media magazine coursework

A-Level Media Studies

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Sunday 1 November 2020

Magazine coursework: creating a conventional initial flat plan, the minimum expected elements for the magazine project.

• Original title and masthead for the magazine; strapline
• Cover price and barcode
• Main cover image to establish the identity of the new artist or band
• Main cover line relating to the new artist or band plus at least 2 further cover lines
• Feature article (approximately 300 words) to promote the new artist or band. The article should include an interview with the artist or band.
• Headline and stand-first, sub-headings, columns
• One main image and at least 2 smaller/minor images (all original and different from the images on the cover)
• Pull quotes and/ or sidebar

Analyzing existing magazines

A rough rough rough draft: creating a flat plan

For more info on how to produce a flat plan, including an example of what we're looking for, click here., i don't know what i'm doing. what should my magazine look like what shot types should i use where does this or that go what colours do i use how big should the masthead be how many cover lines should i use how much should my magazine be [literally any other question], the answer to all of these is look at the examples of magazines you have picked.

All you need to know about choosing the Media Studies GCSE

If you find these facts fascinating, you might enjoy the Media Studies GCSE! The time to pick your GCSE options is fast-approaching so we're here to help you decide. 

What is Media Studies GCSE?

From television to newspapers, radio, social media and podcasts – the Media plays a big part in our lives. It can alter our perceptions, grow our understanding and inform how we see the world. Unfortunately, with the rise of fake news, clickbait and misinformation, it can be challenging to know what's what; that's where media studies comes in! But what does the GCSE course involve? Read on to find out… 

What do you do in Media Studies GCSE?

During the Media Studies GCSE, you'll look at four key areas; media language (forms and choice of language, theories of narrative, and codes and conventions of language), media representation, media industries and media audiences. You'll also study all of the following media forms:  - television - film  - radio  - newspapers  - magazines  - advertising and marketing  - online, social and participatory media  - video games  - music video 

How to revise for Media Studies GCSE?

When thinking about revision, you'll need to look at how the exam is formatted; this can change depending on which exam board your education provider uses, so it's best to check (in fact, we strongly advise it!). In this article, we're using the AQA Board as an example. To pass the Media Studies GCSE, you'll have to sit two written exams and one Non-Examination Assessment (NEA). Each exam lasts 1 hour and 30 minutes and is worth 35% of your final grade, and the NEA makes up the final 30%. 

Media one (the first written exam) is broken into two parts; Section A focuses on Media language and representations, you'll look at two different types of media (through a source or close study product) and answer questions. Section B focuses on Media industries and audiences; having looked at two different types of media, you'll answer an extended response question. 

Media two (the second written exam) is also broken into two parts and is all about frameworks; in Section A you'll apply a framework to a source (TV-related), and in Section B, you'll apply a framework to another type of media source (like a newspaper or video game). 

NEA, creating a media product here, you'll combine your ability to apply knowledge and understanding of theoretical frameworks with your ability to create media products. You'll have a choice of one of five briefs, and you'll produce a statement of intent and a media product for an intended audience. Your teachers will mark the NEA. 

What jobs can you get with Media Studies GCSE?

While no single GCSE can guarantee you a job, acing the Media Studies GCSE could be the start of a fantastic career within the media industry, whether you're turning your talents to film or social media. Below we've listed a whole range of jobs that you might want to research further, having completed (and enjoyed) the GCSE. 

• Advertising media buyer
• Broadcast journalist
• Editorial assistant
• Media researcher
• Photographer
• PR consultant
• Social media manager
• Television/film producer
• Web content manager

You might be thinking, well, this all sounds good (and your type on paper!), but how do I get a job in Media? Well, we've got you covered. Take a look at our article 9 creative ways to get work experience in Media for our best tips and tricks. 

Is Media Studies GCSE hard?

The Media Studies GCSE has a pretty high pass rate, and much of this is down to the fact that students enjoy the lessons so much, and revision doesn't feel like revision. Media Studies classes are generally pretty lively, with lots of discussions, projects and presentations - it's a fun class to be in. This, coupled with the coursework (NEA) element making up 30% of the grade, means that most students who take the course don't find it to be a difficult subject. 

Another great thing about the GCSE is that it ties in well with other subjects, like religious studies, history and geography. This is all to say that taking the course will help you with other subjects and vice versa!

How can we help? 

We hope this article helped and you're one step closer to working out whether a Media Studies GCSE is right for you. If you want to find out more about the media industry or even want to get a head start on what the Media Studies GCSE involves, why not have a look at one of our media programmes? We have work experience programmes in Broadcast & Media and TV & Film . From radio to television, you'll get to question industry executives and complete activities that could spark ideas for your NEA project! So, what are you waiting for?!

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GCSE Media Studies

Please see our  e-Submissions centre guidance , Media Studies NEA e-Submission Guide , email:  [email protected] , or phone  029 2240 4310 .

Apply now and join our team of examiners.

*Subject dependent, based on marking a full allocation and completion of training (which we pay you to attend).

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The Eduqas media studies GCSE course offers learners the opportunity to develop knowledge and understanding of these key issues and the ability to debate important questions about the media. It introduces them to a theoretical framework for analysing the media, which also underpins study of the media at AS and A level.

