Section B Exampler Response 48/50

EAA 20/20 - ...
EG 18/20 - ...
T 10/10 - ...

Section B Question 6 Media and Collective Identity
For A2 I have studies the representation of women in both contemporary and historical media. As David Buckingham noted in 2008, “identity is fluid and changeable” – and arguably the identity of women in recent times has changed, some may argue it has become more mediated.

Identity itself refers to who we actually are, the construction of ourselves – perhaps even the representation of ourselves and our social groups that we as media consumers wish to have. While many such as Buckingham and Gauntlett champion the fact the create and construct our own identities; others such aa Theordore Adorno see identity as something pushed upon us by the mass media, that we have no alternative but to take the dominant identities we are exposed to “something is offered for all so that none may escape,” he writes in explanation of this fact. Adorno therefore argues that our identities are becoming increasingly mediated – that is, that they influenced by the mass media, inherent identifies are weak and influenced by the media around us.

‘Nuts’ magazine is a stereotypical ‘lad’s mag’, aimed at 18-24 year old males. In ana analysis of the 19-25th March 2010 issue I performed the content proves interesting with regards to representation of women. Images of semi-naked females in suggestive poses represent women as victims of symbiotic annihilation. They are portrayed as merely objects of sexual pleasure for men – the images have been constructed, Laure Mulvey would argue with her theory of the Male Gaze, solely with the male consumers in mind, who using the Uses and Gratifications Model are consuming the text for sexual pleasure. Most significant here, however, is the so-called Mirror Effect of Mulvey’s Male Gaze.

This states that women themselves consuming the images will apply the Male Gaze, and see the female in the image in a sense of what Baudrillard would call hyperreality, assuming the idea that this representation is ‘how women should be’ and in turn they should construct their identities similarly in order to appeal to males – aftr all women are the subdominant group in an apparent patriarchal society. Identity therefore has become mediated in this situation as Adorno says. The “culture industry” that is the mass media has imposed a dominant representation onto a collective group; who have felt pressured to adapt it as part of their collective identity.

In the 2001 film “Lara Croft: Tomb Raider”, Lara Croft, the main female character is represented as fairly masculine (stereotypically masculine) in terms of her choice of clothing, body language and manner. All of these micro-elements construct her identity. However, throughout the film, we also see Croft use what can be considered the concept of femininity to her advantage, flirting with male characters and wearing stereotypically feminine clothes towards the final scenes.

In terms of her character’s identity this supports Buckingham’s aforementioned assumption that “identity is fluid and changeable” but also conforms to Queer Theory. Queer Theory is widely recognized in Judith Butler’s 1990 book ‘Gender Trouble’ and states that the genders male and female are just as much the product of representation as the concepts of masculinity and femininity. She calls for a blurring of boundaries between genders and their stereotypical identities and calls for the media to celebrate such diversity. As a character, Croft arguably has blurred the boundaries displaying traits of both male and female behaviour.

If Adorno’s assertions are applied here it can be argued that again the dominant identity of women as sly, untrustworthy and in need of patriarchal dominance is being applied through Croft’s deviant use of fronting identity to her advantage. However some could argue that the prominence of Queer Theory does not encourage the mediation of female identity instead it encourages dominant representations to be characterized and boundaries to be blurred – implying greater personal control over identity as advocated by John Fiske and David Buckingham rather than mediated identities.

Cosmopolitan is a magazine aimed at females around 30+. In all ways it can be said that pragmatically the magazine pushes femininity as an identity for itself, with stereotypically female colours and text styles. In turn, the feminine identity of the magazine is applied as a representation of the readers, further suggesting a mediation of women’s identity. The magazine focuses heavily on beauty and fitness, reinforcing the dominant ideology of the “ideal” women that women should aspire to a fixed concept of beauty.

