Coursework: Pre-production planning

Pre-production is an essential part of the filmmaking process. You now need to plan your THREE TikTok videos in detail to ensure you capture everything you need when filming.

There are four key elements to pre-production: treatment, mise-en-scene planning, a comprehensive shot list and a well-planned shooting schedule.

Create a new blogpost on your coursework blog called 'TikTok pre-production' and work through the following planning tasks:

1) TikTok video treatments

You may already have THREE detailed TikTok video treatments from your summer project and/or preliminary exercise - definitely use or develop those if it works with your project. 

However, you may need to update your treatment or even change it completely now you have finished your preliminary exercise. 

Remember the brief lists the following possibilities:

• personal information from the artist
• replication of a social media trend (eg ‘bees in a trap’ video, ice-bucket challenge) 
• extracts from podcasts, press conferences, red carpet appearances and/or promotional interviews
• clips from a music video
• any other content you feel is appropriate.

You might also want to consider:

• interviews/AMAs with the artist
• content created by the artist
• performances, live shows or personal appearances 
• the artist interacting with fans 
• fan-made content 
• merchandise or promotion of the band’s music 

The focus of your videos should be to attract and engage audiences and encourage audience interaction

by offering interesting content. At least one video should promote the soft drink.

2) Mise-en-scene planning

Plan everything that will appear in front of the camera in your TikToks.

Remember CLAMPS: Costume, Lighting, Actors (cast, placement, movement, expression), Make-up, Props, Setting.

Costume
What will your artist wear? What other costumes will be required? What is the costume supposed to communicate to the audience? How does this link to genre or constructing representations?

Lighting
How will you light the different scenes in your videos? Day or night? Interior or exterior? If outside, can you use streetlights, shadows, reflected sunlight or other creative techniques to achieve the lighting style you want? If inside, experiment with creative lighting techniques using windows, blinds, artificial lights, phone flashes, ring lights and more. You may also want to use our professional lighting set-up with a white or greenscreen background depending on how you plan to conduct the interviews - speak to Mr Ray if you want to arrange this for an after-school filming session.

Actors/performers
The first thing you need to plan is your cast - who will be in your production? The key casting is obviously your artist but you may have other characters too. Try and cast people who are reasonably similar to the character or performer they are playing (both in age and personality). Next, plan their placement and movement in key scenes - how will the audience get to know them? How do you plan to position the audience to connect with your artist?

Make-up
Plan any make-up you require - this can be very important for music artists.

Props
What props will you require? Remember, you can't use anything that might resemble a weapon in a public or school location (this is VERY important). 

Setting
This should already be largely planned using your video treatments. However, now is the time to specify exact locations. For external locations, try and take pictures of settings or use Google Maps and Google Earth. Spending quality time planning your locations can make a huge difference to the professionalism of your production. AQA also seem to prefer external rather than school-based locations - particularly for a brief like this.

If you have a bit of budget to work with you may want to look at booking a rehearsal studio to get more of a band or performance feel to your music video. Pirate studios are an example of a rehearsal and recording studio with several London locations.

YouTube guidance

There are plenty of tutorials on YouTube to help with the pre-production process.

Here's a video guide to Mise-en-scene at degree or film-school level:



...And here's Darius Britt on the top 15 mistakes new filmmakers make - there are a few key aspects of Mise-en-scene in there:



3) Shot list

The final aspect of your pre-production planning is to write a comprehensive shot list for every single possible shot you plan to film for your videos. For one minute for each video, with lots of jump cuts, etc. that is going to be a LOT of shots - quite possibly 30-40 per minute.

Remember, a shot list is a full list of all the shots in your video with information for each of them (shot type, action/movement etc.) Creative shot choices aside, it’s easy to forget that a shot list is a strategic document. Creating a shot list is essentially like creating a shooting gameplan for the day.

Here's our friend Darius with a reminder of the different shot types and angles:

 

Here are some top tips for writing a shot list:

 

Your shot lists need to contain EVERY shot you plan to film for your every video AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. Cutaways are important as TikTok videos generally have fast-paced editing so you'll need a LOT of shots.

We advise using a simple table on Microsoft Word or Google Docs to set out your shot list - you can find an example from a short film here. It makes sense to write your shot list by scene or location rather than a huge list of every shot in the promo video in chronological order. 