Although the specification focuses predominantly on the contemporary media, this is contextualised and enhanced through the exploration of significant products from different historical periods. Through studying both established and evolving media forms, learners will gain a real awareness of the role of the media in society and culture. The study of a range of rich and stimulating media products is central to this specification, working from the product outwards to develop appreciation and understanding of the media. Learners will draw on their existing experience of the media but will also extend their appreciation and critical understanding through the study of products with which they may be less familiar, including products for different audiences. Choice is an important part of the specification, enabling teachers to select the most appropriate, relevant and engaging products for study for their learners in Component 2.

This specification also recognises the fundamental relationship between theoretical understanding and practical work, providing learners with exciting opportunities to develop media production skills. Learners will apply and develop their knowledge and understanding of media language and representation in relation to media forms and products and become creators of meaning themselves. Learners will be offered a choice of briefs and forms within which to work, enabling them to explore and pursue their own media interests.

The Eduqas GCSE in Media Studies offers a broad, coherent and engaging course of study which enables learners to:

• Demonstrate skills of enquiry, critical thinking, decision-making and analysis
• Acquire knowledge and understanding of a range of important media issues
• Develop appreciation and critical understanding of the media and their role both historically and currently in society, culture and politics
• Understand and apply specialist subject-specific terminology to analyse and compare media products and the contexts in which they are produced and consumed in order to make informed arguments, reach substantiated judgements and draw conclusions about media issues
• Appreciate how theoretical understanding supports practice and practice supports theoretical understanding
• Develop practical skills by providing opportunities for creative media production.

There are no previous learning requirements for this specification. Any requirements set for entry to a course based on this specification are at the school/college’s discretion. This specification builds on subject content which is typically taught at key stage 3 and provides a suitable foundation for the study of A level media studies .

Why choose Eduqas?

• A choice of options for production
• A choice of options for the set products/texts
• Direct access to Subject specialists
• Topics and products/texts chosen to appeal to GCSE students
• Creative work which is central to the course
• Uniform design across GCSE, AS and A level to allow for coherent progression
• Flexibility for teachers to choose relevant and appropriate texts/products
• Unlimited access to free  resources
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• Support from our  Regional Representatives

Important information, past papers, marking schemes, entry/amendment uploads & make post-results enquiries.

Grade boundaries are the minimum number of marks needed to achieve each grade.

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A-level Media Studies

• Specification
• Teaching resources
• Assessment resources
• Introduction
• Specification at a glance
• Close study products (CSPs)
• Contexts of the media
• Extended response and synopticity
• Media language
• Media representation
• Media industries
• Media audiences

Non-exam assessment (NEA)

• Scheme of assessment
• Non-exam assessment administration
• General administration

• music video
• advertising/marketing
• online, social and participatory media
• video games
• communicate meaning to an intended audience.

To complete the NEA, students must independently create a cross-media production in response to a brief set by AQA. AQA will release six briefs on 1 March in the year preceding the exam via Secure Key Materials. These briefs will change  annually . The briefs will be linked to the A-level Media Studies CSPs. AQA will specify the media form and the intended audience for the media products. The media products that are devised and realised by the student must communicate meaning to a specified audience, draw on what they know and understand about the theoretical framework of media studies and demonstrate understanding of the digitally convergent nature of media products.

The Marking criteria detail what students will be expected to demonstrate and provide evidence of when completing the NEA task. Additional task-specific content will be issued with each of the briefs. Please refer to Non-exam assessment administration for more information about the instructions for conducting the NEA.

The Statement of Intent

Students must complete a Statement of Intent that outlines how they have applied their knowledge and understanding of the theoretical framework to their media product. This must be submitted to AQA with the media product.

This Statement of Intent should be a maximum of 500 words long and it should be submitted to the teacher no later than 1 April in the year of assessment. The template for the Statement of Intent will be supplied by AQA in the NEA Student Booklet along with the briefs.

Size and duration of products

Each brief will specify the required length, amount or duration of the media product that must be created.

Unassessed participants

• appear in their media products
• operate equipment under the direction of the assessed student.

All unassessed participants involved in the products must be listed on the Candidate Record Form (CRF). Assessed students can only be credited for work they have undertaken themselves or has been completed under their direction. Students and teachers will be required to sign the CRF to confirm that this is the case.

Credit can only be given for contributions made by unassessed participants under the clear direction of the assessed student. Details of what each of the unassessed participants contributed to the product and how the assessed student directed that contribution should be listed on the Candidate Record Form.

Time spent on NEA

There is no limit to the amount of time that students can spend on their NEA but we recommend they spend around 30 hours on the physical creation of their products. It should be noted that excessive time spent on this component in the classroom could be detrimental to the overall attainment of the students. Teachers should strike a balance between the completion of the NEA and preparation for the examined components. Additionally, demonstration of knowledge and understanding of the theoretical framework is key to success in the NEA so time spent teaching the framework will inform the development of the NEA products.

Use of non-original material

With the exception of musical performances, students should not use any non-original material in their media products. All images, footage and text is to be created by the student. If a student does use any non-original images, footage or text, they should be aware that their marks will be limited by the marking criteria (see Guidance on applying the marking criteria ). They must acknowledge any non-original material on the Candidate Record Form.