As an example in the April 2010 issue a large image of Holly Willoughby (celebrity) features on the cover. Although unlike Nuts magazine, she is wearing fairly covering clothing and lacks cosmetic make-up, it is interesting to note that her clothing is white in colour – Ferdinand de Saussure would note that this has semiotic significance using his semiotic theory and Roland Barthe’s levels of signification, we can identify that white has connotations of innocence and weakness. Therefore this represents her as innocent and weak – reinforcing dominant patriarchal representations of women. Due to her status as a celebrity, her level of influence is great. In herself she is a semiotic symbol of success and affluence, so those who take inspiration from her will take this constructed innocence and weakness and apply it to their own identities. This is a clear example of the mediation of identity. It suggests a passive audience, influenced by the mass media as Adorno and other quasi-Marxists would suggest.

It can be seen therefore, that as post modernists say, we live in a media saturated society. We are surrounded by signs which cannot be ignored. Women in the media are often represented as varying, whether it be as sexual objects for the pleasure of males; or as innocent, as ‘stay at home’ housewives as suggested in 2008’s film Hancock. Here, despite possessing stereotypically male strength and ‘superpowers’, the lead female aspires to be a housewife – reinforcing the sub-dominant representation of women. Either way however women are often the victims of mediation. The theories of consumption and construction of identity from theorists such as Adorno and Mulvey clearly show that despite the specific representations, one common identity is ‘forced’ upon women in the media – a subdominant social group living in a patriarchal society. Identity is constructed using this as a basis; and even media texts which challenge this representation and encourage Queer Theory diversity are still arguably mediating identity with their influence. Identity is fluid and changeable and can be individually constructed as Gauntlett and Buckingham state. But arguable, the mass media are, and have, mediated the identity of women in contemporary society.

Research: Review and Research Homework 20/01/12

Harry Brown
Production year: 2009
Country: UK
Cert (UK): 18
Runtime: 103 mins
Director: Daniel Barber
Cast: Ben Drew, Charlie Creed-Miles, David Bradley, Emily Mortimer, Iain Glen, Jack O'Connell, Liam Cunningham, Michael Caine, Sean Harris

The Guardian Review

http://www.guardian.co.uk/film/2009/nov/13/harry-brown-review
Peter Bradshaw

Friday 13 November 2009

Overview

This review focuses mainly on the role of Caine. He talks about the change in personality and role when he realises he must fight back. The writer mentions little about the youths except referring to them as gangs and drug dealers. An interesting perspective given was the reference to Ken Loach and Nick Love films, stating Harry Brown met somewhere between each perspective. After researching in to these two directors films, I found Ken Loach tends to focus more on adults living in the sort of social situation in Harry Brown, and Nick Love focuses on youths. I could see how Harry Brown has followed the themes in these films. It is mentioned that at midway point Harry Brown meets these themes of Loach and Love films where he realises he must get revenge against the youth gang that killed Len. Bradshaw comments on the slow opening scenes when we first see Harry and how things "speed up" with more and more violence, which is clearly noticeable when watching the film. He also mentions how Caine is a perfect role for the film, which we can understand from some of his previous roles.

The Independent Review

http://www.independent.co.uk/arts-entertainment/films/reviews/harry-brown-18-1820729.html

Nicholas Barber
Sunday 15th November 2009

Overview

The Independent has given Harry Brown a particularly negative review. After a brief introduction to the plot, the writer begins to criticise. Fairly colloquial language has been used, unlike the review from The Guardian, such as "had it up to here with the hoodies" "when his old mate" which gives a slightly more mocking tone. One significant part of the review is where the writer states "There's a nasty Daily Mail-ish subtext to this brand of OAP vigilantism, a suggestion that Harry is only doing what everyone secretly would like to, ie blasting the scum from the streets.Daily Mail-ish subtext to this brand of OAP vigilantism, a suggestion that Harry is only doing what everyone secretly would like to, ie blasting the scum from the streets". Here Barber is explaining his opinion that the film has an anti-youth and pro-pensioner theme, referring to the so called opinions of the Daily Mail. However after stating this, he refers to the youths in a negative manner "scum". He also comments on how Emily Mortimer was miscast as the police detective, which to some degree I agree with. I think what Barber is explaining here is that she is not as forceful as her sterotype challenging characer should be. He also gives a critisicm on the finale of the film, where the riots "break out of nowhere", suggesting he disagrees with the perhaps unrealistic representation of youths. Barber finishes with a sentence including the description "full measure of foul-mouthed brutishness" emphasizing his negative opinion of the film. The line also acts as a pun "brutishness" being a play on words of "Britishness" suggesting he disagrees with the way the British has been portrayed in Harry Brown.

