EACH QUESTION. THE EXAM WILL BE CONTINUOUS SO YOU WILL HAVE TO STOP WRITING FOR QUESTION 1 AFTER 45 MINUTES AND BEGIN QUESTION 2. YOU MAY NOT BE TOLD TO DO SO DURING THE EXAM.
Section A: Textual Analysis and Representation
An ‘unseen’ moving image extract with one compulsory question dealing with textual analysis of various technical aspects of the languages and conventions of moving image media. Candidates will be asked to link this analysis with a discussion of some aspect of representation within the sequence.
The moving image extract will be provided by OCR in DVD format, with full instructions for the administration of the examination, viewing conditions and note-making time. Centres must prepare candidates in advance of the examination, using a range of examples from texts from the genre stated below, to demonstrate textual analysis of all of the following technical areas of moving image language and conventions in relation to the unseen extract:
Camera Angle, Shot, Movement and Composition
Mise-en-Scène
Editing
Sound
THE FULL GLOSSARY HAS BEEN GIVEN OUT IN THE REVISION SESSION - IF YOU DO NOT HAVE A GLOSSARY PLEASE SEE ME.
The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focussing on the creation of representations of specific social types, groups, events or places within the extract. It is not necessary to study the history of the genre specified. Centres should use examples of the genre specified with their candidates to prepare them for undertaking unseen textual analysis.
For examination in 2009, 2010 and 2011:
The unseen moving image extract will be four to five minutes long and will be from the following genre:
TV Drama
The sequence will be taken from a contemporary British one-off or series or serial drama programme.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance. Particular areas of representation that may be chosen are:
Gender
Age
Ethnicity
Sexuality
Class and status
Physical ability/disability
Regional identity
http://www.ocr.org.uk/download/kd/ocr_9646_kd_gce_spec.pdf
PAGES: 16, 17, 18, 19
Access sample question paper and mark scheme online at:
http://www.ocr.org.uk/download/assess_mat/ocr_7949_sam_gce_unit_g322.pdf
THE EXAM IS 2HRS. YOU HAVE 30 MINUTES OF VIEWING TIME AND 45 MINUTES TO ANSWER EACH QUESTION. THE EXAM WILL BE CONTINUOUS SO YOU WILL HAVE TO STOP WRITING FOR QUESTION 1 AFTER 45 MINUTES AND BEGIN QUESTION 2. YOU MAY NOT BE TOLD TO DO SO DURING THE EXAM.
Section A: Textual Analysis and Representation
An ‘unseen’ moving image extract with one compulsory question dealing with textual analysis of various technical aspects of the languages and conventions of moving image media. Candidates will be asked to link this analysis with a discussion of some aspect of representation within the sequence.
The moving image extract will be provided by OCR in DVD format, with full instructions for the administration of the examination, viewing conditions and note-making time. Centres must prepare candidates in advance of the examination, using a range of examples from texts from the genre stated below, to demonstrate textual analysis of all of the following technical areas of moving image language and conventions in relation to the unseen extract:
Camera Angle, Shot, Movement and Composition
Mise-en-Scène
Editing
Sound
THE FULL GLOSSARY HAS BEEN GIVEN OUT IN THE REVISION SESSION - IF YOU DO NOT HAVE A GLOSSARY PLEASE SEE ME.
The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focussing on the creation of representations of specific social types, groups, events or places within the extract. It is not necessary to study the history of the genre specified. Centres should use examples of the genre specified with their candidates to prepare them for undertaking unseen textual analysis.
For examination in 2009, 2010 and 2011:
The unseen moving image extract will be four to five minutes long and will be from the following genre:
TV Drama
The sequence will be taken from a contemporary British one-off or series or serial drama programme.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance. Particular areas of representation that may be chosen are:
Gender
Age
Ethnicity
Sexuality
Class and status
Physical ability/disability
Regional identity
Subscribe to:
Posts (Atom)