Students do not have to write and record their own musical performances, either to use as part of a soundtrack or in a music video. Musical tracks that they use should be acknowledged on the Candidate Record Form.

Websites and video games

For briefs where website or video game creation is required, students do not need to be able to code. Students can use website design apps, online templates and game design software. Students are responsible for the design of the website or game and the content (such as language, images, audio-visual material) must be created by the student. Students must acknowledge any software or templates which have been used on the appropriate Candidate Record Form.

Marking criteria

Guidance on applying the marking criteria.

Level of response marking instructions are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level.

Before you apply the mark scheme to a student’s media product, review the product and annotate it and/or make notes on it to show the qualities that are being looked for. You can then apply the marking criteria.

Start at the lowest level of the marking criteria and use it as a ladder to see whether the product meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s product for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the product.

You can compare your student’s product with the standardisation examples to determine if it is the same standard, better or worse.

When assigning a level you should look at the overall quality of the product. If the product covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the product to help decide the mark within the level, ie if the product is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content.

• Level 5: Both products within the cross-media brief are completed to an equal standard.
• Level 4: Both products within the cross-media brief are be completed to a generally equal standard, although one product may be slightly better than the other.
• Level 3: Both products within the cross-media brief are be completed, but one product may be better than the other.
• Level 2: Both products within the cross-media brief are attempted, but one product may be significantly better than the other.
• Level 1: Only one of the cross-media products may be attempted.

If a student submits a Statement of Intent with no accompanying media products then this should be awarded a mark of zero.

If a student creates an audio-visual product that is longer than the stipulated duration then you should only mark the work that falls within the time limit.

If a student creates a print or online product that exceeds the stipulated length or amount then you should mark all of the pages and only give credit for the best pages up to the number of pages stipulated in the brief.

If a product is shorter than the stipulated size or duration then no penalty is to be applied as the work is likely to be self-penalising – particularly in relation to the Effectiveness and engagement with industry and audience section.

If a student has used any non-original images, footage or text or has failed to clearly demonstrate how they directed the activity of any unassessed participants in the media product then they should not be awarded marks above Level 2 in the Effectiveness and engagement with industry and audience section of the marking criteria.

Statement of intent

Students will be expected to complete and submit a statement of intent which includes their interpretation of the brief, the research they have done, how that research has informed their ideas and the strength of the ideas they have developed.

The statement of intent should be submitted to the teacher in April before the submission of the final product. It should then be submitted to the moderator along with the students' final products.

Media Language

In this section students will be rewarded for the degree of expertise they demonstrate in using media language within the chosen media form.

Media Representations

In this section students will be rewarded for the degree of expertise they demonstrate in creating and using appropriate representations within the chosen media form.

Effectiveness and engagement with industry and audience

In this section students will be rewarded for how well their media product communicates meanings, reflect the industry specified in the brief, whether or not they have met the requirements stipulated in the brief and the extent to which they have exploited the potential for digital convergence. Teachers/assessors are to use their professional judgement rather than looking for evidence of testing the product on a live audience.

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AS/A Level Media Studies

Please see our e-Submissions centre guidance , Media Studies NEA e-Submission Guide , email:  [email protected] , or phone  029 2240 4310 .

• Key Documents
• Past Papers / Mark Schemes

Our AS/A level Media Studies specification provides learners the opportunity to develop a thorough and in depth understanding of a range of key issues, using key concepts and a variety of critical perspectives to support critical exploration and reflection, analysis and debate.

The study of a wide range of rich and stimulating media products is central to the specification, offering opportunities for detailed analysis of how the media communicate meanings in a variety of forms.

OER is a free interactive teaching and learning tool which includes exam answers and examiner comments.

We offer an extensive range of free digital educational resources.

This subject uses e-submission for candidate work for moderated or assessed units and components.

Grade boundaries are the minimum number of marks needed to achieve each grade.

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Introduction

For the non-exam assessment, often known simply as coursework, you will be asked to devise and develop a cross-media product for an intended audience. Although the briefs change each year, they remain linked to the Close Study Products so you can expect to use the following forms:

• Print media: newspapers, magazines, advertising and marketing materials.
• Moving image: television programmes, music videos, film trailers.
• Online, social and participatory media: websites, blogs, social media advertisements and posts.
• Radio broadcasts.
• Video games.

The exam boards provide an outline of the context and aims of each brief, specifying the length, amount or duration of the texts. They will also give you a clear definition of the target audience. If you would like to know about the minimum requirements for each media form, read through the sections below that are relevant to your coursework.

Following the codes and conventions of newspaper design, your front cover should contain a masthead with the date and price. Research the difference between a tabloid, broadsheet and a blacktop newspaper because they will be branded differently to suit their target audience. There will also be incentives, such as competitions and coupons, positioned close to the title.

The audience will expect to see a main story, which is often called the splash. The image, of course, should grab the reader’s attention. However, the requirement often stipulates that this dominant image should not be used inside the newspaper.

Make sure you include a headline and byline for the main the story. Many newspapers often format the first paragraph differently to the rest of the copy. Known as the standfirst, the font is usually in bold and with a larger size.

Don’t forget to create an off-lead that will also appeal to the readership.