The Daily Mail Review
http://www.dailymail.co.uk/tvshowbiz/reviews/article-1227316/Harry-Brown-He-OAP-Michael-Caines-able-blow-bl-dy-doors-off.html

Chris Tookey

13th November 200

Overview

This article has a more fun headline, refering to an iconic line from British film history "He may be an OAP but Michael Caine's still able to blow the bl**dy doors off ". The term "OAP" has once again been used, an acronym developed by the media. This review supports the themes and issued raised, but does not nessercerily praise the film in general. As the Independant review stated, the Daily Mail does support Harry Brown and speaks of council state youths negativiely. However, it does mention that the film is an overexaggeration of our "broken society". Tookey also gives ctirisiscm towards other negative reviews from oter critics and gives a reason why they may have this opinion. He mentions again how the film starts with slow, dreary shots showing "quiet humanity" again relasting it back to Ken Loach style. He then also goes on to explain how the film becomes melodramatic, showing how Tookey disagrees with the over exaggeration of crime and youths. He makes the fair point of "Most hoodies are not the irredeemable monsters that they are here, and a victimised pensioner would have other avenues to explore before turning to vigilante violence." However, the critic then goes on to explain how the film does capture this "broken society" despite the over exaggeration. Tookey also gives an anti-police opinion, agreeing with the way the police are represented as "passive onlookers". He speaks how the film challenges typical plots of this genre where usually the policeman would be the main protagonist. Interestingly, The Daily Mail has given similar opinions to The Independent but not as harsh. He comments on how Emily Mortimer has no real effect in the film, but he has said this as a positive film as it "bravely" represents the police. He ends the review saying the film is not as good as it could be but does raise some moral issues.

The Telegraph Review

http://www.telegraph.co.uk/culture/6554491/Harry-Brown-review.html

Tim Robey

12th November 2009

Overview
Robey gives a fairly short yet harsh review. He covers some of the opinions expressed by the Independant, except e is pro-police where as the Independant mentioned only the wrong casting and The Daily Mail expressed the opinion that it was a brave but important choice to raise the issue. He gives a brief introduction to the plot, referring to youths in a very harsh manner "drug-dealing, gun-toting feral youth" showing he perhaps supports the representation. He disagrees with the way the film "goes quickly over the top" which was mentioned by most of the critics. However, he doesn't have the opinion that this gives an unrealistic representation of youths, but an unrealistic representation of the police. He again criticizes the casting of Emily Mortimer and how she along side Harry Brown's decision to take the law in to is own hands, makes the police look like "total scaredy cats". 

Research : Theory

Giroux (1997)
Concepts
Youth as empty category

Explanation
Giroux's theory addresses the media's influence on youths. He believes that youths act as a sort vessel open to influences of adult culture and how the media chooses to represent them, therefore shaping the youths cultural contexts. The media chooses the way they represent race, class, gender, ethnicity, sexuality, occupation, age and so on, therefore leaving an influence on the youths that are not necessarily true. The media acts upon what it's audience wants. When appealing to a adult audience, the media will reflect fears and anxieties that adults may find entertaining, therefore giving an unrealistic view on youths. Giroux suggests that the media influences them in a certain way as youths are so impressionable, for example, if they are represented as loud and abusive in films, they will act on this because they are being told to act in such a way. If we look at modern representations in films such as Harry Brown, we can see the way the media are telling youths to behave from similar areas and social classes. The idea is that youths feel they can relate to these characters and therefore feel they should behave in a similar way.

