Welcome to GCSE Media Studies Year 2!

This is your new blog home for Year 2 of GCSE Media Studies - Welcome!

This is where you'll find everything you need for coursework and exam preparation for this crucial second year of the GCSE Media course.

A few key reminders:

1. Summer Project - Due in your first Media lesson back.

2. Baseline Assessment - Coming up in Year 11 assessment week

Good luck and let's earn those top grades!  

Final exam preparation and revision links

Here's everything you need to know for your revision and preparation for the final exams.

The final weeks and days before the exams are a good opportunity to go over what you know and test yourself against the kind of questions that AQA like to use. 

Exam: Media Paper 1

Media Paper 1 is on Monday 18th May in the afternoon.

Section A: Media Language, Representations and Contexts

Note: It's important to remember that either Newspapers or OSP / Videogames can come up in Paper 1. Whichever comes up in Paper 1 usually means the other topic will come up in Paper 2 so we'll be watching carefully. 

Unseen text analysis

• Unseen text analysis - look at previous assessment LRs and revise mise-en-scene (CLAMPS) and other key media language from your GLoW Media glossary. When you annotate the text, first identity anything interesting on the media product that you could write about (image/text/colour scheme/font and typography etc.) Then, work out the connotations of each of those and which will help you answer the question. 

Magazines

• CSPs: Tatler & Heat
• Magazines index here  
• You can find the original lesson slides here in our GCSE lesson slides folder on Google Drive.

Advertising & Marketing 

• CSPs: OMO, Galaxy Audrey Hepburn Chauffeur advert, NHS Represent campaign
• Advertising index here
• You can find the original lesson slides here. 

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Section B: Media Industries and Audiences

Note: It's important to remember that either Newspapers or OSP / Videogames can come up in Paper 1. Whichever comes up in Paper 1 usually means the other topic will come up in Paper 2 so we'll be watching carefully. 

Music Video

• CSPs: BLACKPINK: How You Like That and Arctic Monkeys: I Bet You Look Good On The Dancefloor
• Music Video index is here
• You can find the Music Video lesson slides here.

Radio

• CSPs: Launch of BBC Radio 1 Tony Blackburn show in 1967 and Kiss FM Breakfast show with Jordan and Perri
• Radio index is here
• You can find the Radio lesson slides here.

Film Industry

• CSPs: Black Widow & I, Daniel Blake
• Film Industry index here
• You can find the Film Industry lesson slides here.

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Exam: Media Paper 2

Media Paper 2 is on Tuesday 2nd June in the afternoon.

Section A: Television

Television

• Clip from CSPs: Doctor Who OR His Dark Materials - Google Drive folder with CSP videos here
• TV index to original blog tasks here 
• You can find the original lesson slides here 

Section B: Newspapers OR Online, Social and Participatory Media / Videogames

Two 20 mark essays on one of the following topics: 

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Links and revision resources to help you

We have a range of resources to help you prepare for your final exams.

ZigZag practice papers and mark schemes

Use your paper copies of the ZigZag practice papers and mark schemes for Paper 1 and Paper 2. This is particularly good to prepare for the unusual or left-field questions that AQA like to put in their exams sometimes. Remember, if you know the terminology, the theories and the CSPs you can't go far wrong. 

If you don't have a copy of any practice papers then you can collect them from DF07.  

Exemplar questions and answers

You can find a document of exemplar questions and answers from previous years here. This google doc will be updated as we look at more questions and sample answers in revision lessons before the exams.

Media terminology glossary

You can find AQA's full subject glossary on their website here. Note that we won't have covered every word of this in lessons - there are too many terms and not enough time. Some of these have been covered in grade 8/9 blog extension tasks and others in additional notes on blogposts. 

Revision booklet - Google Slides

We have kindly put together a revision booklet on Google Slides. You need to open the link, make a copy and save it in your own Google Drive. Then you can fill in the boxes or simply use it as a base for your own revision or knowledge organisers.

CSP Knowledge Organisers

We also put together a brilliant set of Knowledge Organisers to revise the CSPs last year. Look through these and then create your own to test your knowledge!

Revision is the key

It's important that you really put the time into your revision to make sure you know these CSPs inside out. If you would like revision cards to revise with feel free to pop in to DF07 and I'll happily provide you with them for free - you need create revision cards for all the exam CSPs and also for media terminology and theory (e.g. Mise-en-scene, Reception theory, Uses & Gratifications theory etc.) Aim to have three separate categories of revision cards:

• Media terminology
• Media theory
• CSPs

To help, here's a short blog on what makes a good flashcard - always useful to get top tips on effective revision techniques.

