Coursework: Music video examples

Learning the conventions, pacing and construction of music videos will be essential to achieving a top grade in your coursework.

The following music videos are famous, creative or useful examples to help your research and inspire your creativity:

Ed Sheeran - Shape of You



This video uses the classic narrative linked to lyrics approach and contains some really creative shots and locations.


Mark Ronson - Uptown Funk



In many ways this is simply a classic performance video but it does some interesting things with camerawork and editing that is worth watching.


Walk Off The Earth - Red Hands



This is an incredibly creative one-shot video. The level of thought and detail behind it is revealed in this behind the scenes video. 


Joyner Lucas - I'm Not Racist



This is a stunningly simple but incredibly powerful music video that taps into the state of the world today. It may be blocked in school but you should be able to access this at home or via your phone.


Beastie Boys - Sabotage



This one always appears in best ever music video lists - a parody of 1970s cop shows. Intertextuality is a key convention of music videos.


Years & Years - I Wish I Knew



This is another simple video that uses one location and some creative lighting and props to produce a superb finish.


Foals - Hummer



This is a stunning example of camerawork and editing. Watch the opening of the video - just a series of close-ups of instruments but edited to perfection to match the beat of the song.

Imagine Dragons - Thunder

This is an interesting video from a colour and mise-en-scene perspective but it is also notable for product placement - notice the prominent Jeep car early in the video. You may want to research videos that contain product placement as this is an aspect of the brief.

Coursework: Summer project Ignite presentation examples

Your summer project will involve researching and planning your coursework. You will then present this work to the class in September in the form of an Ignite presentation.

This will be a hugely valuable exercise as it will allow you to test your idea in front of a potential audience - and make sure your coursework concept is communicated clearly. The Ignite presentation format offers a particular challenge and will force you to carefully consider how to pitch your project to the class.

The Ignite tagline is simple:

“Enlighten us, but make it quick.”

Ignite talks are a popular presentation format online. The rules are simple:

• 20 slides
• 15 second auto-advance
• 5 minutes
• 1 topic

Here's a good Ignite talk about giving an Ignite talk:

Here are some media-related examples:

And here's another Media-related example that shows you why PRACTICE is so important - the speaker never keeps up with his slides and therefore the whole presentation is rushed:

Summer project: Ignite presentation

Your Ignite presentation will be on your coursework plan - effectively a presentation version of your Statement of Intent. This means telling your audience the concept, genre, narrative, media language choices, representations, audience and industry factors in just 20 slides and 5 minutes. 

Good luck!

Coursework: Music video treatment examples

A music video treatment is like a script or concept - it explains what will happen in the music video.

At the beginning of every music video project, there is a need to work with the artist to define a desired treatment. A video treatment, also known as video concept, outlines information with regards to what the music video will be about.

Conceptually, a music video could show the artist performing the song in front of a live audience or by itself; alternatively, a music video can also present a storyline where certain situations and storytelling takes place. Furthermore, it can also be an experimental exercise where random images are shown to complement the music in a more abstract way. All of these angles constitute the treatment, or concept, of a music video.

Music video treatment: essential planning

A video treatment goes beyond this exercise of defining the overall direction of the video. The treatment goes down to describe the kind of locations, situations, stories, images, look and feel, tone and colour, pacing and so on of the music video. Even though most treatment writers don't follow specific guidelines or structures, a well written treatment is one that can successfully communicate complete ideas to artists.

Summarising, a music video treatment is the starting point of every project. It allows the production company to communicate its ideas to the artists and it allows artists to make decisions regarding the direction of their video. The treatment also helps production companies to write production budgets that are accurate and that give artists a complete view of what to expect when embarking on the production of their music video.

Source: Creando Music Video Production

Music video: example treatment

Alt-J: Breezeblocks by Ellis Bahl 



Original treatment from the director:

Three shots, slow motion, played in reverse.

Cool tones. Blues and Whites.

Scene 1: A man sits on the floor of a bathroom, head in hands.

The camera moves to the bathtub, the water is running, a fully clothed woman lies submerged, a breezeblock on her stomach. Her hair floats on top of the water, hiding her face. Blood slowly runs backwards into her head. The man gets up and the breezeblock bounces up off the woman's head and into his hands. He puts it on the ground next the the tub. The two of them scuffle.

Scene 2: They sprint backwards down the hallway. Her in front, him in back. (he's chasing her) They backwards fight through a flat. They unshatter dishes and bookshelves stand up with books placing themselves back into order as they reverse fight their way through the apartment.