Acland (1995)
Concepts
Ideology of protection; deviant youth and reproduction of social order

Explanation
Acland argues in his theory that the representation of deviant youths reinforces hegemony, the idea that a culture is ruled by one social class. Media creates the image of "normal" youth and adults, then contrasting this with behaviour that contrasts against what we deem to be socially acceptable. This is what the audience finds entertaining and interesting, as it is going against these "normal" views of society. Acland also makes the point that by the media representing youths in such a way, it allows the state to have more control over them. For example, the mass of media reports about negative youth behaviour led to the introduction of ASBO's, which then led to even more media coverage. Acland calls this "ideology of protection" which is the idea that youths need this constant surveillance and monitoring in order to "protect" them. Similar to Giroux's theory, youths are impressionable it is a time in their life when they learn about roles and values from adult culture. Media coverage of negative behaviour allows the state to reinforce hegemonic values and tell youths what is wrong and socially unacceptable. For example, the idea in "hoodie horrors" that youths are like monsters often included in horror themes leads some youths to relate these representations to things they fear, such as demons, which moves them in the opposite direction of this sort of behaviour.

Gramsci (1971) (1929-1935)
Concepts
Cultural hegemony

Explanation
Gramsci developed the idea of "cultural hegemony". As I mentioned before, this is the idea that one social class within a culture dominates society, therefore making their views and values acceptable and "normal" behaviour. Gramsci believes hegemony is constantly causing problems within societies arguing what is actually a "normal" way of life. For example, this arguing is shown through negative and positive representation of youths from different classes, most commonly underclass. The typical structure of a film, particularly horror (hoodie horrors) opens with an equilibrium, this being the "normal" way of life, which is then disrupted by something that goes against this normality. We see one point of view in Eden Lake, a middle class couple, their "normal" way of life disrupted by the underclass youths which they must fight against in order to return to an equilibrium. Another view that goes against this is what we see in films such as Attack the Block, where we see the underclass youths as heros. From these two types of films about youths, we can see how society argues about what is a normal way of life.

Cohen (1972)
Concepts
Moral panic

Explanation
Cohen studied the media response to the mods and rockers riots in the 1960's. He argues that occasionally what he calls "folk devils" emerge within society, reflecting the anxieties and fears of adult culture. "Moral Panic" emerges when exaggerated media coverage appears of these "folk devils" leading to politicians and police to act. When this occurs, the aim is to return the social values of hegemony, clearly stating what is not a socially acceptable way to behave. Cohen's theory suggest that youths have become a cultural "folk devil" leading media to exaggerate their behaviour. We see this clearly in films such as Harry Brown and Eden Lake where youths are represented as monsters from horror films. The Guardian article explains some films actually use supernatural elements to represent youths such as Philip Ridley's Heartless which is clearly an over exaggeration.

McRobbie (2004)
Concepts
Symbolic Violence

Explanation
Angela McRobbie suggests that British TV and film contains "symbolic violence" against the middle class which is used to emphsize the dominance over working and underclass, again relating back to hegemony. This is shown in films such as Eden Lake and Harry Brown in the way the underclass and working class are represented very negatively, continuously fighting against the middle class. For example, the couple in Eden Lake are middle class and the working class youths are against them and in Harry Brown the Police are middle class/higher working class as is Harry Brown and the underclass youths are fighting against them.

Gerbner (1986)
Concepts
Cultivation Theory

Explanation
Gerbner studies the effect of television on the audience's perception of crime. His theory suggests that people who watch a large amount of television have an over exaggerated opinion on crime and how much it occurs as well as how severe the crimes actually are. He called this "mean world syndrome". His theory states that because media forms such as news reports, television programmes and films contain over exaggerated representations of crimes, mostly negative, people's perceptions are dramatically influenced. The term used by Gerbner to describe this is "cultivation theory". This theory is applicable to films such as Harry Brown and Eden Lake where the representation of youth and crime is over exaggerated, giving people a certain perception of the world.

Attack the Block (2011)

Director: Joe Cornish

• How are the main characters introduced?

The youths in the opening sequence are represnted typically as working in a pack, again at night time suggesting a demonic and animalistic theme. They are threatening and violent, grouping around the woman and forcing her to give them her phone, purse and ring using a knife as a threat. They are all wearing the sterotypical symbol of hoodies as well as scarves around they faces to hide their identity. They all use coloquial language which is part of their identity as well as their clothing and large group. Even though there is a large explosion inside the car, they still want to take any valuables out of it, which then leads to the gang leader getting attacked by an alien, mocking the representation of British youths. The film sets them up for them to be the monsters, which is then replaced by the actual alien monsters. This is challenging what we would expect from "hoodie horror films" as it is joking about the fact youths are not really monsters by showing them against actual monsters.