Don't forget there are other great resources out there - for example, Mrs Fisher's YouTube channel is great for videos on CSPs, theories and terminology. Here's Mrs Fisher's playlist of AQA CSPs:

The better you know the terminology, theory and CSPs, the better you'll do in the final exams. Good luck!

March Mock Exams - Learner Response

Now that you've had your final mock papers back and we are in the final stretch before your real exams we can carry on your revision by analysing both mock papers and working out what we need to focus on. 

The most important aspect of any mock exam is making mistakes and learning from them. With this in mind, after completing this learner response on the mock exams we will take on an in-class Walk-and-Talk Paper 1 mock exam to put it all into practice and develop our exam timing and technique.

Mock Exams Learner Response: Blog Tasks

Today, we need to closely analyse our performance across both papers and identity specific ways we will improve for the real exams on Monday 18th May and Tuesday 2nd June. 

Complete the following learner response tasks in a new blogpost on your Media blog called 'March Mock Exams - Learner Response':

1) Write something you've learned from going through each of the two papers in class. 

2) Which paper did you do better in?

3) Why do you think you did better in that paper?

4) Focusing on Paper 1, write down three things you need to improve on before the real exams. This may be a particular section or type of question (e.g. unseen analysis, 20 mark essay) or a particular type of media or CSP (e.g. advertising or NHS Represent).

5) Now look at Paper 2. Write down three things you need to improve on for Paper 2 before the real exams. Again, this might be a topic, type of question or specific skill. 

Extension Task: Take some revision cards and start revising the six things you have identified above. 

The lesson will be a walkthrough of the exam papers so you may need to complete this learner response for your homework - due date on SatchelOne.

Videogames CSP 2: BLACKPINK The Game

Our final Videogames Close-Study Product is another phone/tablet game: BLACKPINK The Game. This is our last CSP - well done on getting to the end of a LOT of content!

Again, this is an in-depth topic so we need to make sure we have studied this product across media language, audience, industry and representation. However, we have already studied BLACKPINK through our Music Video unit so this will build on that work nicely.

You can find the work we've done on BLACKPINK already here:

• Music Video: BLACKPINK - How You Like That

BLACKPINK: The Game: Notes

Language

Gameplay

The gameplay for BLACKPINK The Game is explained in detail in the app store or Google Play store:

A whole new journey with BLACKPINK

Become BLACKPINK's producer and manage your own agency, solve puzzles to clear schedules for BLACKPINK. Customize your members with stunning outfits and play mini-games with your friends in BLACKPINK WORLD.

MANAGEMENT

- Become a producer and run the management of BLACKPINK!

- Level up your own BLACKPINK members through various training departments of vocal, dance, acting and more!

SCHEDULE

- Collect/level up/upgrade exclusive photo & videocards of BLACKPINK!

- A whole new type of puzzle game where you destroy blocks in one stroke!

BLACKPINK WORLD

- Play real-time mini games with friends in BLACKPINK WORLD!

- A space where you can meet new friends in real-time!

AVATARS

- Play in adorable 3D version of the BLACKPINK members.

- Get various outfits to dress up your own BLACKPINK!

- Choose from a diverse collection of 1,000 outfits to show off each BLACKPINK member's style!

Game trailer:



Gameplay example:

BLACKPINK The Game - Narrative and objectives

The aim of BLACKPINK: The Game is to take on the role of the group’s main producer in an "alternate reality" to manage and debut the band members. As you play, you interact with CGI "chibi" versions of the band members, managing their hectic schedules and building various departments, such as recording studios and training rooms, to develop their careers. As you progress, you collect "Photocards" and complete Tetris-style puzzle missions that allow you to level up the members' stats and unlock exclusive content. Your success is determined by your ability to efficiently manage resources and clear puzzle levels to enhance the group's global status. The goal of BLACKPINK: The Game is to build the ultimate K-pop agency and foster a close relationship with the band by clearing "schedules," customizing their styles in "BLACKPINK World," and engaging in social interactions to turn the group into world-class icons.

Characters

The characters in BLACKPINK: The Game are a mixture of real-world global icons and fictional support figures that guide you through the "alternate reality" storyline. Unlike randomly generated NPCs, the central characters are fixed and essential to your progress as a producer.

