December mock exam: Learner Response

 December mock exam: Learner Response blog task 

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- another superb exam: well done! Your revision and preparation really comes through in a fantastically consistent set of answers

EBI- the challenge now is pushing into the top level of the mark scheme for the 20 mark essays. Slightly more examples from the CSPs, can help with this. See mark scheme for more.

MARK- 62/84

GRADE- 8

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). 

Definition- sound that is playing in the world of the drama- both the audience and the characters can hear this.

Example- when the plate clatters on the table 

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.

• 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.

• Will’s suggestion that they work together is made while Lyra is shown in a medium close-up over-the-shoulder shot. This allows the audience to see her reaction – a slight smile that suggests she is in favour of the suggestion and grateful to have an ally after a lot of time alone.

• The opening shot in the extract focuses on the omelette in Will’s hand – almost a close-up – with handheld camera movement following the plate to the table. This focus on the food Will has cooked seems to establish him as the less dominant person in the relationship. The medium shot of Lyra suspiciously looking at the food

reinforces this power imbalance in their relationship.

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.

Non-verbal communication

• Will’s expression and body language is very timid which subverts masculine stereotypes. In contrast, Lyra’s movements and expressions exude confidence. This can be seen in the extract both outside at the table and later when discussing which beds they will take.

Mise-en-scene

• Lyra’s costume subverts feminine stereotypes. It is blue, practical and does not emphasise her figure or draw attention. It helps to establish Lyra as a practical, confident character who is used to surviving on her own.

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.

• A notable difference between the two CSPs can be found in the approaches to diversity. There is no evidence of diversity at all in DW (unless you count the presence of aliens). The teens and younger characters in HDM are drawn from a more diverse background with Will being mixed race.

• As with many modern representations of teenagers, HDM suggests stronger ties to friends than to families. Lyra’s attitude towards her friends in contrast to her mother Mrs Coulter is a good example of this. Older characters are viewed with suspicion.

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

Definition- content created by the audience on an online platform.

Example- comments under a YouTube video by the viewers.

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.

• Much of Rashford’s power comes from his skilful use of social media to promote good causes such as food poverty and childhood literacy. His work with Fareshare and his campaign for free school meals during holidays during the pandemic meant that he was directly opposing Prime Minister Boris Johnson. That Rashford won the battle demonstrates the power he now has.

• Some media theorists have suggested that in the digital age it is audiences that have the power rather than companies, industries or traditional celebrities. Social media and YouTube levels the playing field and gives ordinary people the chance to create and share content. This would suggest that celebrities and influencers do not have more power than ever before and in fact the internet is a democratising force giving power to normal people.

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.

• In relation to Marcus Rashford’s online presence, he uses this to promote companies that he has signed endorsement deals and his book club (that can boost his own book sales). There is not a clear distinction between his promotional and advertising work and the rest of his social media or website content. This blurring of the boundaries perhaps suggests more regulation is necessary. The Advertising Standards Authority has called on celebrities and influencers to be more explicit when they are posting paid promotion on their social media platforms.

• Candidates may also reference the Film Industry (e.g. Black Widow) and the difficulty of regulating films in the digital age due to the internet. Similarly, music video may prove to be a good example of the difficulty of regulating online with YouTube the primary distribution platform for music video products such as BLACKPINK’s How You Like That. The Arctic Monkeys case study perhaps provides an example of the point at which online promotion and social media became something influential in culture and society and therefore in need of regulation.

• Rashford and Kim Kardashian are prominent on Instagram – she has more than 350m followers. Instagram has been linked with higher rates of depression and anxiety in teenage girls which perhaps suggests regulation is needed. There are over 25m Instagram users in the UK alone which is a staggeringly high number. It seems remarkable that much of the media is heavily regulated – e.g. TV and radio by Ofcom and yet such an influential platform as Instagram is free to do whatever it likes.

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.

8- I revised the CSPs and contexts of the CSPs but I need to revise things like regulation for Industries and more on influencers as well.

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

- exam technique

- question focus/ practise using past papers

- review all CSPs and media terminology