GCSE Practical Coursework - Evaluation

Media Studies Coursework

Planning and evaluative commentary. 700-800 words

The Production Brief should be clearly stated in the heading on each candidate’s Evaluative Commentary, as should the title of the candidate’s production. The Evaluative Commentary should be split into the following three parts in order to address the following points:

Part 1 Planning

The brief and aims of the production. The genre of the production and the conventions followed. If the candidate worked in a group, he/she must list the names of the other members of the group.

The brief was to make an opening sequence or a trailer for a new horror film. In an opening sequence or a trailer for film in this genre you would expect to find…


I worked in a group of … The members of my group were…

The institution that would produce the production and details on where and/or when the production would be seen/heard/bought/sold.

I would expect this film to be produced by a major studio/small independent studio such as… This is because… The film would be shown in… [major cinemas/small independent cinemas/arthouse cinemas nationwide/locally/in festivals]

The target audience/s for the production (including age, gender, income bracket if relevant, and other interests).

I have identified the target audience for my film as being… They would be interested in…

Details of the background research carried out by the candidate. This should include the titles of TV or radio programmes, films, magazines, advertisements, or websites analysed and which of these were inspirations for the candidate’s production. Details of any audience research carried out can be included.

As part of the research for this production I watched a number of horror films such as… [The Grudge, The Ring, The Strangers, The Blair Witch Project]. I found that the most influential on my project was… because…

A description of the stages of planning the production, including storyboarding, scriptwriting and outlines.

In planning my film I created...

Part 2 Production Process

An account of the working process.

What you actually did during the filming of the project.
The allocation of roles within the group and an account of the candidate’s individual contribution to the production.

Talk about how you divided the roles up within the group and who was responsible for what during the filming process.

Details on the technology used – cameras, publishing programs, audio recording equipment, etc.

Talk about the process – using mini-DV cameras, tripods and Adobe Final Cut Pro, plus any work you did with still cameras taking test shots, etc.

The learning processes involved in using the technology. Problems and how they were overcome.

What difficulties did you encounter in the filming and editing processes? How did you overcome them? What did you learn?

An explanation of choices of mise-en-scène, shot, music, fonts, colour, logo, etc. and how these choices fitted in with generic conventions.

Why did you make the decisions you did in the editing process? How do these fit the horror genre and your choice of product – opening or trailer?

An explanation of how these choices were intended to attract the target audience.

How did you fit your film to the target audience? Be specific about what is there to appeal to them in your film?

Part 3 Evaluation

A close analysis of one or two pages/minutes/sequences/images that the candidate considers to be successful.

Talk about a couple of bits in your film that you are particularly proud of, and why they work so well. What is good about them, and how did you create these particular sequences?

A comparison of the production with actual media texts. An identification and analysis of any weaknesses in the production. Responses from audiences to the production. Proposed improvements and a reflection on what the candidate has learned.

How does your work stand up against actual media texts (trailers/openings.) What didn’t work like you would have wanted it to, and how could you have improved it – what would you have done differently if you could do it again? How have other people (i.e. your audience) responded to your work? What have you learned about the film-making process?

The Appendix
Materials in the Appendix are required as evidence of planning for the external Moderator. Only one copy of the Appendix is required per group, although candidates may include evidence of their own individual research and planning.

Candidates are not expected to provide a detailed diary of the production, or to include every page of planning material produced during the production. Where questionnaires have been produced as part of audience research or response to the finished production, only one copy of the questionnaire is necessary.

The Appendix should demonstrate the stages of research and planning and support the Evaluative Commentary. The contents of the Appendix will vary according to the brief. The details below indicate what must be included in the Appendix in bold and also give suggestions for other additional material that could be usefully included.

The material should comprise documents produced during the planning stages and not retrospectively. These should be working documents, and their lack of finish should reflect this.

Year 11 Exam Topics - Advertising. 'A Woman Alone' [Persil]

'A Woman Alone' is a 1959 advert from Persil (produced by JWT advertising) from a simpler time, when there wasn't the multitude of products on offer, and the sole purpose of a washing powder was to get things white. In an age of black and white television (colour television broadcasts didn't start in Britain until 1967) there was no point in saying that a washing powder got things clean - you couldn't really demonstrate one red shirt being cleaner than another - so you had to sell a product on its whitening power. This you can see -look how the white in the advert stands out against the (untouched by Persil) greys of the shirts around it.