The Band Members (JISOO, JENNIE, ROSÉ, and LISA): These are the core VIP characters. While they appear as stylised "chibi" CGI avatars, they are based on the real-life members of BLACKPINK. You do not play as them; instead, you manage their schedules, coordinate their training, and dress them in the "Blackpink World" social space.

Support Characters (NPCs): As you build your agency, you interact with fictional characters who serve as guides, such as Blinky the Cat, who provides tutorials and navigation through the game’s various departments.

Social Avatars: In the "Blackpink World" area, you encounter other fans who present as band members. These serve as a community for networking and interaction rather than obstacles to your journey.

In your pursuit of building a world-class agency, the band members act as your partners. Your goal is to collect their "Photocards" and manage their careers to ensure their successful debut and continued stardom, rather than competing against rival A-Listers.

Settings

The settings in BLACKPINK: The Game are a blend of functional business environments and vibrant, social "alternate reality" spaces. Unlike the photorealistic or gritty locations found in traditional console games, these settings use a high-key, "chibi" aesthetic dominated by the brand's signature pink and black colour palette.

The Management Agency: This is the primary functional setting where you act as the producer. It consists of various customisable departments that you must build and upgrade, including Recording Studios, Training Rooms, and Office Spaces. These locations are essential for the "management sim" aspect of the game.

The Schedule Stages: These are the backdrops for the puzzle-based missions. They represent the "work" life of the band, featuring stylised versions of music video sets, concert stages, and rehearsal spaces where players clear "bricks" to complete the group's professional tasks.

BLACKPINK World: This is the game's expansive social hub. It is an open, online space where players' custom avatars can walk around, interact with other fans globally, and visit the Style Shop. It serves as a digital community space that mimics a colourful, urban "fan-land."

The Concert Hall: A specific high-status setting used for major milestones and the "The Girls" music video content, reinforcing the group's identity as global superstars.

In your journey as a producer, these settings serve as the stage for your success. You move between the "behind-the-scenes" business world of the agency and the public, social world of the fans, with the ultimate goal of expanding your agency's reach across all these digital locations.

Narrative: Special Events

Special Stage Events: These often coincide with new photocard themes, such as "BACK TO RETRO SPECIAL," "Lovely Valentine Special," "Christmas Special," and "MOON FESTA".

Bingo & Puzzle Events: Players can participate in Bingo Seasons (e.g., Bingo Event Season 3) to complete daily missions and earn rewards, or join special puzzle events like "BLACKPINK’S NEW YEAR GREETING".

Anniversary Events: The game hosts dedicated events for its anniversary, including "1 Year Anniversary Special Photocards" and unique gameplay modes like "Bomb Mode".

Seasonal Themes & Attendance Passes: The main lobby often changes to match seasons (e.g., Summer Beach theme, Winter/Christmas theme), accompanied by 28-day attendance passes that provide free gifts.

Board & Schedule Events: Special board games allow players to win exclusive rewards like Special Motions, Stardust, and Event Tickets.

These events are regularly updated to keep the experience fresh for players managing the group's schedules and acting as their producer. 

Representations

There are some key questions we need to consider regarding representation in BLACKPINK: The Game:

• How are women represented?
• How is celebrity represented?
• How is race/ethnicity represented?

BLACKPINK: The Game contains quite poignant representations of women, celebrity and race/ethnicity.

It has been criticised due to Avatars often portraying unrealistic stereotypes for women, featuring identical body types with small waists and hourglass figures. Similarly, the game presents a positive, idealised version of fame. It builds a para-social relationship by making the player "responsible" for the girls' success and allowing "direct" messages from the band members.

Audience

BLACKPINK: The Game was incredibly popular. It was been  downloaded over 4.4 million times and generated $1.9 million plus.

Why do audiences like it?

One way of understanding why audiences choose certain media texts is Blumler & Katz's Uses and Gratification Theory.

Uses and Gratification Theory states that audiences consume media products/texts for at least one of the following reasons:

1. Diversion, escapism or entertainment – escaping from normal life.
2. Personal relationships – fulfils their need for companionship. This is particularly true of social media products, online gaming and online communities. It can also apply to audiences developing an affection for certain stars or characters.  
3. Personal identity - seeing your own lifestyle, interests or ambitions reflected in a media product; reinforcing your own identity.
4. Surveillance – using media to find out about the world around them.

Which of these apply to BLACKPINK: The Game?

Industries

BLACKPINK: The Game was developed by TakeOne Company, experts in content convergence. It was released in May 2024 and was marketed heavily using the BLACKPINK brand.

With social media promotion, the game quickly shot up the download lists and iTunes app store charts.

