DECEMBER MOCK EXAM: LEARNER RESPONSE

 1) Type up any feedback on your paper (you don't need to write the mark and grade if you want to keep this confidential). If you only have marks and a grade on the paper, write a WWW/EBI yourself based on your scores.

WWW: Kim, a strong response for Q 1.4 (12-mark Q) on gender stereotypes in HDM. This indicates clear analysis and understanding of the Q.

EBI: More focus on the 20-mark Q's for section B-your responses are discipline but lack of focus on the Q e.g. Q5 should consider the other CSPs we've studied so far and think how those products have not been regulated.

2) Use the mark scheme for this Paper 2 mock to read the answers AQA were looking for. First, write down a definition and example of non-diegetic sound (Q1.1 and 1.2). 

All sounds made by or heard by the characters. An example of this is soundtrack.

3) Next, identify three points you could have made in Q1.3 - camerawork and the extract. Look for the indicative content in the mark scheme - these are the suggested answers from AQA.

• Camera angle is used in an interesting way in the extract. Will is often shown from allow angle which should suggest power or dominance. However, his expression and body language is very timid so in fact seems to further emphasise Lyra’s confidence. When Lyra is sitting at the table, the camera is deliberately placed at Lyra’s level so she is not presented as weak or vulnerable.
• The wide shot and slow dolly/tracking through the open doors shows both characters together sitting at the table. This deliberately places both characters in the same frame as the conversation becomes more friendly and less guarded. The camerawork is communicating the growing friendship between Lyra and Will and helps to foreshadow the suggestion (in the very next shot) from Will that they team up and work together. The slow dolly/track at this point signals to the audience that something important is happening; their relationship is changing. It works in a similar way to a zoom.
• The wide shot and slow dolly/tracking through the open doors shows both characters together sitting at the table. This deliberately places both characters in the same frame as the conversation becomes more friendly and less guarded. The camerawork is communicating the growing friendship between Lyra and Will and helps to foreshadow the suggestion (in the very next shot) from Will that they team up and work together. The slow dolly/track at this point signals to the audience that something important is happening; their relationship is changing. It works in a similar way to a zoom.

4) Now look at Q1.4 in the mark scheme - pick out two points from the mark scheme that you could have included in your answer.

• The way Lyra first investigates and then eats the omelette also subverts feminine stereotypes. Her interaction with props in the scene deliberately subvert ideas of being ‘ladylike’ or feminine.
• There is perhaps one exception to this when Will suggests that they work together. Lyra is shown responding with a slight smile that suggests she is in favour of them teaming up and perhaps therefore removes a little of her independence.

5) Focus on Q2 - the 20-mark essay on representations of age and social and cultural contexts. Pick out three points from the mark scheme that you didn't include in your answer.

• Although the idea of ‘teenage’ was not new, teenagers as a distinct category developed rapidly in the post-war years and was well established by 1963. The idea of the ‘generation gap’ as a social issue was still new and much-discussed.
• Media representations of teens/young adults usually identify this group by their attitudes, behaviour, language, clothing and music. There are many negative stereotypes of teenagers in television drama in which characteristics such as laziness, anti-social behaviour, inability to concentrate and self-indulgence are portrayed as ‘typical’.
• Susan is a stereotypical loner. Although she claims to like the school, she is not seen to engage with other pupils and they laugh at her mistakes (eg re decimal currency).

6) Turning your attention to Section B, write a definition and example of user-generated content - use the mark scheme to check it.

When people who use social media to post something that includes any brand. An example of this is when Kim Kardashian posted a make-up brand that says her opinion about the product that she bought.

7) Look at Q4 - the 20-mark essay on the power of influencers. Pick out three points from the mark scheme that you didn't include in your own answer. 

• There is an army of influencers: social media users and celebrities with large, devoted followings, who give their followers access to a carefully curated version of their lives. In this “authentic” context, sponsored content, known as “sponcon”, has proved a potent tool for selling products.
• By the end of 2019, the influencer marketing industry was worth some $8bn a year. One recent report by Insider Intelligence predicted that it would grow to $15bn globally by the end of 2022.
• Marcus Rashford demonstrates this with his commercial partnerships with Burberry, Nike, Coca-Cola and more. The fact he appeals to such mainstream brands is evidence of his power in the digital age.

8) Now look at Q5 - the 20-mark essay on regulation and the internet. Again, pick out three points from the mark scheme that you didn't include in your own answer.

• the ways in which the media re-present the world and construct versions of reality
• the ways aspects of reality may be represented differently depending on the purposes of the producers
• representation of social groups and ideas and the use of stereotypes

9) On a scale of 1-10 (1 = low, 10 = high), how much revision and preparation did you do for your Media mock exam? Be honest here - it's a good chance to think about how to approach the next set of mock exams.

5

10) List three key things you want to revise before the next mock exams in February (e.g. particular CSPs, terminology, exam technique etc.)

• HDM
• Marcus Rashford and Kim Kardashian
• Music Videos