• How does this representation change by the end of the film?

The youths turn out to become heros in the film, fighting the aliens. This is really challenging and mocking the representation we see of British youths as usually they are the enemies within films. The film aims to show a resolution between working and underclass showing an idealology that doesn't fit with the usual representation of the two classes. By having the youths fight against real monsters this gives us a more positive view and shows us that these youths are not actually how they are represented.

Eden lake (2008)

Director: James Watkins

• How are Jenney and Steve (the main couple) represented?

From the start they are represented as innocent, happy people. They are represnted as dominant idealogies which is then challenegd by the group of youths that rebel against this. We can tell they are probably middle class from when she mentions her friend is being taken to Paris and the car we see them driving. They seem to be enjoying themselves on their trip, meaning no harm. Throughout the rest of the trailer they are the vulnerable victims that are being totrured by the youths. They are overpowered which makes the youths seem more threatening as they manage to overpower adults twice as old as them.

• How is this contrasted with the representation of the other characters?

The young couple Jenny and Steve are represented positively and also as vulnerable victims, really contrasting with the threatening youths we see. The youths are confident and violent which really juxtaposes against Jenny and Steve polite, placid behaviour. The young couple are represented as dominant idealoligies which is then challenged and confronted by the youths that are against normality. The film has a typical structure of there being an equilibrium (where the couple are peaceful and happy) then some kind of distrubtion (the youths interupting and then attacking) then the characters having to overcome this, then returning to a new equilibrium or the old one.

• How important is the issue of social class?

Jenny and Steve seem to be of a higher class, mentioning their friends are going to Paris and they themselves can afford a trip away. They are well spoken and have polit mannerisms, as we see from when Steve asks the youths to turn their music down. However the youths have completely opposite behaviour and their use of language as well as their clothing suggest they are from a lower class. The location also shows that there is nothing to do, often used in similar films therefore raising the issue that they have nothing else to do. This is suggesting that all youths from underclass behave in this way and that the working and middle class are the innocent victims.

• How are young people represented?

The youths are represented in the same way a demon or serial killer would be in a horror film. The film clearly employs many aspects of the horror genre which makes it more disturbing as these monsters are children. The youths are represnted as rude, inconsiderate teenagers at first, but as the trailer continues their characters evolve in to something much more sinister and dangerous. The way there is a large number of the youths suggests they are "hunting in packs" which gives an animalistic vibe. The horror that happens is also always at night, again suggesting they are monsters and demons, relating to fictional enemies such as vampires and werewolves. The youths also carry weapons such as knives but we also see a rotreiler which is a threatening symbol. Viscious dogs are often used as a violent, threatening symbol by gangs.

How Do Contemporary Media Represent British Youth and Youth Culture in Different Ways?

Harry Brown (2009)
Director: Daniel Barber

How does the film 'Harry Brown' represent youths?

• Iconic symbols are used to represent British youths - hoodies suggest to us what are we to expect, the pitbull, guns, knives are a symbol of violence.
• Drugs are also a theme which we know is associated with crime.
• Sexual Confrontation - males are dominant and overpowering to females.The female officer challenges stereotypes as she works out what Harry Brown did but her male collegues refuse to believe her.
• Criminal Behaviour - Youths are persistently associated with crime
• Colloquial language
• Binary Opposition - Harry Brown's opposition is Noel, the gang's opposition is Harry Brown and the police. There is opposition between different age groups, youths, middle aged and elders. Social class also creates opposition, working class and lower class.
• Enviroment - has an influence on how British youths behave but also how they are represented
• Lighting - shadows and darkness, can't see who's hiding, evil, fear, hiding identity
• Genre - horror elements such as lighting, colour, location and gore but plot is more of a thriller.