If you're artistic, you may want to sketch out your shot list in the form of a storyboard. You can find a storyboard template here that you can print and then sketch if that's your preferred way of working.

Pre-production due date - see Show My Homework

OSP: Paul Gilroy - Postcolonial theory and diasporic identity

There are several important theories we need to learn and apply to our Online, Social and Participatory media unit.

These include Clay Shirky's End of Audience theories, Stuart Hall's work on representation and reality and Paul Gilroy's postcolonial theory of black diasporic identity.

Notes from the lesson

Stuart Hall: representation and reality

Stuart Hall suggests individuals each have their own conceptual map – effectively what we use to decode and understand media texts.

Building on this, Hall outlines three approaches to understanding the relationship between reality and representations: 

Reflective approach: the media simply mirrors (or reflects) the real world. This is a limited approach that minimalises the power or complexity of the media.

Intentional approach: the producer of the text constructs the world as they see it and the audience accepts those values encoded in the text. This is effectively the dominant or preferred reading (reception theory) and leaves no room for the negotiated or oppositional reading.

The constructivist approach: this was Hall’s preferred approach and closely matches reception theory with preferred and oppositional readings. This suggests concepts and signs do have some shared meanings but they are not all inherent and can be interpreted by the audience in a number of ways (dependent on their own ‘conceptual map’).

Paul Gilroy: black diasporic identity

We first explored Paul Gilroy’s theories of black diasporic identity when studying music video.

This is the idea that black identity is informed by diaspora – literally the ‘scattering of people’ across the world. He suggests this creates a “liquidity of culture” that means black identity is formed by journeys across seas, not the solid ground of a home country or culture.

Importantly, Gilroy sees this identity as impossible to reverse – there can be no return to the place of origin as the experience of slavery and displacement can never be “rewound”.

Gilroy: black British identity

The Voice newspaper was formed in 1982 to create a voice for the black British community. Gilroy wrote of the dominant representation of black Britons at that time as “external and estranged from the imagined community that is the nation”.

Gilroy suggests diaspora challenges national ideologies and creates “cultural tension”. This tension helps to create the diasporic identity but often comes with negative experiences such as exclusion and marginalisation. 

More succinctly, Gilroy sums this up as the white racist’s question to BAME people: “Why don’t you just go home?”

BBC controversy

Gilroy wrote about this in the 1970s and 1980s but it's been in the news much more recently with Brexit and Trump bringing debates about race and immigration to the fore. In 2019, the BBC found itself embroiled in a controversy regarding BBC Breakfast presenter Naga Munchetty's response to Donald Trump suggesting congresswomen should 'go home' to the countries in which they or their parents were born. The original clip and full article can be found below:




Paul Gilroy and Russell Brand

Paul Gilroy took part in Russell Brand’s Under The Skin podcast, exploring ideas and modern culture. Russell Brand has since been accused of unacceptable behaviour but the focus of this is on Paul Gilroy's answers and opinions which remain valid. Watch the following two extracts and consider how Gilroy’s ideas reflect recent events and media culture.

Extract 1: 17.50 – 25.45
Extract 2: 44.30 – 48.08

Paul Gilroy - blog tasks

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet 170: Gilroy – Ethnicity and Postcolonial Theory. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets or you can access it online here using your Greenford Google login.

Read the Factsheet and complete the following questions/tasks:

1) How does Gilroy suggest racial identities are constructed?

2) What does Gilroy suggest regarding the causes and history of racism?

3) What is ethnic absolutism and why is Gilroy opposed to it?

4) How does Gilroy view diasporic identity?

5) What did Gilroy suggest was the dominant representation of black Britons in the 1980s (when the Voice newspaper was first launched)?

6) Gilroy argues diaspora challenges national ideologies. What are some of the negative effects of this?

7) Complete the first activity on page 3: How might diasporic communities use the media to stay connected to their cultural identity? E.g. digital media - offer specific examples.

8) Why does Gilroy suggest slavery is important in diasporic identity?

9) How might representations in the media reinforce the idea of ‘double consciousness’ for black people in the UK or US?

10) Finally, complete the second activity on page 3: Watch the trailer for Hidden Figures and discuss how the film attempts to challenge ‘double consciousness’ and the stereotypical representation of black American women.

Due date: on Show My Homework

Taylor Swift: Audience and Industries blog tasks

The final part of our Taylor Swift case study explores Audience and Industry contexts.