These are the kind of things you need to think about in your analysis, and when considering this advert as part of your case study:
Sound

The advert opens with emotional string music, the kind of thing you would find in a romantic drama, particularly in the 1950s. This is designed to tie in with the love the woman in the advert feels for her family, tied in with the care she shows for them by making sure they're Persil whitened.

The other non-diegetic (coming from outside the original recording) sound consists of a male voice over, speaking formal standard English using a RP accent (received pronounciation) This gives him authority, and is designed to make the audience for the advert believe in what he says. He is someone to trust, because he speaks well and is a man. All experts in advertising land at this time were men - this was where the power lay.

The actual words he speaks are:

"This woman is alone...yet not alone. Even though her family may be apart from her, they are still a part of her. Being judged by the care she takes of them. Being judged by how white she keeps their clothes. Being judged by the care she takes of them. Being judged by that same whiteness. So Persil is part of her strength, and their happiness. As a mother she uses Persil. As a wife, she uses Persil. Persil washes whiter."

There are some very interesting messages here: look at how the word 'judged' is used - the advert seems to suggest that she is failing in her duty as a wife and a mother if she doesn't use Persil - she will be letting herself down! The voiceover plays on a woman's guilt: only Persil can save her from the scornful looks of the world (and the other Persil mums who are smug in the knowledge that they 'wash whiter' and are looking after their families properly.

Mise-en-Scene

The physical context of the advertisement is clear: the woman is in a clearly ordered kitchen with neat cups and crockery arranged on the dresser, on the sink, and on the dining table where she is in the process of arranging her kitchen. The table is set, and the kitchen sink is clear in the background, firmly placing her as in role as a woman in her natural place - in the kitchen. Her hair and make up is simple and unfussy, and she is not made a sex object either by her make up or clothes: she is dressed in a unrevealing jumper and an apron - hardly the stuff of glamorous dreams! The product is featured in close up so it is foregrounded, but it isn't shown in use...the advert is not selling the practicalities of washing in Persil, but its results.
School and office locations are both represented as being ordered and calm environments. Colours are toned to allow the 'Persil whiteness' of the clothes highlighted to stand out.

Facial Expressions/Body Language

The central character is often shown looking downwards, either at the soft toy in her hands or in close up, making her drift off and think of her family with a dreamy smile on her face. She doesn't look at or challenge the camera, and she doesn't invite the camera to look directly at her. She is not provocative, but could be seen to be submissive, lowering her eyes, and knowing her place. Even though she is doing boring domestic tasks, the look on her face suggests that she enjoys this and enjoys fulfilling her role as a woman, wife and mother, and it is these last two (the wife and mother roles) that define her as a woman.

Sequence
1. Long shot of kitchen to show domestic setting. Woman clearing up breakfast table. She then picks up child's toy.
2. Cut to close up of her face as she thinks of her child.
3. Cut to close up of child's face with the same dreamy expression. Camera zooms out to show child is obviously in school, sat at a desk by a window. She seems to be wholesome, good, and well behaved, clean and attractive. She is sat next to another pupil whose shirt is noticeably less white. Shot ties in with the words of the voiceover 'being judged...'
4. Cut back to mother's face with loving/longing expression.
5. Cut to husband in an office behind a desk. Juxtaposed (put against) colleague wearing a shirt that is less than gleaming white. He notices this and looks concerned at the grey of his own sleeve in contrast to his colleague's
6. Cut to Persil product being put on a cupboard shelf by female hand. Camera pans to woman's contented and downward gazing face.
7. Zoom out to long shot showing the kitchen. Woman gazes lovingly at her husband and puts her arm through his. They smile at each other and wander over to well behaved and calm child who is playing with bricks on the table. Both parents add a brick and the child completes the pyramid, showing family unity. Child looks happy.
8. Cut to close up pack shot of product with bubbles in background, suggesting sparkle/cleanliness.