House Style

Importantly, you need to establish a clear house style with an appropriate register and mode of address . In other words, make sure your language suits the relevant demographic. For example, a tabloid might opt for a controversial and provocative headline compared to the more formal approach taken by a broadsheet.

For more information on the structure of a newspaper, read our guide to the  codes and conventions of front pages . The glossary might help to clarify some of terminology used on this page.

Related Pages

The design of the inside pages should reinforce the brand established on the front page. Put simply, you need to be consistent with your use of columns, headings, subheadings, colours and font choice. If size of the font on the front page is 10px, tracking is 0 and the lead is 10px, make sure your copy inside the paper is the same.

The brief might insist on at least 500 words of original copy and six other images. Of course, the mise-en-scène of the images must be appropriate to the style of the newspaper and engage the target audience. Be careful with the representation of people, social groups and places.

Finally, text and images should be combined into a suitable layout because you want to encode appropriate values and construct a clear point of view.

You will need to submit three or four pages. A cover page, content page and a two-page spread are probably the best options because you will be able to demonstrate your knowledge and understanding of the full range of magazine layouts. The right combination of text and images will achieve the top marks.

Front Cover

The first page should reflect the codes and conventions of the genre of magazine specified by the brief – a horror film fanzine will have a very different look and feel to a text targeted towards DIY enthusiasts. The values and ideology of the institution should be apparent in the choice of stories and representation.

Be sure to design a good title and masthead and position it appropriately on the page. You should also include the cover price and dateline. The exam boards often request at least three cover lines on the cover of the magazine so try to invent other relevant stories that might interest your audience.

Obviously, the main image is incredibly important because it will be the first thing that captures the audience’s attention. However, the brief might also stipulate two further smaller images or illustrations are required to demonstrate your understanding of the genre.

Arrange the headings and subheadings around the dominant image and make sure they are legible by choosing an appropriate font colour. Black text will only really work against a white background, so experiment with a range of colours. The font size needs to large enough to ensure readability.

Check out our guide to magazine covers for more information regarding their layout and form.

Internal Pages

The other pages should follow a suitable house style so use the same font size and weight for the main copy. If your columns are a certain width and are left aligned with a ragged right edge, make sure this format is repeated throughout the articles. The tone and style of the writing, or the mode of address, should also be consistent. Choose your words carefully – you will need at least 400.

Lots of candidates use an interview format, but make sure the responses communicate a clear point of view. A well-written article, such as a review or news report, with an appropriate ideological message is probably a better idea.

Detail is important. Include the folio and, perhaps, the magazine’s logo at the top or bottom corners of each page.

Finally, your seven or eight images should be original and fit the style of the magazine. Again, the mise-en-scène for a model train magazine with be very different to the glamorous shots needed for a bridal magazine.

Our  guide to a two-page spread  will introduce to the terminology used to define the different elements of a magazine.

Print Advertising

The shape and size of print advertisements will depend on their placement. You might be tasked with creating inserts for magazines, billboard posters, brochures, flyers and even fill the advertising space on the back of a bus. Therefore, the context will influence the layout and design of each text.

You will need to create at least three adverts which raise awareness of a brand, service or product. Although branding and identity are both important, each text should have a distinct marketing strategy or unique selling point. The exam board may ask for each advert to target a different demographic so think carefully about tweaking the representation and mode of address to suit the audience and context.

If you are going to encode a clear message and get the audience to engage with whatever you are promoting, you must exercise deliberate control over the connotations of the words and images you use on the print advertisements. Spend time getting the best shot of your celebrity who is fronting your campaign. Think carefully about the location and background. Create a mock-up of the product if necessary. The mise-en-scène and style of the images will help establish the brand and position the audience’s reaction to your promotional materials.

The lexical codes also need careful attention. Make sure your headlines and taglines are memorable. Use appropriate choices of font, type sizes and colour codes to create meaning.

Click the following link and learn more about the conventions of  print advertising .

Websites and Blogs

You will probably need to publish three pages. A homepage is essential because it will help define your values and point of view.

If the brief asks you to demonstrate your knowledge and understanding of the key media concepts by creating a website or online blog, you will need to follow some well-established conventions. There are a few obvious features a user will expect to find when they visit a webpage. For example, you should include a navigation menu at the top of the page, or in a sidebar, with links to the other important pages. The website logo and title are often integrated into this header.

At the top of desktop browsers, the title and site icon should appear in the tab to let users identify your site more easily, especially if they are switching between a number of sites. Users also expect a footer to conclude each page.

To establish a convincing house style, each page should share various design elements. Make sure the headers, fonts, colours and layouts are consistent otherwise you message will get lost in a confusing user interface. Here, at media-studies.com , we use the typeface Arial for most writing, sized 16px and with the very specific hex code of #2b2b2b. This style is repeated on each to page to deliver a consistent experience no matter which section you visit.

User generated content (UGC) is another important part of the user experience. Incorporate interactive elements and some multimedia content, such as embedded audio and video files, to engage the audience. SoundCloud and YouTube offer effective streaming solutions. Social media links are another typical feature and allows the user to share your stories.

Comment forms and comment sections are a great way to connect with your users because it gives them an opportunity to voice their opinion on the subject matter. In this way, it will help position them to feel they belong to a community who share an interest in whatever you are selling.