Media Convergence

The game design means that there is a great deal of media convergence.  Media convergence is the merging of different media texts. How does BLACKPINK: The Game involve media convergence?

The game is a prime example of synergy; it launched alongside a new single (The Girls) written specifically for the game, with a music video featuring the game's avatars.

Marketing and promotion

Look at these social media posts related to the games release:

Freemium Model: BLACKPINK: The Game

The game is free to download but makes huge amounts of money from in-app purchases and subscriptions. Players can use in-game currency or paid currency to obtain 5-star cards for better performance. The game includes options to buy "World Tickets" and other resources to speed up progress or purchase items for member styling. Over 1,000 outfits are available, with some being exclusive or requiring currency to obtain.

BLACKPINK: The Game CSP - Blog Tasks

Create a blogpost called 'BLACKPINK: The Game CSP' and complete all the following questions under the subheadings Language, Representation, Industries and Audience.

Language

1. What is the primary objective for the player in Blackpink: The Game?

2. What is an "Alternate Reality" narrative? How is this used to frame the storyline of the game?

3. Where is the game set? Identify at least two different types of locations the player interacts with.

4. What is the difference between the playable characters and the NPCs (Non-Playable Characters) like "Blinky"?

5. What specific activities and mini-games does the player perform to progress the band’s career?

Representations

1. What representations of women and femininity can be found in the avatars in BLACKPINK: The Game?

2. How does the game represent K-pop celebrity culture and the "idol" lifestyle to its audience?

3. How does the game reinforce or subvert traditional gender stereotypes through its character design and gameplay mechanics?

4. What does the game suggest about modern perceptions of fame and the importance of a "para-social" relationship between stars and fans?

5. How might a critic or a media student challenge the representations of body image or beauty standards presented in the game?

Audience

1. Who is the primary target audience for BLACKPINK: The Game? Identify at least two different groups of players the game appeals to.

2. What are "Blinks," and how does the game use brand loyalty to attract and retain its players?

3. Using Blumler & Katz’s Uses and Gratifications theory, what "pleasures" or "gratifications" does the game offer to its audience?

4. How does the "BLACKPINK World" social space encourage audience interaction and a sense of community?

5. How has the marketing for BLACKPINK: The Game (e.g., YouTube trailers and social media teasers) been designed to reach a global digital audience?

Industries

1. How much does BLACKPINK: The Game cost to download, and how does this reflect the "freemium" business model?

2. In what ways does the game make money? Identify at least three different types of in-game currency or micro-transactions (e.g., Pink Diamonds, World Tickets).

3. What role do "Gacha" (Gambling) mechanics and randomised rewards play in the game’s monetisation strategy?

4. How was BLACKPINK: The Game marketed and promoted to a global audience (e.g., social media "teasing," App Store screenshots, and YouTube trailers)?

5. How does BLACKPINK: The Game use media convergence and synergy to cross-promote the game alongside the band's music, such as the release of the exclusive single The Girls?

Grade 8/9 Extension Tasks: Reading and Response

Read this Korea Times article on the release of BLACKPINK: The Game Why do media scholars believe it is important to study BLACKPINK: The Game as more than just a promotional tool for the band?

Read this article on TakeOne's fortunate role in the release of BLACKPINK: The Game. How does the collaboration between TakeOne Company and YG Entertainment demonstrate the power of 'Brand Extension' in the modern media landscape?

Read this article on a Pop Up ran by the brand MINISO based on BLACKPINK: The Game. How does the MINISO x Blackpink: The Game pop-up in Indonesia demonstrate the shift toward 'experiential' marketing and global IP (Intellectual Property) synergy?

Complete for homework: due date on SatchelOne.

Videogames CSP 1: Lara Croft Go

Our first videogames CSP is phone/tablet game Lara Croft Go.

This is an in-depth topic so we need to make sure we have studied this product across media language, audience, industry and representation.

Lara Croft Go: Notes

Lara Croft: History

Lara Croft first appeared in 1996 Eidos Playstation game Tomb Raider and was the first computer game to feature a female character as the protagonist rather than a supporting role or a secondary character.

The narrative of Tomb Raider was influenced by Indiana Jones and featured the daughter of a Lord (later a famous archaeologist), called Lara Croft on various missions through settings such as jungles, tombs and jungles. The genre is action-adventure and involves many conventions of this genre such as fighting villains using weaponry.

