Units 25, 26 Assignment Brief

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BTEC Level Three
Diploma in
Creative Media Production
Year 13
Unit 25: Television and Video Studies
Unit 26: Film Studies
Name: ...................................................................................................
Deadline: ...................................................................................................

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THE COURSE
Welcome to the BTEC National Diploma in Creative Media Production. You will find this a
practical, work-related course on which you will learn by completing projects and
assignments based on realistic workplace situations, activities and demands.
We aim to help you to develop your creative and technical skills, as well as helping you to
gain an understanding of the underlying theory of digital media production. In addition to
learning about the employment area you have chosen, you will develop the skills needed to
start a career in the media industry.
To do this, you will be required to produce a portfolio of practical productions supported by
paperwork and theoretical research. To be successful in doing this, you will have to work
both independently and within groups in a professional manner, showing yourself to be
organised, resourceful, reliable, committed and being capable of meeting strict deadlines.
We hope that you will benefit from this challenging, yet rewarding course and that it will
lead to you continuing your studies or eventually finding a job in the media industry.
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YOUR RESPONSIBILITIES
 You are expected to treat all equipment and accommodation with care.
 You are NOT allowed to bring food, drink or chewing gum into work areas.
 You may NOT use mobile phones while you are working, unless otherwise instructed.
 NEVER allow other students or friends to use equipment booked out to you, and do not
leave equipment unattended at any time. If it is damaged, lost or stolen, it is YOUR
responsibility!
If you experience any problems with equipment, ask for help from your teacher. Do not try
to repair equipment yourself.
Please remember
It is your responsibility to back up your work onto a memory stick at the end of every lesson. You
are responsible for saving your work to the hard drive of the computer and the safekeeping of your
original material. Please remember to take your memory stick at the end of every session, and only
use the memory stick to transport work. You must provide a folder for each unit and bring it to
every lesson. You will also be introduced to a referencing system to allow you to produce
comprehensive bibliographies of the materials you have used in your study.
How to contact your teacher…
Telephone: 020 8498 1300
Blog: https://zcmediastudies.wordpress.com
Google Mail: zchristodoulou.317@kingsolomonhigh.com
Twitter: @ZCMediaStudies
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Unit 25: Television and Video Studies
Unit Introduction
This unit aims to develop your awareness of the ownership and structure of the television
and video industry (both commercial and public), the key debates that have shaped and
continue to shape the industry, and how audiences use and respond to television and video
productions.
The television and video industry is a major media producer, and its development and
influence on audiences, in terms of entertainment, education and information, has
provoked much debate, both within government and amongst the public. Whilst it is
possible that its influence and power as a medium of communication is beginning to be
eroded by new media, it still remains a huge force in social and cultural terms, and so has
tremendous political importance. Anyone who wishes to work in this industry must have a
good knowledge of the way it is currently structured and how it is likely to evolve, as well
as a sound understanding of the debates about such matters, such as who controls it and
how it relates to the society and the audiences that it theoretically serves.
Through this unit, you will explore how ownership and regulation affect output and access
to television products, including the impact of new technologies on production, distribution
and consumption.
Key issues and debates covered will include the maintenance of standards, the relationship
between public service and commercial television, and the question about possible effects
and influences on audiences. An analytical exploration of television and video products will
enable you to understand better how producers and broadcasters target their audiences,
and to make links between institution, text and audience. This unit provides an excellent
opportunity for potential television employees to understand what determines the shape of
television products. The unit will give you a real insight into the constraints on production
both from a regulatory point of view and in terms of audience demands.
Learning Outcomes
1. Understand the structure of the television and video industry in the UK
2. Know about the key issues and debates that affect the television and video industry
3. Be able to apply textual analysis techniques to the study of television / video products
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Unit 26: Film Studies
Unit Introduction
This unit aims to develop your understanding of how films are created for specific
audiences and how they make meaning for those audiences through an exploration of
industry practices and the application of a range of theoretical approaches. The insights
that you develop will inform your future production work.
All approaches to studying film are theoretical to a greater or lesser extent. Even casual
discussion about movies often reveals recognition of, and a cultural investment in, the
auteur as the source of the film’s meaning. A theoretical approach to film simply recognises
that we need to consciously apply specific ways of responding to film texts in order to make
our interpretation clear, not only to others but to ourselves as well. Done properly this is
not merely an exercise in regurgitating theory; the effective application of theory and the
use of specific analytical tools to produce different understandings of the same texts
improves our understanding, enlivens our appreciation, and, for film practitioners, informs
and enhances their production activity.
This unit will help you to develop an understanding of a number of theoretical approaches
to film and apply them to specific films. You will come to understand that films do not exist
in a vacuum, nor do they simply appear like flowers in the spring. Rather, they are created
by a range of determinants and influences that include the culture and politics of the
country where they are produced, the finance that enables their production, the technology
of film production, distribution and exhibition, and the nature and structure of the industry
that produces them. In addition, you will explore the often complex relationship between
audiences and films and will be able to understand why and how audiences watch and
make sense of films in particular ways.
Learning Outcomes