In terms of information, you need to write at least 400 words and include around eight original images or illustrations. Remember, the representation of people and places must be appropriate and relevant to the content of your site. The mise-en-scène must be related to your subject matter and target audience.

Moving Image Advertisements

Developing an overall concept for a campaign is really challenging so spend some time researching the specified industry context and evaluate how existing products target their audience. This detailed knowledge and understanding of the media landscape will help inform and shape your own products.

The length of footage will depend on which platform the advertisements are being broadcast. For example, television slots are usually 30 seconds and TiKTok videos can now be a minute long.

The exam boards might also stipulate at least two filming locations are used and each text should have a specific USP or audience segment. Original footage only.

Before you point your camera at your fake celebrity and press record, think carefully about how the audience will consume the texts because the way we hold our phones to watch a TikTok video is very different to the widescreen of a television programme or a typical YouTube upload. This relationship between the width to the height of the image is known as the aspect ratio.

Clear communication of the brand or message is vital so make sure your audio-visual choices are deliberate and appropriate. Persuasive strategies, such as celebrity endorsement. For more information about appealing to the audience and why people consume the media, read our guides to the  Uses and Gratifications Theory  and  Maslow’s Hierarchy of Needs . The lines of appeal listed by Gillian Dyer is also incredibly useful because they draw attention to the fantasies advertisers use to promote their products.

In order to construct a point of view that conveys the right attitude and belief for your campaign, think about the story. The use of narrative codes, such as  Propp’s character types  and  Todorov’s theory of storytelling , will improve your understanding of how texts are structured.

The best products will contain a wide range of shots and effective mise-en-scène, including props and costumes. In other words, do not limit your filming to your school. Use a logo within the advert in a way that promotes brand recognition.

Dialogue will be your biggest challenge. If you have a friend or family member talking to the camera, they need to stand close to the microphone so their voices are not lost in the wind. Dubbing dialogue to match the words with the actor is incredibly difficult. Fortunately, the microphones on most modern phones are excellent so you will have no trouble recording voice overs for your advertisements.

Finally, be aware that most free online editors will place a watermark the footage and charge you a small fee for removing their logo. Your school might have access to Adobe Premiere and After Effects, but do not be daunted by the software. Get stuck in.

For the top marks, you will need to demonstrate your awareness and skill of continuity editing. Check out this  guide to continuity editing  for six essential tips about working with your footage.

It is impossible to expect students to create a feature length film or an entire television programme. However, trailers and opening sequences are an excellent way for you to demonstrate your awareness of genre and form.

The minimum requirements will include at least two filming locations and the full range of camera shots, angles and movement to support the narrative.

You will also need to consider the mise-en-scene of each shot, including props, costume and lighting.

Although all the footage must be original, you can use existing music for the soundtrack.

The  narrative codes  need to be appropriate for the genre and form, so research the conventions of trailers and opening sequences. Watch lots of examples to increase your understanding of how these texts engage the audience.

Choose and combine signifiers that create the right representation for your story. The use of titles and graphics should reinforce your message and the action codes need to be appropriate for the target audience.

Finally, your texts should position the audience in relation to the characters and situation. Put simply, your villain should look like a villain.

Radio and Podcasts

The style of your text will depend on the brief. Factual broadcasts and news reports will have a different tone to a “behind the scenes” feature of a red carpet event. The target audience will also influence the rhythm of the piece.

You will probably need three minutes of content and at least three different voices to meet the minimum requirements. Use appropriate language and mode of address throughout.

Listen to a range of podcasts and tune into various radio stations. What conventions do these broadcasts follow? How do titles and non-diegetic sound help create meaning? What narrative codes are used to engage the target audience?

A narrator, interviewer or presenter can help establish the structure of the broadcast. They can also help anchor the listener’s interpretation of the situation or product. The use of different voices helps create interest, but pay attention to representation.

• Statement of Intent

You must also complete a Statement of Intent which outlines the connections between your knowledge of the key concepts and your own media texts. If you would like some suggests how to approach the Statement of Intent , please visit our guide. It is also important you are aware of the mark scheme so you should also read our outline of the coursework assessment objectives .

Further Reading

Rule of Thirds

Negative Space and Media Form

Continuity Editing

Images and Resolution Settings

Research and Preparation

Thanks for reading!

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GCSE English Media Coursework: Teenage magazines

Sophie Daysh 11GEH

GCSE English Media Coursework

Teenage Magazines

Analyse and comment on the content and presentation, and the advertising of the Summer 2004 issue of Elle Girl magazine. Examine the relationship between features and the advertising in the magazine and consider in particular how this magazine tries to persuade young women to buy fashion and beauty products.

Elle Girl is a magazine aimed at young teenage girls. It contains fashion tips, general life advice and articles about celebrities. There are 130 pages inside the magazine, filled from top to bottom with pictures or text. There are adverts on at least 75 of these pages. This shows that there is at least one advert on every other page and many in between.

        As you look at the front cover, your eyes automatically meet the person featured. This happens to be Kate Bosworth, who after recently starring in several hit films will be popular with any movie fanatic. The text next to her reads: Kate Bosworth, just how did  she bag Orlando Bloom. Clearly trying to imply to young readers that if they follow in the footsteps of this young woman they will be able to get themselves someone such as Orlando Bloom. The cover is bright and bold. The text is in pink and green on a white background, so it grabs attention quickly. It has a summery feel to it but also appears to be to quite a young taste. It has been well arranged to look nicely busy with articles. The reader is tempted to continue.