Evolution of Tomb Raider:




Lara Croft: Beyond a videogame character

Lara Croft has featured in films (the first starring Angelina Jolie; 2018 version rebooted the character). She has appeared on magazine covers more times than any supermodel.

There have been advertising tie-ins, merchandise, comic books and  spin-offs featuring the character. The franchise has had numerous incarnations before Lara Croft Go in 2015. 

Lara Croft has been credited with bringing success on the Play Station for the games’ creators (selling 7 million copies world wide) and launching the female protagonist in games. She has also been widely thought of as a sex symbol. 

Lara Croft Go 

Lara Croft Go explores the ruins of an ancient civilization in the Amazon Jungle while fighting menacing enemies, overcome dangerous obstacles and traps, and ultimately, uncover the myth of the Queen of Venom.  There is no specific timescale – but is modern-day in Lara’s weaponry.

This concept of action adventure exploring and uncovering relics from ancient civilisations is not new and there is some intertextuality here with the Indiana Jones movies, original Tomb Raider games, Tomb Raider films and more.

Watch this online review of Lara Croft Go:



What are the features of the Lara Croft Go game?

In many ways, there are traditional Action Adventure elements to this game (she moves, she shoots, she avoids hazards).  However, this game is a ‘turn-based puzzle’ which involves by-passing enemies and unlocking paths in a sequential manner which suits the ‘short timespan’ that people can sometimes commit to mobile gaming. It faithfully preserves element of original Tomb Raider game and brings the original adventure up to date. 

The game also involves collecting items that unlock special powers and tools that help your progress through the game.  On the image to the left you can see many of the opponents that Lara comes across (Lizards, Snakes, Spiders) and some of the collectables. There are not many different enemies as memory is key.  

The three-act narrative structure proceeds from an orientation stage through various complications and blockages to a simple resolution.

Evolution of the character of Lara Croft

• Lara is depicted as athletic with brown eyes and hair, frequently tied back in a plait or ponytail.
• Her costume is usually a blue tank top, light brown shorts, calf high boots and long socks. 
• Accessories / Props include gloves, a backpack, a utility belt with holsters and two pistols. 
• Her original back story was that she was the daughter of an aristocrat who had a plane crash in the Himalayas, causing her to re-evaluate her life and seek adventure, leading her to become a thief and mercenary, living outside the law. The second era changed the narrative to her father being an archaeologist and her wanting to discover the reason for her mother’s disappearance. A third era focused more on both her parents being archaeologists and her mother disappearing and her father dying.
• All three narratives feature her transition from a vulnerable girl to an independent, fierce adventurer (hero).
• Most stories feature her being stranded on a mysterious, far away island although the location of this changes. 

Representations

Does Lara Croft reinforce female stereotypes in the media?

Yes (reinforces traditional stereotype):

• Object of sexual desire. Her body features were particularly exaggerated in early versions of games.
• Scantily-clad designed for male audience. Would a male character be designed like this?  
• Is Lara Croft is designed to be attractive to the male audience as she basically acquires all the features that some men would describe as perfect.

 No (subverts female stereotype):

• She is an action hero – traditionally a male stereotype in gaming.
• She is empowered female heroine – rare in gaming industry at the time.  “The heroine, Lara Croft, is an intelligent, butt-kicking, gun-wielding, sexpot, ready to take on whatever comes her way.” Katherine Walker, Portrayal of Women in Media (Video Games)

This video from Feminist Frequency (videogame blogger Anita Sarkeesian) highlights the way male and female characters are constructed in videogames:

 

Industries

We need to learn about two distinct areas for the industries key concept:

• Videogame regulation
• The companies/franchises behind the game

Regulation: PEGI

PEGI stands for Pan European Game Information and is a European video game rating system established to help consumers make informed decisions when buying video games or apps through the use of age recommendations and content descriptors.


PEGI was set up by the ISFE* – an independent group that represents European software companies. Important: this is an example of self-regulation, not government.

Lara Croft Go: Companies and franchises

Lara Croft Go is the combination of two successful franchises – Lara Croft Tomb Raider and the Hitman Go mobile game.

Tomb Raider is a media franchise that originated with an action-adventure video game series created by British gaming company Core Design. Formerly owned by Eidos Interactive, it is now controlled by Square Enix after their acquisition of Eidos in 2009. 

Square Enix developed Hitman Go in 2014 based on the successful Hitman game franchise.

Audience

We need to think about the following for the audience key concept:

• Audience pleasures
• Target audience for Lara Croft Go – and whether videogame audiences are changing

What is the appeal of Lara Croft Go?