Scene 3: They make their way towards the front door. A knife flies off the floor and into the woman's hand. The man grapples with her. He turns away from her and she recedes into the shadows. 

The man looks down into a cupboard. ANOTHER woman is tied up and sucking in a scream. Her eyes close. They kiss. They stop and the man slaps ducktape over her mouth. He closes the door. He walks backwards, flips the lights off and exits out the front door.

The woman with the knife returns and opens the cupboard. The tied up woman's eyes are filled with terror. The knife woman says something. "I think I'll have a bath while we wait for your Husband to get home. You don't mind, do you?"


Music video treatments - further examples

There is so much out there to help you write your own music video treatment. Here's a couple of other examples: 

Track Club - How to write a music video treatment 

Assemble Magazine - How to write a treatment (example)

Good luck!

Radio: BBC Radio 1 Newsbeat

Our first CSP for radio is BBC Radio 1 Newsbeat.

Our key concepts for Radio are industries and audiences so these are the areas we need to consider when studying the texts. 

BBC Radio 1 Newsbeat notes and background

Radio 1 Newsbeat is an example of a transitional media product which reflects changes in the contemporary media landscape. Newsbeat is both a traditional radio programme with regular, scheduled broadcast times, but it is also available online after broadcast.

The broadcast itself and the use of digital platforms provides opportunities for audience interaction. Newsbeat also exemplifies the challenges facing the BBC as a public service broadcaster that needs to appeal to a youth audience within a competitive media landscape.

Listen to today's Newsbeat bulletins by using the BBC Newsbeat page on the BBC website and then linking to BBC Sounds and scrolling to 8am or 12.45pm.


BBC Radio 1: History

BBC Radio 1 launched in 1967 playing pop music and using jingles in the style of American radio. It was a significant change from previous BBC content and was hugely popular in the 1970s and 1980s (some shows had 10m+ listeners). 

It became available on DAB digital radio in 1995 but not promoted until digital radios were more popular in 2002. It is available via digital TV and online via BBC Sounds.

Radio 1 is famous for events as well as radio – summer Roadshows, Big Weekends and the annual Teen Awards. 


Industries: Radio in decline

Although the BBC still boasts impressive audience figures for BBC Radio 2 and 4, it has struggled to attract young listeners to BBC Radio 1 in recent years.

Since 2010 listeners have declined – and although BBC R1 targets 15-29 year olds the average listener in 2017 was aged 30. Radio 1 is increasingly focusing on digital and social media with 16m weekly YouTube views reached in 2018.

Radio 1 Audience profile:

• Slightly more female than male
• 58% ABC1 (against population average of 55%)
• 90% white
• 41% of audience is in target audience range of 15-29
• Median age of 32

Industries: BBC remit and regulation

In 2011, BBC Radio 1 was part of a review into what the license fee should fund. Critics suggested that the content of BBC Radio 1 and 2 should be left to the commercial sector.

In response, the BBC made major changes at BBC Radio 1, aiming to re-target a core 15-24 audience and offering more diverse programming.

Since 2017, the BBC has been regulated by Ofcom. It is responsible for BBC content and ensuring it is delivering on its remit. 

BBC Radio 1 Newsbeat: Blog tasks

Newsbeat analysis

Use BBC Sounds to listen to Radio 1. Select a Newsbeat bulletin (8am or 12.45pm are good options) and then answer the following questions: 

1) What news stories were featured in the bulletin you listened to?

2) How does Newsbeat appeal to a youth audience?

3) How might Newsbeat help fulfil the BBC's responsibilities as a public service broadcaster? 

Media Factsheet #246: BBC Radio 1 Newsbeat

Read Factsheet #246 BBC Radio 1 Newsbeat. You'll need your Greenford google login to access it. Answer the following questions:

1) How is the history and launch of Radio 1 summarised in the factsheet? If you studied this as part of GCSE Media you will already know much of this.

2) Look at page 3 of the factsheet. How is Radio 1 attempting to appeal to its 15-29 age demographic? 

3) What did young people used to get from radio? Focus on audience pleasures / Uses & Gratifications here (see top of second column on page 3).

4) How has Radio 1 and Newsbeat in particular diversified its content for the digital age? 

5) How is Newsbeat constructed to appeal to audiences? 

6) What are the three key ideas from David Hesmondhalgh and which apply to Radio 1 Newsbeat?

7) Now look at Curran and Seaton. What are their key ideas and can they be applied to Radio 1 Newsbeat? 