        “Dare to be different.” This is a small comment on the front cover in the very important position of below the magazine name. This is a clever marketing scheme and has been placed there very wisely. Young teenage girls, unintentionally open to influence will read this magazine and believe they know how to be different, when in fact this whole magazine is purposely created to contradict this phrase and subtly tell them what to buy, what to wear and how to act. Every article in the magazine whether openly or subliminally is attempting to groom young females into being a certain way, buying a certain perfume or a particular brand of clothing and believing that they like it. All over the UK readers will be feeling secure and “in the right” about copying fashion ideas, celebrity styles and generally lacking in individuality. This magazine is basically just a list of fashion ideas and advertisements, and they would not be included if the editor even slightly believed that they would be ignored by the mainstream readers. This means that teens everywhere will be noticing and copying these ideas but not yet noticing the almost invisible film of insecurity and on the whole believing that they are “different.” I think that it is unfair to advertise so subtly to the teenagers at the most influential years of their lives. At this stage they are learning more than ever, growing into who they really are and developing personalities of their own, and this magazine will deteriorate any signs of an individual. If Elle Girl really wanted the readers to be different it shouldn’t try and teach you how to clothe yourself and live your life. I appreciate that this is a very clever sales technique but I do not respect it. There is nothing that can be done to stop it until all the readers realise that they are being groomed into a certain type of human, just as the media feels they should be.

This is a preview of the whole essay

        On the front cover it also reads, “Rip up the beauty rule book! Cos life’s too short to conform. This is another example of an unsuitable article, simply because there is a contrasting article on the same page which entirely contradicts it. The contrasting article reads, “376 look to suit every leading lady, discover your movie star style.” If you were to “rip up the beauty rule book” and “stop conforming” you most definitely would not want to learn about movie star styles or a look that would suit every leading lady. As I read on about “the beauty rule book,” I learn that it is ok to clash my finger and toenail polish, ironically after telling the reader that its ok, there is a list of the best nail polishes, where to get them, why to get them and how much they cost. This is another subtle advertisement.

        The adverts inside the magazine vary a great deal, from clothes, to accessories, to perfume, to shoes and jewellery. There is very little consistence, but nothing advertised tends to be very expensive. The editor is fully aware that teenage years are not the richest times of your life, but yet shopping is still an incredibly popular thing to do. On page 21, the entire page is advertisements for what is or will be “In style” in the near future. By including within the adverts, products from “Topshop” which is very mainstream, “Boxfresh” which is more sportswear, and “Mambo” which is quite retro, they have managed to appeal to a fair few different people. The page looks slightly odd, because it follows the theme of “On the Tennis Court.” Everything on the page is to do with tennis, except for one very random basketball CD case. It looks odd simply because it has not a great deal to do with tennis or clothing and generally makes me think that they ran out of decent tennis accessories to advertise. It also makes a point of the fact that every item is below £30, which will capture even more interest.

        On page 4, (which is a fairly important spot in the magazine because as you open it, a reader would tend not to skip immediately but look closely, at this point their attention will still hopefully be undivided,) there is an advert spread across the entire page. It is titled “The Real Bling” against a dark background a watch is photographed. It is covered in shining diamonds, with a silver face. This is following the huge trend that has approached the UK from the American hip-hop industry. As people become more and more interested in this line of music they will become more and more keen to dress ‘the part’. It is a very popular type of music with all youth at the present so I feel that this is a wise advert to have so close to the beginning. Fake diamonds have become a big trend recently and they are everywhere as decoration on jewellery, clothes and shoes.

        There is also an advertisement called “Girls on Film,” on page 59 Which entails looking at famous film stars and copying their style, (another contradiction to “Dare to be Different.”) The first film star chosen is Olivia Newton John when she co-starred in “Grease”. The article gives many examples of different accessories and items of clothing to suit the genre of the film whilst staying up to date with the present fashion. The layout is quite attractive, it appears to be quite simple, and not trying to hard which is refreshing for the reader. Letting the items sell themselves is a much better idea than  attempting to make them more attractive than they are. This page is much nicer to look at because it isn’t so busy, so you can really see what you are supposed to be looking at.

        One of the features in the magazine is in the “Real Girls” section, which is about real life stories, real issues and real emotions. The article is titled “Beating cancer made me want to help others.” It is about the life of a 17-year-old cancer survivor with big ambitions. To the right hand side of page 39, Lisa Sharpe is pictured; it is zoomed in on her upper half as she smiles. The picture conveys how happy she is. She is wearing a pink and white striped top, pale lip-gloss and has bright skin, she looks purely healthy. The natural green background furthers the feeling of fresh, healthy, happiness. This story is uplifting to any reader especially anyone who has had to experience cancer in their family, friends or even themselves.