“Acrobatics and platforming are key features of a Tomb Raider adventure, and we quickly realized that Lara had to be fully animated. Our animator did an amazing job of quickly producing a first batch of short animations for Lara, and immediately everything felt better. Again, we looked back at Lara’s classic animations from the first Tomb Raider and they fit right in with our turn-based game.”

– Square Enix

Audience pleasures: Blumler and Katz Uses and Gratifications Theory

Remember that audiences consume media products for a variety of reasons (from Blumler and Katz: Uses and Gratification Theory)

1. The need to be INFORMED and EDUCATED about the world in which we live (Surveillance) 
2. The need to IDENTIFY personally with characters and situations in order to learn more about themselves (Personal Identity)
3. The need to be ENTERTAINED (Diversion) and escape daily life. 
4. The need for SOCIAL INTERACTION (Personal Relationships)

Which of these apply to Lara Croft Go?

Target Audience

Who is the target audience for Tomb Raider / Lara Croft games?  They fall into various groups and may be a mixture of all three:

1. Those interested in the quality of the innovative gameplay.
2. Those with brand loyalty to the Hitman Go series.
3. Those with brand loyalty based on the feminine empowerment displayed.
4. Those with brand loyalty based on nostalgia or even the sexualisation of Lara Croft (especially if they played older Croft games when at a formative age)

Videogames: Lara Croft Go blog tasks

Create a blogpost called 'Lara Croft Go CSP Blog Tasks' and complete all the following questions under the subheadings Language, Representation, Industries and Audience. 

Language

1) When did Lara Croft first appear in a videogame?

2) What classic films influenced the creation of Lara Croft and the Tomb Raider games?

3) How has Lara Croft and Tomb Raider moved beyond just being a videogame?

4) What devices can you play Lara Croft Go on?

5) What type of game is Lara Croft Go?

6) How does Lara Croft Go use narrative (storyline) to make the game enjoyable for the audience?

7) What iconography can be found in Lara Croft Go? How does this help communicate the genre of the game? Think about mise-en-scene and setting here.

8) What other characters or enemies feature in the game?

9) What is the setting for Lara Croft Go? How does this compare to previous Lara Croft or Tomb Raider games?

10) Read this BBC article on the history of Lara Croft and Tomb Raider. How has the character of Lara Croft evolved over the last 25 years?

Representations

1) How are women usually represented in videogames?

2) How does the character of Lara Croft reinforce female stereotypes in the media?

3) How does the character of Lara Croft subvert female stereotypes in the media?

4) Why do some people believe the videogames industry is sexist and needs to change?

5) Do you think Lara Croft is an empowering feminist icon or just another objectified woman designed to appeal to male gamers?

Industries

1) What does PEGI stand for?

2) What is PEGI's job?

3) Which company created Lara Croft Go?

4) What two popular videogame franchises were combined to create Lara Croft Go?

5) What else is part of the Lara Croft/Tomb Raider franchise?

Audience

1) Why might an audience enjoy playing Lara Croft Go?

2) Where and when might an audience play a game like Lara Croft Go? Think about the device it is played on and the times of the day someone might want to play the game.

3) How did Square Enix design Lara Croft to make it appealing to an audience?

4) Which of Blumler and Katz's Uses and Gratifications theory might apply to Lara Croft Go?

5) Who is the target audience for Lara Croft Go? How does brand loyalty contribute to this target audience?

Exam practice optional extension task:

“Videogames are increasingly played and enjoyed by a wider and more diverse audience." 

Does your study of Lara Croft Go support this view?

Write a detailed three-paragraph answer to this question using the information you have learned in this case study.

Grade 8/9 extension tasks

Language
1) Watch some Lara Croft Go gameplay online or, even better, play the game yourself. How is the game constructed to attract and maintain the engagement of an audience?

2) How is narrative, character, iconography and setting used to create intertextuality? (Links to other genres and media texts)

Representations
1) Read this NME feature on the history of the Lara Croft character. Do you agree that she is now a 'feminist icon' rather than a 'trapezoid-boobed pinup'? What do these terms mean?

2) Have later versions of the Tomb Raider/Lara Croft franchise featured a less-sexualised version of the character? Does this suggest society is changing in its attitude towards women?

Industries
1) Why do videogame producers prefer the self-regulation of PEGI to government regulation? Why is videogame regulation increasingly important in the 21st century?

2) Watch the full lecture embedded above: Distilling a franchise - the making of Lara Croft Go. How did the designers make conscious decisions based on previous franchises to create a successful game?