8) What key idea for Livingstone and Lunt is on the factsheet and how does it link to the CSP?

9) How can we apply Stuart Hall's Reception theory to Radio 1 Newsbeat?

10) Choose one other audience theory on the factsheet and explain how it links to Radio 1 Newsbeat.

Industry contexts: reading and research

Read the first five pages of this Ofcom document laying out its regulation of the BBC. 

1) Pick out three key points in the 'Summary' section.

2) Now read what the license framework will seek to do (letters a-h). Which of these points could we relate to BBC Radio 1 Newsbeat?

3) Which do you think are the three most important aspects in the a-h list? Why?

4) Read point 1.9: What do Ofcom plan to review in terms of diversity and audience? 

5) Based on your reading and research, do you think BBC Radio 1 Newsbeat offers licence fee payers good value for money?

A/A* Extension tasks

As an extension, read this Guardian interview with former BBC 1 Controller Ben Cooper. It's a few years old but has some excellent discussion of the challenges facing radio and public service broadcasting. You may want to answer the following questions:

1) What was Ben Cooper trying to do with Radio 1?

2) How does he argue that Radio 1 is doing better with younger audiences than the statistics suggest?

3) Why does he suggest Radio 1 is distinctive from commercial radio?

4) Why is Radio 1 increasingly focusing on YouTube views and digital platforms?

5) In your opinion, should the BBC’s remit include targeting young audiences via Radio 1 or should this content be left to commercial broadcasters? Explain your answer.

Due date on Google Classroom

Magazines: The Gentlewoman - Language and Representations

The first part of our case study on The Gentlewoman will focus on media language and representations.

The Gentlewoman deliberately offers an alternative version of the women's fashion magazine genre and we need to explore how page design, content and conventions are used or subverted to create this effect. We also need to consider the different representations that can be found in these features.

You need to really get to know the selected CSP pages for this edition of The Gentlewoman featuring Scarlett Johansson on the cover. You can download the Gentlewoman selected CSP pages as a PDF here - you'll need to log in to your Greenford Google account to download them.

Notes from the lesson

The Gentlewoman: an introduction

The Gentlewoman is an alternative independent women’s fashion magazine aimed at a niche audience.

It was launched in 2010 and is published just twice a year with around 100,000 copies distributed worldwide. 

Social and cultural contexts

The Gentlewoman is part of a development in lifestyle and environmental movements of the early 21st century which rebrand consumerism as an ethical movement. 

Its representation of femininity reflects an aspect of the feminist movement which celebrates authenticity and empowerment. As part of the design-led, independent magazine sector, The Gentlewoman can also be seen as part of a movement responding to the idea of ‘Internet fatigue’.

The Gentlewoman editor: Penny Martin

Penny Martin has edited the magazine since its launch. "I'm interested in how modern women live, from the way they drink, dance, drive and speak to the way they sign their letters or conduct their divorces. It's about putting those women at the centre of the material world around them. That balance is important to us." 

Cover stars have ranged from 88-year-old actor Angela Lansbury to popstar Beyoncé, looking calm, strong and composed in Dior with a face free of make-up. 

What is a gentlewoman?

In the first issue – called ‘Modernist’ – Penny Martin defined the term:

The magazine’s subjects would be “stylish, intrepid, and often hilarious” contemporary women, and they would be depicted in journalism and portraits that reflected “women as they actually look, sound and dress.” 

In contrast to “the passive and cynical cool of recent decades,” Martin wrote, “The Gentlewoman champions the optimism, sincerity, and ingenuity that actually get things done.”

The Gentlewoman: Language and Representation blog tasks

Close-textual analysis

Work through the following tasks to complete your close-textual analysis of the Gentlewoman CSP pages:

Gentlewoman front cover 

1) What do the typefaces used on the front cover suggest to an audience?

2) How does the cover subvert conventional magazine cover design?

3) Write an analysis of the central image.

4) What representations of gender and celebrity can be found on this front cover?

5) What gender and representation theories can we apply to this cover of the Gentlewoman? 

Feature: Modern Punches

1) How does the feature on Ramla Ali use narrative to engage the audience? Apply narrative theories here.

2) What representations can you find in this feature - both interview and image?

3) What representation theories can we apply to the Modern Punches feature? 


Feature: Isabella Tree interview

1) Why is this feature unconventional for a women's lifestyle and fashion magazine? Comment on the use media language in these pages. 

2) How does the Isabella Tree feature reflect the social and cultural contexts of contemporary Britain? Think about AQA's discussion of lifestyle, environmental issues and ethical movements.