The exam could focus on anything from the changing nature of digital audiences to the regulation and financial power of social media giants.

Notes from the lesson: Audience

There is a lot of interesting demographic data regarding Taylor Swift's fans from American polling company Morning Consult found that:

• Some 53% of U.S. adults said they were fans of Swift, and 16% identified themselves as “avid” fans of the star.
• Of avid fans, just 44% identified themselves as “Swifties,” the name given to members of Swift’s fanbase. Among avid fans, 74% are white, compared to 13% who are Black, 9% who are Asian and 4% who are members of other races.
• Some 45% of avid fans are millennials, people between the ages of 27 and 42, while 23% are baby boomers, 21% are Gen Xers and just 11% are members of Gen Z—those 26 and under.
• A slim majority, 55%, of avid Swift fans are Democrats, compared to 23% who are politically independent and 23% who are Republicans.
• Her fanbase is evenly split across genders: 48% is male, and 52% is female, according to the survey.
• 73%. That’s how many avid fans said that Swift’s music is a driving force of their support of her, compared to 50% who cited her performances and music videos and 42% who cited her relatability.
• Avid fans and U.S. adults agree that 1989 is Swift’s best album. Some 15% of avid fans picked this work, more than any other album, compared to 7% of U.S. adults who did. Another 7% of U.S. adults said Fearless was her best album.

A YouGov poll (from the UK) found:

• a pretty equal gender split  53% female, 47% male 
• YouGov also found Swifties like Ed Sheeran, Ariana Grande, Coldplay and Cher
• Swifties pay attention to ads more than the average (56% versus 38% general population)
• 42% of Taylor Swift fans enjoy celebrity-endorsed ads
• 40% of Taylor Swift fans are willing to pay for Vinyl records
• 54% of Taylor Swift fans say music it's important for a music artist to have a vision
• 40% of Taylor Swift fans like 80s music

Swift's fanbase also skews very close to the overall demographics of the US population which shows what a mainstream sensation she has become. Overall American population demographics (2020 figures): 

• Men 49.2%
• Women 50.8%
• White alone: 57.8%
• Black or African American alone: 12.4%
• Asian alone: 6.0%
• Some other race alone: 0.9%
• Generation Z: Approximately 23% of the US population (roughly half of which are legal adults)
• Millennials: Approximately 24% of the US population
• Generation X: Approximately 21% of the US population
• Baby Boomers: Approximately 28% of the US population
• About 29% of US households had an income of $100,000 or more per year in 2020.
• About 28% of US households had an income between $50,000 and $99,999 per year in 2020.

Sources: 

https://www.forbes.com/sites/marisadellatto/2023/03/14/more-than-half-of-us-adults-say-theyre-taylor-swift-fans-survey-finds/

https://yougov.com/en-gb/articles/48989-7-data-driven-insights-on-taylor-swifts-british-fan-base

How Taylor Swift uses social media to connect with her audience - parasocial relationships: 

 

Taylor Swift: Voice of the Millennials or Generation Z?

Generations:

• Generation X: Born between 1965 – 1980
• Millennials / Generation Y: Born between 1981 – 1995
• Generation Z (or iGen): Born 1996 – 2010

Taylor Swift is a Millennial but most of her fans are Generation Z. Which generation does she best reflect? 

Industries

It was eventually resolved via a new deal but this nonetheless demonstrates the power social media companies now have across different types of media - including the music industry.

2023 Online Safety Bill

The 2023 Online Safety Bill is attempting to regulate the internet – but has been heavily amended and criticised as it makes its way through Parliament. 

Watch this BBC News interview on the topic: 

Watch: Channel 4 debate on regulation

Watch this Channel 4 News debate featuring the President of messaging service Signal on end-to-end encryption.

Where do you stand on this debate? 

Create a new blogpost called 'Taylor Swift: Audience and Industries blog tasks' and work through the following to complete your case study.

Audience

Background and audience wider reading

Read this Guardian feature on stan accounts and fandom. Answer the following questions:

1) What examples of fandom and celebrities are provided in the article?

2) Why did Taylor Swift run into trouble with her fanbase? 

3) Do stan accounts reflect Clay Shirky's ideas regarding the 'end of audience'? How? 