Audience
1) How has the marketing of Lara Croft/Tomb Raider franchise changed over the last 20 years and how might an audience respond to this? Think about reception theory - preferred and oppositional readings. 

2) Does Lara Croft Go target a female audience? Why do you think female gamers dominate the phone/tablet market?

There is a lot of work here - so please ensure that you give yourself enough time to complete this full. Due date on SatchelOne.

Videogames: Introduction

Our final media topic is Videogames - an in-depth area of study with two Close-Study Products.

Over the next few weeks, we need to study the following CSPs:

Lara Croft GO
Blackpink The Game

We need to study these products using all four key concepts: Language, Industry, Audience and Representation. Both Lara Croft GO and Blackpink The Game are good examples of the changing nature of the videogames industry and give us a chance to further explore representations in media products.

Introduction to Videogames: Blog Tasks

Watch the YouTube video outlining the history of the videogames industry from the 1970s to the 2010s. Now answer the following questions:

1) What were the first videogames like?

2) How have videogames changed over time?

3) What do the most successful games have in common? Answer this in as much detail as you can. Think about audience pleasures - what do people like about playing videogames?

4) What criticisms have been made towards videogames?

Next, read this Guardian feature from when Fortnite first became sensationally popular and watch the original trailer below.



Now answer the following questions:

1) At the time of the article, how many Fortnite players were there worldwide? (Bonus question - how many are there now? Try Googling it.)

2) Why is it so popular? What are the audience pleasures of the game?

3) Why might some people criticise Fortnite?

4) Copy and paste two comments from 'below the line' of the Guardian article - these are comments written by Guardian readers in response to the feature. Select one comment you agree with and one you disagree with and explain why.

Extension task: read this news story reporting that Prince Harry has called for Fortnite to be banned. Why does the Prince think Fortnite producer Epic Games is irresponsible?

Read this Guardian article on videogames being more important than sport and music when it comes to youth culture. Do you agree on the cultural significance of videogames?

If you don't finish this in the lesson you will need to complete for homework - due date on SatchelOne.

Newspapers: The Times - Audience and Industries

The second part of our case study for The Times focuses on Audience and Industries.

This is the final part of our case study work for Newspapers and is full of information that could easily come up in our exams.

Audience

Target audience

The Times target audience is older with over half the audience aged 55+. In terms of social class, they are overwhelmingly in the ABC1 social classes - 62% from social group AB. This means Times readers are likely to be professionals, managers or company owners. They are likely to be in the Succeeder psychographic group. You can revise demographics and psychographics here.

Audience pleasures and representation

Surveillance/Information 

The main reason we read newspapers is to find out what is going on in the world around us.  News, different opinions, information about current affairs. This includes British politics and Britain's place in world politics and economics (patriotic). The Times focuses on hard news that we expect from a broadsheet newspaper - politics, economics, world news etc.

Diversion/Entertainment

One of the main reasons we read newspapers is for entertainment. The Times has evolved over recent years to contain more stories that provide entertainment or diversion. It also targets people with disposable income and an interest in culture/status and how they are perceived. 

Personal Identity 

A Daily Mirror reader will probably think very differently from a Times reader. Even if a reader does not always agree with a viewpoint the newspaper puts forward, they may still be agreeing with the values being shared. The Times newspaper seems to endorse the Conservative party and show their strong affiliation with the political party by the way stories are constructed. The way businesses are represented also shows the Times values private companies over working class people. 

Becoming an active participant 

Increasingly newspapers, especially online editions, encourage audience input through comments and email. The audience are not targeted with informal language or direct address as often, leading to a distance between journalist and reader. This encourages less dissent and comment and therefore more passive audience members who will accept the dominant view point of the paper. 

Politics
The Times is right-wing and supports the Conservative Party. It is generally against the left-wing Labour Party. The Times newspaper will act as a voice for the establishment (the wealthy and powerful) and will not support anything that threatens major changes to the status quo.

The Times: Industries

The Times is owned by News UK (a subsidiary of News Corporation). News Corporation is a conglomerate mostly owned by Rupert Murdoch, an Australian media mogul with many business interests worldwide such as the Fox network in the USA.  

In July 2009 News Corporation had to pay large sums of compensation for the phone hacking scandal, where their journalists were accused of using illegal methods to obtain information.  

The Times circulation in 2019 was 376,000, down 12% in a year and much lower than the high point of over 800,000 in the 1990s. Since 2020, The Sun and The Times have not published their circulation figures, perhaps to prevent knowledge of how many readers they have lost.