Hoodies Strike Fear in British Cinema (2009)
The Guardian

• Suggests "hoodies" are not even human - they are represented as the monsters in films, relation to vampires, zombies, demons, aliens and other supernatural elements
• Often related to horror themes - again supernatural elements and horror characters
• Some films look at what is behind these youths - "Fish Tank", they are actually human with emotions and relationships, connections with other people
• Fiction and Non-fiction - Non-fiction is scarier to us as it is real and it's something we know
• Council estates and underclass - survival is harder, the enviroment is grim
• Binary Oppositions - Upper class who are not represented so negitively "But if you had a bunch of public school kids in blazers, it just wouldn't be that scary." The films lead people to right wing politics and opinions, power of the ruling class. Worried the udnerclass are going to undermine and distrupt what they believe to be society.
• Moral Panick - fear of youths and tells us that they are out of control, undermining society
• Fullfilling Prophecy - being told what they are like and following it

Harry Brown (2009)

Director: Daniel Barber

• How are youths being represented? (specific examples)

Youths are being represented negatively from the very first scene where we see a group of teenagers in hoodies taking drugs. Their stereotypical clothing makes the audience identify them as thugs that intend to hide their identity with their hoods. They colours are this scene are dark and dismal which also emphasises the negative image. At the end of this short scene we see the group attack a boy they were forcing up against a wall. There is next a more serious negative representation as two boys film as they drive on a motorbike shooting at a woman with a baby. This is dramatic and perhaps an over exaggeration of what youths would actually do. The rowdy teenagers are contrasted with the first scenes we see of Harry Brown where he is quiet and sad. The silence and emotion within the hospital emphasises the disrespect and drama we have previously seen of the teenagers. There seems to be a general fear of the youths we see in the film for both the characters and for the audience. We see the violent acts they commit and how the characters in the film react to them, most significantly when Harry Brown's friend tells him how he is "scared" and threatens to kill them. There is also shock when we see the teenagers cause a fire in his flat, and in the next scene discover he was assaulted and killed. This is extremely shokcing to the audience and gives a very negative opinion of youths for the audience. When the characters are further introduced when they are being questioned by the police, they use abusive langauge that is disrespectful to the detectives. The main character that we saw get arrested is particularly focused on and most threatening and abusive which is shocking.

• How are the audience being positioned? (to identify with the characters)

The audience are positioned firstly to dislike the youths because of the negative representations we see. They are placed in the first scene very close the the group, as if they are part of it, which puts them directly in to the situation. They are again placed close to the characters as they see a point of view shot as they boy on the bike films, again placing them directly in to the situation to feel as if they are one of the characters, but they can do nothing about what's happening which adds more of an effect to the drama. The audience is intended to feel sympathy for Harry Brown as when we first see him to extreme quietness creates the effect of loneliness. After this, the audience are placed throughout the film looking against the youths and being for the main character Harry Brown.

• What is the significance of social class?

Social class is very important in the film because it suggests that this is the influence that lead the characters to commit the crimes. Their upbringing is particularly significant and suggests all teenagers from the same sort of background will have this attitude. For example, the main thug character talks about his Dad in prison when he is getting arrested and tells the detective he is still out there, because he is his Dad and is carrying on his work. This is an bovious influence from parents and the boy feels he should carry on his father's attitudes and crimes. The character Mikey in the gang is also questioned by the detective about his many foster homes and history of being seriosuly sexually abused which we also later see, which suggests to the audience this is what has led him to crime and drugs. We also see the main thug's mother as the police raid the house and arrest the man. His mother wakes up from the banging as if she is hung over and lights a cigarette. This negatiive image of mothers from a lower social class also suggests this is what causes these youths top act in such a way.

Britishness

What is Britishness?
Britishness is the state or quality of being British, or of embodying British characteristics, and is used to refer to that which binds and distinguishes the British people and forms the basis of their unity and identity, or else to explain expressions of British culture - such as habits, behaviours or symbols—that have a common, familiar or iconic quality readily identifiable with the United Kingdom.
source: http://en.wikipedia.org/wiki/Britishness

What does it mean to be British?
To be British is to be from Britain or live in Britain and/or have characteristics and attitudes from British culture.

What do you associate with being British?