Read this Conversation feature on the economics of Taylor Swift fandom. Answer the following questions: 

1) What do Taylor Swift fans spend their money on? 

2) How does Swift build the connection with her fans? Give examples from the article.

3) What have Swifties done to try and get Taylor Swift's attention online? 

4) Why is fandom described as a 'hierarchy'? 

5) What does the article suggest is Swift's 'business model'? 

Taylor Swift: audience questions and theories

Work through the following questions to apply media debates and theories to the Taylor Swift CSP. You may want to go back to your previous blogpost or your A3 annotated booklet for examples. 

1) Is Taylor Swift's website and social media constructed to appeal to a particular gender or audience?

2) What opportunities are there for audience interaction in Taylor Swift's online presence and how controlled are these? 

3) How does Taylor Swift's online presence reflect Clay Shirky’s ‘End of Audience’ theories? 

4) What effects might Taylor Swift's online presence have on audiences? Is it designed to influence the audience’s views on social or political issues or is this largely a vehicle to promote Swift's work? 

5) Applying Hall’s Reception theory, what might be a preferred and oppositional reading of Taylor Swift's online presence? 

Industries

How social media companies make money

Read this analysis of how social media companies make money and answer the following questions:

1) How many users do the major social media sites boast?

2) What is the main way social media sites make money? 

3) What does ARPU stand for and why is it important for social media companies? 

4) Why has Meta spent huge money acquiring other brands like Instagram and WhatsApp? 

5) What other methods do social media sites have to generate income e.g. Twitter Blue? 

Regulation of social media

Read this BBC News article on a report recommending social media regulation. Answer the following questions:

1) What suggestions does the report make? Pick out three you think are particularly interesting. 

2) Who is Christopher Wylie? 

3) What does Wylie say about the debate between media regulation and free speech? 

4) What is ‘disinformation’ and do you agree that there are things that are objectively true or false? 

5) Why does Wylie compare Facebook to an oil company? 

6) What does it suggest a consequence of regulating the big social networks might be? 

7) What has Instagram been criticised for?

8) Can we apply any of these criticisms or suggestions to Taylor Swift? For example, should Taylor Swift have to explicitly make clear when she is being paid to promote a company or cause? 

A/A* extension tasks

Read Deconstructing Taylor in Media Magazine MM51 which covers representations, postmodernism and the relationship between Swift and her fans. You can find this in our Media Magazine archive.

Read Media Factsheets Taylor Swift Online Part 1 (282) and 2 (291) which covers her online presence the construction of brand identity, her communication with audiences and how she uses online media as a marketing tool. You can find this in our Media Factsheets archive.

Read this Guardian article on teenagers and phone addiction. Do you recognise what it is discussing?

Read this Guardian article on the Online Harms Bill. What does it suggest regarding regulation of social media companies?

This Guardian article also explores the mental health implications of social media. Do you think that strict regulation of social media should happen?

Complete for homework - due date on Show my Homework.

Year 13 Baseline assessment: Learner response

Well done on completing your Year 13 Media baseline assessment - it's an important first step towards success in the exams next June.

This also gave us the opportunity to revise two key topics that are likely to come up in those exams - Magazines and Radio. It's the nature of the two-year linear course that we will be assessed on topics that we may have originally studied over a year ago. As a result, it's vital that we build in revision activities and assessments across all nine types of media as we progress through Year 13. 

The first part of your baseline assessment learner response is to look carefully at your mark, grade and comments from your teacher. Next, read the assessment mark scheme which can be found on Satchel One and note in particular the anticipated content for each question. 

Baseline assessment learner response

Create a new blog post called 'Year 13 baseline assessment learner response' and complete the following tasks:

1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

2) Focusing on the BBC Newsbeat question, write three ways it helps to fulfil the BBC's mission statement that you didn't include in your original assessment answer. Use the mark scheme for ideas.

3) Question two asked you how useful media effects theories are in understanding the audience response to War of the Worlds. Complete the following:

• Gerbner's Cultivation theory: useful or not useful? Why?
• Frankfurt School's Hypodermic Needle model: useful or not useful? Why?
• Stuart Hall's Reception theory: useful or not useful? Why?