3) What representations of nature can be found in this feature?

Feature: Stella McCartney and vegan fashion

1) How does this feature reflect contemporary social and cultural contexts?

2) Comment on the typography and page design in this feature.

3) What representations can be found in the image accompanying this feature? 

Representations

Read this Business of Fashion interview with The Gentlewoman editor Penny Martin. If you don't want to sign up to the website (free) then you can access the text of the article on Google Drive here (you'll need your Greenford Google login). Answer the following questions: 

1) What type of magazine did Penny Martin, Gert Jonkers and Jop van Bennekom want to create? 

2) What representations of modern women did they try to construct for the magazine?

3) What examples of cover stars reflect the diversity in the magazine's content? 

4) What is Penny Martin's view on feminism and whether the magazine is feminist?

5) Look at the end of the article. How does the Gentlewoman help readers construct or reflect their identity by engaging with events and spaces beyond the magazine? 

A/A* extension tasks

Read this extended profile of editor Penny Martin in The Cut. What does it suggest about the representations in the magazine and how they might appeal to an audience?

Similarly, this Stack interview with Penny Martin has some really interesting points on pop feminism and how women are represented and addressed by the magazine.

Due date on Google Classroom

Radio: Introduction to radio

Our final media topic on the coursework side is Radio.

We have two CSPs to study for this topic and also need to consider the place for radio in a digital media landscape. 

Radio CSPS

War of the Worlds – Columbia Broadcasting Company (1938)

Newsbeat – BBC Radio 1 

These are targeted CSPs and need to be studied with reference to two elements of the Theoretical Framework (Audiences and Industries) and all relevant contexts (Social, Cultural, Political, Historical). 

Example exam questions

Briefly define public service broadcasting. [2 marks]

Identify two strategies or techniques used by Radio 1 to attract a youth audience. Explain the reason for each. [4 marks]

Explain how regulatory contexts shape the output of media industries. You should refer to your radio Close Study Product, Newsbeat. [9 marks]

To what extent is War of the Worlds a historically significant media product? [20 marks]

Key question: Is radio still relevant in the digital age?

How does radio respond to the digital media landscape we now find ourselves in. Will younger audiences listen to the radio? Does it have influence? Are podcasts the future for younger listeners?

BBC Sounds

BBC Sounds is a relatively new app designed to bring younger listeners to BBC Radio content. It aims to fulfil its requirements as a public service broadcaster while also responding to the demands of the digital media landscape.




Introduction to radio: blog tasks

Create a new blogpost called 'Introduction to Radio' on your Media 2 Coursework blog and complete the following tasks:

BBC Sounds

Read this Guardian feature on the launch of BBC Sounds and answer the following questions:

1) Why does the article suggest that ‘on the face of it, BBC Radio is in rude health’?

2) According to the article, what percentage of under-35s used the BBC iPlayer catch-up radio app?

3) What is BBC Sounds?

4) How do audiences listen to radio content in the digital age?

5) What does Jason Phipps suggest is important for radio and podcast content aimed at younger audiences?

6) Why does the BBC need to stay relevant?

Now read this review of the BBC Sounds app.

7) What content does the BBC Sounds app offer?

8) How does it link to BBC Radio?

9) What are the criticisms of the BBC Sounds app?

10) Two new podcasts were launched alongside the BBC Sounds app. What are they and why might they appeal to younger audiences?

A/A* Extension tasks

Read Media Factsheet #224 Understanding the Industrial Context of Radio. This will give you a wider perspective on industry contexts for radio with particular focus on the industry theorists (Hesmondhalgh, Curran & Seaton, Livingstone & Lunt). You may want to answer the following questions: 

1) Read the first two pages of the factsheet. How does the Factsheet argue that radio still has cultural significance in the digital age? 

2) Look at the page 4 section on media theories. Briefly summarise the ideas of Curran and Seaton, Hesmondhalgh and Livingstone and Lunt.

3) What is the definition of public service broadcasting?

4) Look at the list of eight key principles for BBC Radio on page 6 of the factsheet. Choose the three you think are most significant and explain why.

5) What does the Factsheet suggest is the future of PSB radio and how might Radio 1 fit into this?

Due date on Google Classroom

Year 12 Media exams: revision and preparation

Your Year 12 Media exams will be a great opportunity to practice exam skills and work out what progress you need to make next year to reach your targets.