• Union Flag
• Tea
• The Queen
• London
• Accent
• Bad weather
• Buses
• Fish and Chips
• Moaning
• Queing
• Pubs
• Mini
• The Beatles
• NHS
• Post boxes
• Telephone Box
• Oxbridge
• BBC

Exam Outline

Section A: Theoretical Evaluation of Production (50 marks)

• 1a) Theoretical evaluation of skill development over the course of the two years (both AS and A2 c/w productions including preliminary and ancillary tasks)
• 1b) Theoretical evaluation of the production and evaluate it in relation to a media concept

Section B: Contemporary Media Issues (50 marks)

• 2) Contemporary media issues (The representation of British youth and youth culture)

Section A Question 1a

• Canddiates answer two compulsary questions. The first requires them to describe and evaluate their skills development over the course of their production work., from foundation portfolio to advanced portfolio. The second asks them to identify one productiona and evaluate it in relation to one theatrical concept.
• Questions 1(a) requires candidates to describe and evaluate their skills over the course of their production work, from foundation portfolio and advanced portfolio. The focus of this evalution must be on skills develpopment and the question will require them to adapt this to one or two specific production practices. The list of practices to which questions will relate as follows:
• Digital technology
• Creativity
• Rsearch and planning
• Post prodcution
• Uing conventions from real media texts

Section A Question 1b

• In the examination, questions will be posed using one of these categories.
• Where candidates have prdocued relevant work outisde the context of their a level media course they are free to initially refer to this experience
• Question 1b requires candidates to select one production and evaluate it in relation to a media concept. The list of concepts to with questions will relate is as follows:
• Genre
• Narrative
• Representation
• Audience
• Media Language

Section B

• How do the contemporary media represent British Youth and youth culture in different ways?
• How does contemporary representation compare to previous time periods?
• What are the social implications of different media representations of british youth and youth culture?
• To what extent is human identity increasingly mediated?

In order to be fully prepared for the specific requirements of the question the material stuied by candidates must cover these three elements

• Historical - dependant on the requirments of the topic candidates must summarise the development of the media forms in question in theatrical contexts
• Contemporary - examples from five years before the examination
• Future - condidates must demonstarte personal engagment with debates about the future of the media forms/issuses that the topic relates to

What is Identity?

• Age
• Social Group/ Class
• Ethnicity
• Actions
• Lifestyle
• Religion
• Enviroment
• Media consumption
• Music
• Parents
• Education
• Characteristics
• Geographical Location
• Stereotypes

Identity is a term used to describe a person's conception and expression of their individuality or group affiliations (such as national identity and cultural identity). The term is used more specifically in psychology and sociology, and is given a great deal of attention in social psychology. The term is also used with respect to place identity.

"Identity" may be defined as the distinctive character belonging to any given individual, or shared by all members of a particular social category or group. The term comes from the French word identité which finds its linguistic roots in the Latin noun identitas, -tatis, itself a derivation of the Latin adjective idem meaning "the same."The term is thus essentially comparative in nature, as it emphasizes the sharing of a degree of sameness or oneness with others in a particular area or on a given point. “Identity” may be distinguished from “identification;” the former is a label whereas the latter refers to the classifying act itself. Identity is thus best construed as being both relational and contextual, while the act of identification is best viewed as inherently processual.

A psychological identity relates to self-image (a person's mental model of him or herself), self-esteem, and individuality. An important part of identity in psychology is gender identity, as this dictates to a significant degree how an individual views him or herself both as a person and in relation to other people, ideas and nature. In cognitive psychology, the term "identity" refers to the capacity for self-reflection and the awareness of self (Leary & Tangney 2003, p. 3).

Sociology places some explanatory weight on the concept of role-behavior. The notion of identity negotiation may arise from the learning of social roles through personal experience. Identity negotiation is a process in which a person negotiates with society at large regarding the meaning of his or her identity.

Psychologists most commonly use the term "identity" to describe personal identity, or the idiosyncratic things that make a person unique. Meanwhile, sociologists often use the term to describe social identity, or the collection of group memberships that define the individual. However, these uses are not proprietary, and each discipline may use either concept and each discipline may combine both concepts when considering a person's identity.