1. Be able to apply different analytical approaches to films
2. Understand the relationship between films and their production contexts
3. Understand the relationship between producers and audiences.
4. Understand the relationship between audiences and films
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Assessment Criteria for Unit 25: Television and Video Studies
P1 Describe the structure of
the television and video
industry with some use of
subject terminology
M1 Explain the structure of the
television and video industry
with reference to detailed
illustrative examples and
generally correct use of subject
terminology
D1 Comprehensively explain
the structure of the television
and video industry with
elucidated examples and
consistently using subject
terminology correctly
P2 Outline accurately the key
issues and debates that affect
industry with some appropriate
use of subject terminology
M2 Explain the key issues and
debates that affect the
television and video industry
terminology
D2 Critically evaluate the key
issues and debates that affect
industry with supporting
arguments and elucidated
examples and consistently
using subject terminology
correctly
P3 Describe television/video
products through the
application of textual analysis
techniques with some
appropriate use of subject
terminology
M3 Explain television/video
products through the
application of textual analysis
techniques with reference to
detailed illustrative examples
and generally correct use of
subject terminology
D3 Critically evaluate
television/ video products
through the application of
textual analysis techniques
with supporting arguments and
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Assessment Criteria for Unit 26: Film Studies
P1 Apply approaches to
analysing films with some
terminology
M1 Apply approaches to
analysing films coherently with
reference to detailed illustrative
examples and generally correct
D1 Apply approaches to
analysing films critically,
supporting points with
arguments and elucidated
examples and consistently
using subject terminology
correctly
P2 Describe the relationship
between films and their
production contexts with some
terminology
M2 Explain the relationship
between films and their
production contexts with
reference to detailed illustrative
examples and generally correct
the relationship between films
and their production contexts
with elucidated examples and
between producers and film
audiences with some
terminology
between producers and film
audiences with reference to
detailed illustrative examples
and generally correct use of
subject terminology
the relationship between
producers and film audiences
with elucidated examples and
between audiences and films
with some appropriate use of
subject terminology
between audiences and films
terminology
the relationship between
audiences and films with
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TASKS
TASK ONE
(Unit 26 = P1, M1, D1)
You are required to explore how camerawork, editing, mise-en-scène and sound construct
meaning for (and provoke response from) the audience in a five-minute extract of Training
Day (2001). This will take the form of an illustrative essay.
Remember to create a separate bibliography that references any used sources.
Things to consider:
Camerawork; editing; mise-en-scene; sound; Hall’s Encoding/Decoding theory
(1973); Blumler and Katz’s Uses and Gratifications theory (1974).
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TASK TWO
(Unit 26 = P2, M2, D2)
You are to write an illustrative essay comparing a contemporary remake of a film with the
original version. The two films that you will be analysing are The 300 Spartans (1962) and
300 (2006). The article must focus on production contexts and the factors influencing those
contexts.
Things to consider:
Genres; stars; trends; financial determinants; technologies; distribution and
exhibition; synergy; social, political and regulatory issues.
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TASK THREE
(Unit 26 = P3, M3, D3)
You are to write an illustrative essay that focuses on the production and marketing
techniques of the Harry Potter film series (2001-2011), and how these techniques were
used to attract a global audience.
Things to consider:
Technologies available; locations used; cast and crew; the publicity and
marketing strategy.
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TASK FOUR
(Unit 26 = P4, M4, D4)
You are to write an illustrative essay on why horror is the best film genre.
Things to consider:
Active spectatorship; audience reception; readings; intertextuality; role of social
media; pre and post-viewing experiences.
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TASK FIVE
(Unit 25 = P1, M1, D1)
Plan and design a slideshow that comprehensively explains and illustrates the structure of a
specific television company.
Things to consider:
Ownership; funding; synergy; examples of products/services; regulatory bodies
(BBC Trust, Ofcom).
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TASK SIX
(Unit 25 = P2, M2, D2)
Plan and design a slideshow that explains, illustrates and evaluates the key issues and
debates that affect the TV and video industries.
Things to consider:
Ratings wars; technologies (Internet, smartphones); regulation (Ofcom); audience
effect theories (Moral Panics, Encoding / Decoding, Uses and Gratifications).
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TASK SEVEN
(Unit 25 = P3, M3, D3)
You are to write an illustrated piece that critically evaluates a chosen television production
by applying specific textual analysis techniques.
Things to consider:
Genre; narrative; message(s); target audience; impact on audience; audience
effect theories (Moral Panics, Encoding / Decoding, Uses and Gratifications).
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TASK DEADLINES
Task 1
Task 2
Task 3
Task 4
Task 5
Task 6
Task 7
Portfolio hand-in
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RECOMMENDED READING
Key:
Author (year), Title (edition), Publisher.
International Standard Book Number
Branston and Stafford (2010) The Media Student’s Book (fifth edition), Routledge.
ISBN: 978-0-4155-5842-6
Cherry B (2009) Horror: Routledge Film Guidebooks, Routledge.
ISBN: 978-0-4154-5668-5
Orlebar J (2011), The Television Handbook (fourth edition), Routledge.
ISBN: 978-0-415-60414-7
Turow J (2011), Media Today (fourth edition), Routledge.
ISBN: 978-0-4158-7608-7
Villarejo A (2013), Film Studies: The Basics, Routledge.
ISBN: 978-0-415-58496-8
The BBC’s About page – www.bbc.co.uk/aboutthebbc
The BBC’s film site – www.bbc.co.uk/film
The British Film Institute – www.bfi.org.uk
The BFI’s History of Film and TV site – www.screenonline.org.uk
The British Film Council – film.britishcouncil.org
The Guardian’s film site – www.guardian.co.uk/film
The Independent’s film site – www.independent.co.uk/arts-entertainment/film
The Internet Movie Database – www.imdb.com
The Sector Skills Council for Creative Media – www.skillset.org
The Sector Skills Council for Creative Media’s TV site - http://www.creativeskillset.org/tv/industry
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Units 25, 26 Assignment Brief

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