Your exams will be two mini-versions of the real exams you'll do next summer. Below is a full guide to what you need to revise for each section of the exam. Please note that the current topic of Magazines will NOT be tested in these exams as we have only studied one of the CSPs. Instead, we'll give you a baseline assessment at the start of Year 13 that will focus on Magazines and Radio.  

Know your exams

One of the most important aspects of preparing for examinations is knowing exactly what topics could come up in each exam. For your A Level Media exams, your Year 12 content will come up in the following places:

Paper 1 Section A: Language and Representation

• Unseen text: advert, social media screengrab or music promotion of some kind. Media language analysis (8 marks). The Introduction to Media lesson slides and Film & TV Language lesson slides are here. 
• Advertising & Marketing: Score hair cream and Sephora Black Beauty Is Beauty (12 or 9 marks in this exam). The Advertising and Marketing lesson slides are here. 
• Music Video: Lil Nas X featuring Billy Ray Cyrus - Old Town Road and The Specials - Ghost Town (12 or 9 marks in this exam). The Music Video lesson slides are here. 

Your real exam in Year 13 will also contain a 20-mark essay evaluating theory linked to either the Advertising or Music Video CSPs but this will not be part of your Year 12 exam due to time limitations.

Paper 1 Section B: Audience and Industry

• Media Industries questions - media terminology / theory (6 marks)
• Film: Blinded By The Light (9 marks). The Film Industry lesson slides are here. 

Your real exam in Year 13 will again contain a 20-mark essay on Film, Radio or Newspapers but this will not be part of your Year 12 exam.

Paper 2: in-depth topic areas

• Unseen text analysis: advert, magazine cover, videogame cover etc. (9 marks)
• Television: Capital and Deutschland 83 (25 marks). The TV lesson slides are here. 
• You will want to watch both episodes on Google Drive here - you'll need your GHS Google login.

Practice questions

As requested, here are some practice questions for the upcoming Year 12 exams. Some are similar to assessments you have done previously while others are new. You'll need your Greenford Google login to access these.

How to revise

Revision is a very personal thing and everyone has different techniques. Think back to your GCSE exams and which systems worked for you. If you're open to new techniques, here's a video on YouTube with top tips for A* A Level revision: 

Personally, I strongly recommend using flash cards (they are often called record cards if you are trying to buy them online or in WHSmiths). The simple act of distilling topics into a few key words or phrases to put on the card will seriously help in remembering the key information in the final exams. I have spare flash cards in DF07 if you'd like some.  

In summary, you need to revise the following for your Year 12 Media exams:

• All media language and theory learned throughout the course so far - look back particularly at the extended MIGRAIN Introduction to Media unit as this contained a lot of key terminology and theory e.g. genre, narrative, industry theory, gender theory etc.
• All our CSPs and associated theory - and focus in on the areas YOU ideally want to write about in next year's exams e.g. politics or postmodernism for TV, Gilroy, double consciousness or postmodernism in Music Video etc.

How to plan and answer A Level Media exam questions

During lockdown I produced these 'walk and talk' videos go through a range of different A Level Media exam questions and cover the number of marks, how long to spend on the answer and what structure or points you could make in your answer. Not all of these question types or CSPs will come up in your Year 12 exams but the videos will help with exam technique and revision regardless. Note: many of the CSPs have changed since I made these videos so just use them for exam technique and deconstructing questions. 

Paper 1 Section A - 9 mark question on Advertising and Marketing:

Paper 1 Section A - 20 mark question on Music Video:

Paper 1 Section B - 6 mark question on Film Industry:

Paper 1 Section B - 9 mark question on Film Industry:

Paper 2 - 25 mark TV question:

Good luck with your revision and give these exams your best shot!

Music Video: end of unit index

We need to produce a final index for our Music Video unit. 

As we've established now, keeping an index of all your work is extremely good practice from a revision perspective. This keeps the vital CSP information fresh in your mind and also highlights if you've missed anything for whatever reason. This is particularly important with an end-of-year assessment approaching and remember music video will appear in Paper 1 Section A. 

Music Video: index

Your final Music Video index should include the following:

1) Music Video: Introduction - factsheet questions
2) Music Video: Old Town Road CSP
3) Music Video: Postcolonial theory
4) Music Video: Ghost Town CSP

5) Music Video: Postmodernism and music video

For your index, it needs to link to YOUR corresponding blogpost so you can access your work and revision notes quickly and easily. This also means if you have missed anything you can now catch up with the work/notes and won't underperform in future exams due to gaps in your knowledge.

Due date on Google Classroom.