grade descriptors for magazine production

Level 4 48–60 marks

There is evidence of excellence in the creative use of most of the following technical skills:

               

framing a shot, including and excluding elements as appropriate;

using a variety of shot distances as appropriate;

shooting material appropriate to the task set;

selecting mise-en-scène including colour, figure, lighting, objects and setting;

manipulating photographs as appropriate to the context for presentation, including cropping and resizing;

accurately using language and register;

appropriately integrating illustration and text;

showing understanding of conventions of layout and page design;

showing awareness of the need for variety in fonts and text size;

using ICT appropriately for the task set.

Level 3 36–47 marks

There is evidence of proficiency in the creative use of many of the following technical skills:

               

framing a shot, including and excluding elements as appropriate;

using a variety of shot distances as appropriate;

shooting material appropriate to the task set;

selecting mise-en-scène including colour, figure, lighting, objects and setting;

manipulating photographs as appropriate to the context for presentation, including cropping and resizing;

accurately using language and register;

appropriately integrating illustration and text;

showing understanding of conventions of layout and page design;

showing awareness of the need for variety in fonts and text size;

using ICT appropriately for the task set.

Level 2 24–35 marks

There is evidence of a basic level of ability in the creative use of some of the following technical skills:

               

framing a shot, including and excluding elements as appropriate;

using a variety of shot distances as appropriate;

shooting material appropriate to the task set;

selecting mise-en-scène including colour, figure, lighting, objects and setting;

manipulating photographs as appropriate to the context for presentation, including cropping and resizing;

accurately using language and register;

appropriately integrating illustration and text;

showing understanding of conventions of layout and page design;

showing awareness of the need for variety in fonts and text size;

using ICT appropriately for the task set.

Level 1 0–23 marks

he work for the main task is possibly incomplete. There is minimal evidence in the work of the reative use of any relevant technical skills such as:

               

framing a shot, including and excluding elements as appropriate;

using a variety of shot distances as appropriate;

shooting material appropriate to the task set;

selecting mise-en-scène including colour, figure, lighting, objects and setting;

manipulating photographs as appropriate to the context for presentation, including cropping and resizing;

accurately using language and register;

appropriately integrating illustration and text;

showing understanding of conventions of layout and page design;

showing awareness of the need for variety in fonts and text size;

using ICT appropriately for the task set.

Gurindha Chadha and the Representation of British Indians

Gurindha Chadha and the Representation of British Indians

Whether film or any other kind of media, no media representation can be completely true.

All representations go through a process of mediation whereby the ‘real’ is changed into a representation.

Clearly Chadha’s background I gives her a unique insight into British Indian culture and therefore her representations are constructed from the position of what we might call a situated reality.

For many white British film goers much of their experience of British/Indians is likely to come via the mass media and hence they can be said to have a mediated reality.  

In order to appeal to the majority audience (thus maximise chances of commercial success) Chadha must construct representations that maybe rooted in reality and possess a certain authenticity but equally must fit with the mainstream audiences assumptions. Chadha as an encoder encodes her films with a meaning that will be decoded successfully by the non-Indian film goer and thus has to rely upon intertextual references and standardised if not stereotypical representations of British Indians

Binary Opposition

 

—Binary Opposition

Binary Opposition and Structuralism

‘Binary opposition’ is a subtle way in which texts are

Such uses and interpretations occur sub-consciously because both the creator and the user of the text are a part of a context that is permeated by certain ideological beliefs and mind-set (for a fuller, step-by-step guide to binary opposition as well as ideology visit http://www.englishbiz.co.uk/).

 

Spotting how binaries act to create layers of meaning allows you to create a highly subtle analysis and discussion (including on texts you write yourself) – and remember that subtlety always gains the highest marks.

The idea originated as part of an important ‘theory of meaning’ that attempted to map out how people arrive at an interpretation of either

 any concept of what we call reality) can exist only at the level of idea.

At the core of this is the recognition that any meaning we attribute to a thing can neither be inherent in the thing itself nor be something we arrive at independently; instead, meaning must always be, at least in part, a ‘construct’ and a ‘given’, i.e. something we learn from others.