4) Write a full essay plan for the 25-mark Magazines question. The mark scheme contains plenty of ideas you can use here. Your plan should include notes/bullet points addressing the following:

• Introduction: one sentence answering the original question and laying out your argument clearly.
• Paragraph 1 content/ideas:
• Paragraph 2 content/ideas:
• Paragraph 3 content/ideas:
• Paragraph 4 content/ideas:
• Conclusion: sum up your argument a final time in one sentence

5) Finally, identify three key skills/topics you want to work on in A Level Media this year before the final exams in the summer.

Deadline on Satchel One.

Coursework: Preliminary exercise feedback and LR

The preliminary exercise is a brilliant opportunity to learn or refresh the basics of filmmaking before creating your actual coursework project.

After the screening of the preliminary exercises in class, you need to create a blogpost called 'Preliminary exercise learner response' and embed your video from YouTube. Then, complete the following tasks as your feedback and learner response:

1) Type up your teacher's feedback in full plus a summary of the comments you received from other students in the class.

2) Using a combination of your own reflection on the preliminary exercise and the feedback you were given, write three WWW bullet points and three EBI bullet points for your work.

3) How effectively did you complete the objective you laid out in your mini preliminary exercise statement of intent?

4) What have you learned from the preliminary exercise that will help you in the actual coursework project?

5) Now you have completed the preliminary exercise, will you change anything about your actual coursework video plan? This could include your concept, cast/actors or technical elements such as mise-en-scene, camerawork or editing.

The deadline for these feedback and learner response tasks will be set on Satchel One.

OSP: Taylor Swift CSP - Language and Representations

 Our first Online, Social and Participatory CSP is global pop sensation Taylor Swift and her use of online media.

The study will focus on the website and social media presence of Taylor Swift and how she constructs her online persona to influence 'Swifties' the world over.

Notes from the lesson

Taylor Swift: introduction

Taylor Swift is one of the most commercially successful figures in the global music industry, having been a star from a young age and working in a range of genres including country, pop and rock. The media company Bloomberg has estimated her wealth at just over $1billion. She was the most played artist on Spotify in 2024 pulling in on over 26.6 billion streams and was Time magazine’s Person of the Year (2023) and was Time magazine’s Person of the Year (2023). The financial magazine Forbes ranked her as the fifth most powerful woman in the world (the women above her in the list were all politicians).

Taylor Swift is a millennial artist (born 1989) whose (often very devoted) fans, known as ‘swifties’, range from young teens, Gens X and Z, millennials as well as the baby-boomer generation (‘senior swifties’). The persona she constructs across online and social media reflects the need to address these different target audiences. Swift is also a very influential figure in an industry context, credited with shifting the power relationships between the music industry and individual artists.

Source: AQA CSP booklet. 

Taylor Swift: websites

You can check out Taylor Swift's main website here and her tour microsite here.

Taylor Swift: social media

Taylor Swift uses social media very deliberately to create impact. In 2018 she wiped all her social media before returning to platforms a couple of days later with a snake video that was designed to kick off an album announcement. 

Taylor Swift: representations 

Taylor Swift is the perfect example of a modern celebrity – fully in control of her persona and able to skilfully construct her representations across multiple media platforms and through her live performance. She has also highlighted the representation of women in the media and music industry.

Taylor Swift: Language and Representations blog tasks

Narrative

Go to our Media Magazine archive (issue MM79) and read the feature All Too Well on Taylor Swift and how she controls her own narrative. Answer the following questions: 

1) Why is Taylor Swift re-recording her earlier albums? 

2) Why did Taylor Swift choose to make the short film 'All Too Well'? 

3) What other examples are provided in the article of Taylor Swift using media to construct her own image? 

Taylor Swift textual analysis

Work through the following tasks to complete your textual analysis of Taylor Swift's website and social media. 

1) Go to Taylor Swift's website. What do you notice about the media language choices - text, font, images, page design, links?

2) Now visit her Eras tour microsite. What do you notice about the construction of this site in terms of images and website conventions? 

3) Visit Taylor Swift's Twitter feed. Analyse her use of tweets/posts - are they promoting her music, her tour, or something else? Can you find any that are socially or politically oriented? 

4) Look at Taylor Swift's Instagram account. What do you notice about the selection and construction of images, reels and posts?  

5) Research Taylor Swift across any other social media accounts - e.g. Facebook. Do you notice any differences in how she represents herself on different platforms? Comment on text, images or tone/content.  