Narrative
The narrative or story of the advert is actually quite straightforward. The 'Woman Alone' of the title is not actually alone, because she is always with her family thanks to the magical properties of Persil. By dressing them in gleaming white she is showing her care for them. She is first shown alone, in the kitchen (is this a woman's place?) and then we see what her family are up to without her: her daughter is well behaved at school and rewarded for it, and her husband lights up the office (all thanks to her care). Back at home, the woman is joined by her husband, and then child, in building a pyramid of bricks that symbolise their family unity, and the glue that holds the family together and makes it so strong is the care she shows through the use of Persil.

Representation
This is the interesting one. For a modern audience this advert raises a lot of questions, and it is ripe for exploring. Does it reinforce the stereotype that a woman's place is in the home? Why? What is the woman's role here? How does this differ from that of her husband? Why does she keep looking down in such a submissive way? Is this all her life should revolve around, and should she be content with this? Is this the ideal woman, someone other women should aspire to be. Obviously this doesn't really fit with a modern view of the world, and a 1950s reading of the text would probably be much different, but are there echoes of this world view (and this hegemony) in the Persil advertising website? Bear all these questions in mind when you go into your exam, and you'll ace it!

Mr G.

Year 11 GCSE Homework

Deadline: Monday 23rd November

Maslow's Hierarchy of Needs

Using the notes I gave you in the lesson, and focussing on the triangle,

Watch a range of adverts on TV or online.

Think about how they fit the needs identified in Maslow's Hierarchy

Find an example advertisement for each level of need, and write a couple of paragraphs for each advert explaining how it meets this need.

Deadline - Monday 23rd November

Social Value Groups Scale - Year 11 GCSE

Based on Maslow's Heirarchy of needs (see earlier post), this scale identifies social groups that exist in the UK - these groups form useful consumer groups for advertisers to target, alongside the NRS groups.

insight social value groups (uk)

The insight Value Group Ltd carried out a vast study of UK social values and change, and upon its findings established this social value scale. It draws heavily from Maslow's Hierarchy of Needs. This is the Insight Value Group scale, which claims to be an accurate representation of the groups that exist in the UK today.

social value group characteristics

self actualisers

focused on people and relationships, individualistic and creative, enthusiastically exploring change, 'in a framework of non-prescriptive consideration for others'

innovators

self-confident risk-takers, seeking new and different things, setting their own targets to achieve

esteem seekers

acquisitive and materialistic, aspiring to what they see are symbols of success, including things and experiences

strivers

attaching importance to image and status, as a means of enabling acceptance by their peer group, at the same time holding onto traditional values

contented conformers

wanting to be 'normal', so follow the herd, accepting of their circumstances, they are contented and comfortable in the security of their own making

traditionalists

averse to risk, guided by traditional behaviours and values, quiet and reserved, hanging back and blending in with the crowd

disconnected

detached and resentful, embittered and apathetic, tending to live in the 'ever-present now'

It is unlikely that advertisers will specifically target the disconnected group, who don't show much interest in...well, anything, but all the other groups should be identifable in the target audiences for the adverts you are studying. Being able to talk about the insight Scale will boost your chances of getting good grades in the advertising exam.

NRS Social Demographics GCSE Year 11

The NRS grades are a useful tool to use when analysing advertising, particularly when focussing on audiences, and deciding which group is being targeted by a particular advertiser. You will need to know these catergories when going into your exams - this kind of stuff gets you grades!

NRS social grade

The NRS social grades are a system of demographic classification used in the United Kingdom. They were originally developed by the National Readership Survey in order to classify readers, but are now used by many other organisations for wider applications and have become a standard for market research.

The grades

The classifications are based on the occupation of the head of the household

Grade - Social class - Chief Income Earner's Occupation

A - upper middle class
Higher managerial, administrative or professional.