According to structuralism,

what they called its cultural or ‘

 

When we interpret a thing, therefore, we arrive at an understanding of it not

This will become more obvious if you work through the process of interpretation you yourself will be using for some everyday words and ideas. Take the word ‘hero’, for example. You should be able to recognise that your interpretation very much depends on several other meanings of associated

ideas and words – most especially of course, the idea of ‘coward’. But – and this is a very large ‘but’ – other cultural ideas also come into play and contribute to this word’s very complex and layered meaning. For example, seemingly unrelated or distant ideas of ‘masculinity’ and ‘femininity’ have

an important part to play. Thus, an innocent-seeming word like ‘hero’ carries with it a great deal of ‘cultural baggage’ and ideological power: it acts to maintain and reinforce a whole series of cultural values, including many stereotypical ones – the dominance of masculine values, for one!

by any positive attribution of meaning to the thing itself but through a system of differences between culturally ‘opposing’ ideas.

Barthes suggested that

 

What cultural values do the above binary pairs help to maintain?

Can you see how these work to reinforce cultural stereotypes that are at odds with an advanced and enlightened society such as our own?

Jacques Derrida

A later theorist, Jacques Derrida, took Barthes and Levi-Strauss’s ideas a stage further by recognising that these ‘binary pairs’ were

rendered it the less highly valued part of the binary pair.

One example Derrida gave was the culturally important ‘masculinity/femininity’ binary. Freudian psychoanalytical theory (named after the early 20

highly than feminine values. Of course, such valuations are highly judgmental and work to maintain cultural stereotypes.

These theories provide you with a subtle way to analyse and discuss important aspects related to the way texts of all kinds are interpreted and gain meaning.

Consider these cultural binary pairs: ‘strength/weakness’, ‘wealth/poverty’, ‘male/female’, ‘gay/straight’, ‘hi-tech/lo-tech’, ‘old/young’ for example and you should soon detect how important the idea of binary opposition really is. One powerful cultural binary association studied by feminists is the oddly labelled ‘Madonna/whore’ binary in which women tend to be characterised in either of these two ways. This is seen as an especially powerful cultural opposition that works to support stereotypical views of women in societies that perpetuate male domination or patriarchy.

never equal. He saw that within any particular culture, one ‘side’ of each binary pair tended to be valued or judged in a more privileged light. It was as if one half of each binary pair were somehow ‘culturally marked’ by a kind of ‘presence’ that made it more highly valued whereas its binary opposite was ‘marked’ by a kind of ‘absence’ thatth Century psychoanalyst, Sigmund Freud) proposed the idea that ‘man’ has historically – and stereotypically – been ‘marked’ by a positive ‘presence’, whereas the idea of ‘woman’ has been ‘marked’ by a negative ‘absence’. This works its way through to the ways in which society still often values certain masculine values more

all meaning operates in this way but for your purposes you should stick to those meanings that work only to reinforce a particular ideological mind-set, i.e. meanings that work to maintain, develop or reinforce key cultural ideas. Think of ‘binaries’ such as ‘cool/geeky’, ‘old/young’, ‘beauty/ugliness’ and the importance of this idea might become clear. There are thousands more.

anything that acts to signify meaning – objects from reality, words, ideas and images – can do so only through a process akin to symbolism, i.e. the meaning will, in important ways, be culturally derived (rather like a rose can connote, at a symbolic level, ‘romance’). Levi-Strauss and Barthes went on to realise that meaning, in fact, results from a complex association of ideas about the thing itself plus other ideas that are the thing’s ‘cultural opposite’,binary opposite’.

Levi-Strauss and Barthes were fascinated by Saussure’s realisation that meaning (and thus

reality or ideas. The theory began life in the early 20th century with the work of linguist, Ferdinand de Saussure. Much later, these ideas were developed by two leading French philosophers, Claude Levi-Strauss and Roland Barthes who incorporated Saussure’s ideas into an all-encompassing theory of meaning called structuralism.

subconsciously interpreted by readers and listeners. The existence of ‘binaries’ within a text (and they exist in all texts) acts to develop often powerful layers of meaning that work to maintain and reinforce a society or culture’s dominant ideologies.

7. Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

The examiner would like to see a sense of progression.

A good way to present this evaluation is to post up your main task juxtaposed with your preliminary task.

Tell the examiner how . . .
Case study research
Better planning
More IT competence
Audience Feedback

. . . amongst other things helped you progress to produce a more professional product.