A-Level Media Coursework Blog 1

  This week's work requires Media  Factsheet #69: Music Video . You'll need to log in to Google using your Greenford Google account to access this.  Read the factsheet and answer the following 10 questions: 1) What is the purpose of a music video? The purpose of a music video is to sell products, the most obvious  of which is the song featured in the video. However, other connected  products are also marketed by a music video. 2) How has the digital age changed the production and distribution of music videos? However,  the development of new media technologies meant that music  videos, and the songs along with them, were more widely available  at any time. Videos could be uploaded to video hosting sites like  YouTube and viewed using portable media devices such as mobile  phones and iTouch devices, allowing audiences to see the video  and hear the song whenever and wherever they liked. 3) Which three major record labels are behind VEVO? What is VEVO and why was it created? In A

  TV index:  Capital  &  Deutschland 83 Your TV index should include the following: 1)  Introduction to TV Drama 2)  Capital: CSP case study and analysis 3)   Capital: Marxism and Hegemony 4)  Deutschland 83: CSP case study and analysis 5)  Postmodernism and Deutschland 83 6)  TV: Industry contexts

Read this  Independent feature on foreign-language dramas . If the website is blocked or forcing you to register  you can access the text of the article here . It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below: 1) What does the article suggest regarding the traditional audience for foreign-language subtitled media? If you'd mentioned to a colleague that you'd spent Saturday night glued to a subtitled European drama, you'd have been quietly declared pretentious, dull and, possibly, a little odd. 2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows? To Iuzzolino, the buzz around foreign TV was so strong that, over the course of two years before the project's launch, he watched more than 3,500 hours of small-screen action; as the channel's curator, he was in a state of anxiety, convinced that someone would realise his idea before he could

  Media Magazine -  A Postmodern Reimagining of the Past Media Magazine 73 has a feature exploring Deutschland 83 as a postmodern media product. Read ‘Deutschland 83 - A Postmodern Reimagining of the Past’ in MM73  (p18). You'll  find our Media Magazine archive here  - remember you'll need your Greenford Google login to access. Answer the following questions: 1) What were the classic media representations of the Cold War? Representations of Cold War-era Germany often fit  a stereotypical binary ‘good vs evil’  The Cold War – the state of tension and  hostility between the Soviet bloc countries  and the West from 1945 to 1990 – has inspired  a series of film and media texts within the spy  genre. These texts often present the East and  West as binary opposites through codes and  conventions. 2) Why does Deutschland 83 provide a particularly good example for postmodern analysis?  Deutschland 83  however is not your  typical Cold War  text for a number  of reasons but  perhaps the

  Introduction: Reviews and features Read the following reviews and features on  Deutschland 83 : The Guardian - Your next box set: Deutschland 83 The Guardian - Deutschland 83 Pity the Germans don't like it 1) Find one positive aspect and one criticism of  Deutschland 83  in the reviews. "It’s a perfect moment in a near-perfect series. Deutschland 83’s first episode of eight was the most-watched foreign-language drama in UK history." - Positive "Deutschland 83 has wowed the world – pity the Germans don’t like it" - Negative 2) Why does the second Guardian article suggest the Germans didn't like the show?  Deutschland 83 was designed to be the big ballsy production that restored German TV’s pride, with the marketing budget to go with it. Yet by the time the last episode was shown in Germany last December, it had shed half its starting audience, with only 1.72m viewers. The odd situation is that after decades of being seen as boring and ugly, Germany has foun