B - middle class
Intermediate managerial, administrative or professional

C1 - lower middle class
Supervisory or clerical and junior managerial, administrative or professional

C2 - skilled working class
Skilled manual workers

D - working class
Semi and unskilled manual workers

E - Those at the lowest levels of subsistence
Casual or lowest grade workers, pensioners and others who depend on the welfare state for their income

The grades are often grouped into ABC1 and C2DE and these are taken to equate to middle class and working class respectively. Only around 2% of the UK population identifies as upper class, and this group is not included in the classification scheme

Maslow's Hierarchy of Needs - GCSE Year 11

One of the important theories that you need to get your head round for your advertising exam is Maslow's Heirarchy of Needs.

Abraham Maslow was a psychologist that came up with a theory dealing with the hierarchy of human needs. Advertisers are aware of this theory, and the products that they offer can be shown to meet one of the categories Maslow has listed in his hierarchy of needs: there is no point trying to appeal to an audience and persuade them that they should buy the product if it does not fulfil one (or possibly more) of these needs. And if advertisers know which need they should appeal to, it will be that much easier to market to their target consumers.

The first level on Maslow's hierarchy deals with physiological needs. These are the most basic necessities that humans require to survive. Food, water, shelter, and oxygen all fall into this category, along with sleep, activity and other inevitable human functions.

If the product or service has to do with a basic need, your main problem is getting the customer to buy from you instead of your competitors. Everybody needs food, so why would potential customers be more inclined to buy lunch at your restaurant instead of the burger bar across the street? Perhaps you have lower prices, better quality, faster service, or a more comfortable environment than they do. It is important to stress that what YOU offer holds certain advantages over the customers' other choices.

The next stage of human need deals with safety and security. Turn the TV on for five minutes, and see how many ads about insurance, retirement plans, banking, investment or home alarm systems play during the ad break. Advertisers need to think how would the use of their product initiate feelings of safety and stability in their customers' lives? These factors would be the main selling points.

The third tier of Maslow's hierarchy is the love and belonging step. We have all felt the desire to be closer to our families, to have more friends, or to find a significant other.

Appealing to these desires is useful if you run a personals web page or a own a club. Tell your prospects about the great interactions they will have if they try your service, and use testimonials from customers past. Hearing about great results from former clients is a great way to get new buyers. Look at the number of ads you see for dating websites, for phone companies promoting staying in touch or for products that will bring you friends. These all fall into the third level of need.

Maslow's next area of human need deals with esteem. One area of esteem needs calls for recognition from others, status, attention, and recognition. The other area hits a little closer to the self, involving self respect, confidence, competence, independence and achievement.

I am reminded of a shampoo commercial in which the lead actress walks through an office building with the admiring eyes of many workers following her around. At the end, she walks into a board meeting and states that she doesn't even work for the company, and all the attention must be the result of her shampoo.

The last tier of Maslow's hierarchy is called the self actualisation level. Ever heard the army slogan "Be all that you can be"? This is an appeal to the self actualisation needs of human beings. Approaching people at this level of the hierarchy involves inviting them to live up to their full potential as a hard working, motivated member of society. You can become a better person, and make the world (or your world) a better place because of this.

Think of the adverts you see on TV, and come up with an example for each level of need. Write a couple of paragraphs about how this advertisement fits into the hierarchy and meets its particular need.

GCSE Year 11 Advertising: analysis

This is pretty much the same as some of the BTEC groups have been doing for their Advertising Production module, but this is a useful way of checking what you should be looking at when you are deconstructing and decoding adverts, especially print ones...

Analysing Adverts
There are many factors to consider when analysing an advertisement :

Image – what is the central image of the advert. What does it make you think? How has it been framed, edited and cropped?

Text – what words are used in the advertisement? Do they anchor the image (give meaning to it)? What effect do they have on the audience?

Lighting – How is the image lit? Is it bright? Dark? what are the meanings of this?

Colour – what is the significance of the colours used in the advert? (ie. red=danger/sex/passion, green=calm/peace, black=darkness/evil/mystery, white=good/peace, blue=cold/mystery, purple=passion/luxury/wealth, gold=rich/luxury...)

Audience – what is the target audience for this advert? how do you know?

Representation – who or what is being represented in this advert? is this a fair and accurate representation? (based on what you know of the world)

Mise-en-scene – what props and other items are in the advert? what is their meaning? Why have they been put there?

and importantly...

What is the USP (unique selling point) of the advert? What’s special about what it’s selling?