In response to the decline in print newspapers, the Times has:

• Moved towards a multi-platform landscape. This means that it publishes and synchronises across its print, desktop and mobile platforms. Some newspapers (e.g. The Times) have a paywall on their online content. The Times has had a hard paywall since 2010, but it often experiments with making content available for free. Last summer, it began free registrations and has been adding around 30,000 a week.
• Created a social media strategy in collaboration with the digital team to drive growth of their social media profiles. 
• The Times and Sunday Times have hit 500,000 subscribers as digital outnumbered print for first time at an initial cost of £1 per week for a digital subscription.

Watch this Times video on how it is finding new audiences and promoting different platforms such as Times Radio: 

You can also watch this advert promoting the Times across different platforms: 

 

Key question: Why have print newspapers declined?

Newspaper regulation: How and why are UK newspapers regulated? 

The newspaper industry is regulated by IPSO.

Previously, the Press Complaints Commission (PCC) was a voluntary regulatory body for British printed newspapers and magazines. The PCC closed on Monday 8 September 2014 after criticism following the phone hacking affair. 

It was replaced by the Independent Press Standards Organisation (IPSO).

The role of IPSO is to:

• Regulate 1500 print and 1100 online titles.
• Listen to complaints about press behaviour.
• Help with unwanted press attention.
• Advise publication editors .
• Provide information to the public.
• Provide a journalist whistleblowing hotline.

There is currently a heated debate in the media regarding whether the newspaper industry requires stronger regulation. Some people argue that the newspaper industry cannot be trusted to regulate itself using IPSO and that stronger, statutory regulation should be introduced instead. This would also implement the recommendations of the Leveson Inquiry which followed the phone-hacking scandal. There are links in the extension tasks below if you would like to read more about the newspaper regulation debate.

Reminder: News values

Media theorists Galtung and Ruge defined a set of news values to explain how journalists and editors decided that certain stories and photographs were accepted as newsworthy, while others were not. The following list is adapted from their work:

• Immediacy: has it happened recently?
• Familiarity: is it culturally close to us in Britain?
• Amplitude: is it a big event or one which involves large numbers of people?
• Frequency: does the event happen fairly regularly?
• Unambiguity: is it clear and definite? 
• Predictability: did we expect it to happen?
• Surprise: is it a rare or unexpected event?
• Continuity: has this story already been defined as news?
• Elite nations and people: which country has the event happened in? Does the story concern well-known people?
• Negativity: Is it bad news? Bad news tends to get more focus as it’s more sensational/ attention grabbing. 
• Balance: the story may be selected to balance other news, such as a human survival story to balance a number of stories concerning death.

Blog tasks: The Times Case Study - Audience and Industries

Create a blogpost called 'The Times - Audience and Industries' and then work through the following questions:

Audience

1) What are the main audience demographics for The Times newspaper? Add as much detail as you can.

2) What aspects of the front page of the Times CSP edition suggest that their readers are likely to be more educated and interested in hard news rather than entertainment?

3) Times readers are mostly over 55 years old. Why is this and how is this reflected or challenged by the design and news stories in the CSP pages we have studied?  

4) What are the main audience pleasures offered by the Times? Use Blumler & Katz Uses and Gratifications theory.

5) Why might a reader enjoy this CSP edition of the Times? Use Blumler & Katz Uses and Gratifications theory categories and write as detailed an analysis as you can.

Industries

1) Who owns the Times? Write the name of the company AND the billionaire who owns the company.

2) What was the The Times's circulation in 2019? How many papers did the Times used to sell back in the 1990s? You can find all of these statistics in the blogpost above.

3) How has the Times reacted to the decline in print sales and the growth of the internet? Watch the two videos above for more on this.

4) What does IPSO stand for and what is IPSO's job?

5) Why do some people want stronger regulation of British newspapers? Look at the information above on newspaper regulation to find out more on this.


Grade 8/9 extension tasks

Read this Guardian column on the pleasures of print newspapers and the dangers of the digital age. Do you think newspapers will continue to exist in the future? Why? 

Read this Guardian column on IPSO, the press regulator. Why does Polly Toynbee suggest IPSO has been a "total failure"?

Read this short Press Gazette feature on the Times's paywall. Why does the Times head of digital describe the paywall as a success? 

You may also want to watch this video from fantastic Media teacher Ms Fisher explaining The Times and the Daily Mirror for A Level students:

Due date: on SatchelOne