        There is an article on pages 114 and 115 about self-harm. Page 114 is a picture of a young girl with “pain relief” cut into her own arm. Oh the opposite page is the text of the article. At the beginning it describes how shocking new government research has proved that one in ten teenagers are harming themselves in some way. This article starts off with good intentions; it alerts teenagers that their friends might be doing it and how to help them. It teaches you what the definition of self-harm is. If it is as big a problem as we are led to believe then it is important to let teenagers know what it is. But I feel that the article falls straight downhill, when it starts a new paragraph titled “Shame behind the pain” The reason I felt this way is because as they go on to describe individual cases of self harm they start talking about individual cases such as celebrities and regular people. Self-harm is a very private issue, which should not be publicised in any way. If the girls described in the individual cases gave their permission to be written about (which they probably did) then it is acceptable. But then the writer goes on to describe how Amy Studt and Brody Dalle of the Distillers have experienced it themselves. It then goes on to describe how the act itself is caused by their inner demons and is very “un-glam.” Perhaps Amy Studt has already admitted it several times before publicly but Brody Dalle took a very long time throughout her career to admit that she had cut herself and only mentioned the sensitive subject delicately in a highly exclusive interview. The readers of this magazine, being young teens tend to be more into mainstream music, whereas The Distillers’ music is far from mainstream, and more in the punk rock persuasion, meaning very few of their fans will read this article. It is unfair to publicise an issue in a place it doesn’t belong. So I feel that they are writing about things that they just don’t know enough about and in the wrong place. Angelina Jolie is also mentioned describing when she used to cut herself. Seeing as neither she nor Brody Dalle admitted these things in interviews recorded for Elle Girl magazine, it is unfair to publicise in such a raw fashion the facts of their personal life. These private facts have no business being included in this article. I feel also that any people who are fanatical about any of these celebrities might decide that they are so desperate to follow in their idol’s footsteps that they may start harming themselves. Generally I don’t think they have handled this article very well or paid any respect whatsoever to those who have done it, whether they did it in the public or the private eye. Self-harmers shouldn’t have to feel as though they have a disease or that they are separate from the world, because these feelings wont do them any good at all.

        The models doing the advertising are all roughly between 15 and 25, they are all good-looking and in many ways unnatural. But that is not a specific to this magazine; all models will follow that pattern.

        Throughout the magazine, Elle Girl have clearly tried desperately to be “one of the girls,” in achieving this, readers will feel comfortable about taking advice from the editor. The language used is casual, colloquial and often slang. This is how we speak to our friends and by developing this casual, friendship tone, people will listen more and absorb the adverts, maybe eventually go out and buy the products. The tone is another cleverly designed subtle advert for itself.

        On page 17 Joan Collins is featured. The text tells the reader that she is glamorous and wonderful. Throughout the article we learn how to capture her daytime look as well as her evening look. From handbags to jewellery, to hats and trousers, we learn exactly how to copy her style. It is somewhat ironic that the last line of the article is: “In the words of the lady herself “Know who you are-don’t be a clone!”” Yet another contradiction, it tells you to be and dress like Joan Collins but yet she basically is quoted saying, “have your own style!”

        This magazine is cleverly made but highly unfair. Preaching about having your own style and then subliminally forcing young females to dress and be and act and talk a certain way. If Elle Girl truly does want people to “Dare to be different,” then it needs to start with the team who created it.

Document Details

• Word Count 2155
• Page Count 4
• Level AS and A Level
• Subject Media Studies

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This is the non-examination assessment (coursework) unit for the A Level Media Studies course.

 The brief can be found here:

To access the resources page for this unit, please click here.

Week 1 - Intro to coursework

Week 2 -research and initial planing, week 3 - past student work, universal music and statement of intent, week 4 - , week 5 - , week 6 - , week 7 - , week 8 - , week 9  - , week 10 - , week 11 - , week 12 - .

A Level Media Studies

Cohort 2020 – 2022

Category: Music Magazine

Marketing timeline and strategy.

KEY TERMS: Viral, guerilla, promotions, AIDA (attractive/attention, interest, desire and call to Action), marketing campaign, timeline, entertainment, information, social interaction, personal identity, teasers. Timing is an essential skill in building a marketing campaign. A good marketing campaign starts with teasers, publishes launch dates, offers sneak peeks, offers interactive experiences, builds the excitement through a series Continue reading Marketing Timeline and Strategy

Digipak – Mission Statement and Marketing Strategy

KEY TERMS: brand, integrated advertising, promotion, audience, USP, mission statement, call to action, reject the text Remember the brief? “A promotion package for the release of an album, to include a music video (major task), together with a social media page for the band and a digipak for the album’s release (minor tasks).” It is Continue reading Digipak – Mission Statement and Marketing Strategy

FINAL COURSEWORK ADVICE

ITS THE FINAL COUNTDOWN TODAY AND TOMORROW Get your magazine finished and uploaded and flipsnacked before EASTER – this will mean for some, after school, lunchtime and independent study, OVER EASTER As some of you have not engaged in independent study time enough this term, some of your will have to: Complete all the CCRs Continue reading FINAL COURSEWORK ADVICE

The Adverts

In order to make the presentation of your pages aesthetically pleasing with the programme Flipsnack, you need another page. Whilst, you won’t be assessed or moderated for this page, it will fit well with evidencing how well you understand your target audience – an advertiser will not advertise in a magazine if the target audience Continue reading The Adverts