A/A* extension tasks

Read this academic history of celebrity culture and social contexts. How much can we find that is relevant to the kind of celebrity persona Taylor Swift has created? 

Read Written and Directed by Taylor Swift in Media Magazine MM84 - a feature on Swift's music videos including how she is using her Instagram channel to position herself as an up-and-coming director as well as music star. You can find this in our Media Magazine archive here.

Finally, consider this question: How does the construction of Taylor Swift's online presence reflect the social and cultural changes of the last 10 years? 

You will have some lesson time on this but will need to complete for homework. Due date on Show My Homework.

OSP: Influencers and celebrity culture

Social media and influencers have added a whole new dimension to celebrity culture in the last 15 years.

As part of our study of online, social and participatory media - and before we start studying Taylor Swift - we need to explore the rise of influencers and the way celebrity culture has changed. This also builds on last week's work on Clay Shirky and his End of Audience theories. 

User-generated content

Influencers exist because of changes in technology and the internet. This created social media sites like YouTube and Facebook and led to the rise in user-generated content.

User-generated content (UGC) is any content—text, videos, images, reviews, etc.—created by audiences, rather than brands or professional producers.

This links to Shirky’s work on audiences as producers – we create and share media as well as viewing it.

The rise of influencers: changing culture

The rise of social media influencers and online celebrity culture has fundamentally changed the relationship between brands, stars and audiences. 

Some argue that YouTube has democratised the contemporary media landscape – anyone can become the next star and audiences can choose who to follow. Others suggest that social media has blurred the boundaries between advertising and entertainment – and that young audiences are being exploited.

Influencers and their impact on media and culture

What impact are influencers having on society, media and culture? You need to be able to form your own opinion on this question. To help you, watch this BBC Panorama programme on influencers. Here's a brief summary:

Here's the extended 28-minute Panorama if you'd like to see more:

Bad Influencer: Belle Gibson & The Great Insta Con

The danger with user-generated content is whether we can trust what we see on social media. Belle Gibson was one of the first lifestyle influencers but ended up in a controversy over faking cancer diagnoses to promote her posts. This is a preview of a BBC3 documentary on Belle Gibson and the Great Insta Con:

Influencers and celebrity culture: blog tasks

1) Media Magazine reading

Media Magazine 72 has a feature linking YouTube influencers to A Level media theories. Go to our Media Magazine archive, click on MM72 and scroll to page 60 to read the article ‘The theory of everything - using YouTubers to understand media theory’. Answer the following questions:

1) How has YouTube "democratised media creativity"?

2) How does YouTube and social media culture act as a form of cultural imperialism or 'Americanisation'? 

3) How do influencers reinforce capitalist ideologies? 

4) How can YouTube and social media celebrity content be read as postmodern, an example of hyperreality? 

5) What are the arguments for and against regulating online content such as YouTube?

6) How can Hesmondhalgh and Curran & Seaton's ideas be linked to online media debates? 

7) How can Gauntlett's ideas around identity and audience be applied to YouTube and influencer content?

8) What is YOUR opinion on celebrity influencers? Are they a positive, democratic addition to the contemporary media landscape or a highly constructed product promoting hegemonic capitalist ideologies?   

2) How to build a social media brand: case study

Read this excellent case study on how to build a celebrity social media brand and answer the following questions: 

1) What are the different ways celebrities manage their social media accounts? Give examples. 

2) Why is 'voice' important in celebrity social media content and what examples are provided? 

3) What different goals may celebrities have for their social media accounts? 

4) What types of content can be found from celebrity social media posts? 

5) How does social media allow influencers to interact with fans? Give examples.  

3) Guardian article: Social media harming young people

Finally, read this Guardian article reporting that social media and celebrity culture is harming young people. Answer the following questions:

1) What did the YMCA's report suggest about social media content and celebrity culture?  

2) What examples are provided of how this can have a damaging effect on young people? 

3) What is YOUR opinion on this topic? Do you feel social media is dangerous to young people? Should age restrictions be enforced? Explain your answer. 

A/A* extension tasks

Read this excellent, academic article on the history of celebrity culture recommended by exam board AQA. Has digital culture changed the nature of celebrity or have things always been like this?  

Read this Forbes article on how covid and TikTok have changed the influencer market in the last couple of years. What does this tell us about society and media culture - are we becoming more creative and independent or is this just another way to sell more products to more people?

Due date on Show my Homework.