Welcome Back

We hope you had a good Christmas and New Year but now we are back, it’s time to get that Media wagon rolling again. This week, your aim is: Get that article into your DPS – now! Droopy Christmas tree! To complete 2nd drafts of Front Page, Contents Page, DPS and get feedback from teacher Continue reading Welcome Back

DPS – Layout tips and self assessment

Revisit the presentation on double page spread layouts and do some research of your own.  Here are two slides of some that we found. Find your photo – lay it out with columns for the article (2-3) Remember you can use place holder text  i’psum lorem’ to act as the text until the article is fully Continue reading DPS – Layout tips and self assessment

Photoshop tricks and techniques

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Upload the contact sheets of the shoot. Introduce and reflect on the post: Where did you go? Why did it work? What could have been better? Choose @ 2 photos that you really like and embed them and reflect on why they work – think of star image, the genre, the narrative you are trying Continue reading Location Shoot – contact sheets

BRIEFING – BREAKTIME TODAY MONDAY 7 DECEMBER – ROOM 70

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Shifting the beauty standard

Christine Chang, BSBA ’04, found freedom to explore multiple majors during her time as a student at WashU. Her experiences learning from other students and growing as a person gave her the confidence to take on her first job leading a small team at L’Oréal Korea. 

After finding her way in the beauty industry, Chang co-founded the highly successful Glow Recipe beauty brand and skincare line. Here, she discusses her multicultural upbringing, how she stays true to her Korean heritage and her greatest inspiration as an entrepreneur.

I grew up in multiple places, first in the South in the United States, because my parents were attending graduate school in Louisiana. After that, we moved to Korea when I was in middle school, and then I went to boarding school in Australia. I eventually returned to the States to attend WashU. I like to call myself a “third-culture kid.” A common theme running through my life has been the fluidity and understanding of different cultures and different spaces. That theme has continued to inform my career. 

Beauty has always been a very present part of my life. When I would go back to Korea as a child, my mother, my aunts and I would regularly go to the public bathhouses to splash milk or tea-steeped water on our faces. I didn’t really understand why at the time, but scientifically, milk has lactic acid, which is what helps to smooth the skin. It was this ritualistic experience that we all enjoyed together. Self-care for me has always been associated with those moments of sharing and gathering. 

A lot of our products are made globally. That was always the goal with Glow because we want to create a safe space, both with our products and our social media platforms, for everyone to feel welcome. The approach around inclusivity for us really started from real skin acceptance. We haven’t retouched our model imagery in years. When we do a skincare campaign, our models are not wearing makeup, and photos are never retouched. We try to pick diverse models with different skin types, so that we are reflecting back at our very diverse community of customers.

More from Christine Chang

The brand : Glow Recipe, the company Chang co-founded with Sarah Lee in 2014, is a line of fruit-extract–infused skincare products.

The brand philosophy : “Glow Recipe is about combining clinically proven, effective ingredients and results with enjoyable experiences,” Chang says. “I compare it to Legally Blonde . You can wear pink and feathers, and you can ace it at Harvard Law. In the same way, your products can give you results without being taken too seriously.” 

There are certain aspects about the way skincare was introduced to me that could be relevant for everyone. When I returned to the States for college, I realized that skincare is a chore for most people. If skincare was enjoyable and sensorial, it could deliver hard-hitting benefits for your skin and give you a slice of time for yourself. I think that was the inspiration behind both glowrecipe.com, which is the business we started with, and eventually Glow Recipe skincare, which is what you see today. 

I started the business when my daughter was very young. I’ve been cognizant of how conversations around appearance, beauty and even social media can potentially affect her. That perspective has helped drive a lot of my decisions around how we approach certain things, because I want to create a brand where everyone of every age can feel comfortable and included, and it feels approachable. She’s been a big inspiration for that.

I always say, “Don’t shrink yourself.” Very often you’re taught to not rock the boat or not ask the hard questions. You have to take up space. You have to raise your hand. You have to sometimes ask for things that might be a little challenging to bring up. Without taking up space, it’s hard to make sure that you’re giving yourself room to shine. I feel like everyone deserves to shine in their own way.

Comments and respectful dialogue are encouraged, but content will be moderated. Please, no personal attacks, obscenity or profanity, selling of commercial products, or endorsements of political candidates or positions. We reserve the right to remove any inappropriate comments. We also cannot address individual medical concerns or provide medical advice in this forum.

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Why Engineers Should Study Philosophy

• Marco Argenti

Understanding the “why” before you start working on the “how” is a critical skill — especially in the age of AI.

The ability to develop crisp mental models around the problems you want to solve and understanding the why before you start working on the how is an increasingly critical skill, especially in the age of AI. Coding is one of the things AI does best and its capabilities are quickly improving. However, there’s a catch: Code created by an AI can be syntactically and semantically correct but not functionally correct. In other words, it can work well, but not do what you want it to do. Having a crisp mental model around a problem, being able to break it down into steps that are tractable, perfect first-principle thinking, sometimes being prepared (and able to) debate a stubborn AI — these are the skills that will make a great engineer in the future, and likely the same consideration applies to many job categories.

I recently told my daughter, a college student: If you want to pursue a career in engineering, you should focus on learning philosophy in addition to traditional engineering coursework. Why? Because it will improve your code.

• MA Marco Argenti is the Chief Information Officer at Goldman Sachs.

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