We have now finished our final in-depth topic - Videogames. Your have done some superb work on women in videogames, Henry Jenkins, fandom and postmodernism. You now need to complete a Videogames blog index to ensure you have completed all the work for our in-depth Videogame CSPs.
This process is clearly excellent revision for the Media mock exams approaching as there is a lot of theory in there that could be applied across the full range of CSPs.
For your index, the text should link to YOUR corresponding blogpost so you can access your work on each aspect of the case study quickly and easily. This also means you if you have missed anything you can catch up with the work and notes and won't underperform in mock exams or class assessments due to gaps in your knowledge.
Your January A Level Media mock exams are the real deal - the opportunity to put everything you have learned to the test. Students typically do better in the summer exams than the last set of mocks - but usually only by around a grade. This means you need to make sure you are fully prepared for these exams with the aim of achieving your target grade or just off it. The following will help you plan your revision: Media Paper 1 Section A will always focus on Media Language and Representations. This means the following CSPs could come up: Advertising & Marketing Score hair cream (1967) & Sephora Black Beauty Is Beauty - Advertising index is here Music Video Old Town Road & Ghost Town - Music Video index is here
Section B will always focus on Media Audiences and Industries. This means the following CSPs could come up:
Newspapers (not in January mock exam - we haven't covered this yet)
The Daily Mail and The Guardian
Unseen question
The first question in Media Paper 1 Section A will always be an unseen media product.
The second question will also relate to the unseen while also bringing in a CSP. This means it is likely the unseen product will link to advertising and marketing or music promotion.
There will be TWO 20-mark essays in Paper 1 – at the end of each section (Q4 and Q7). AQA states for your extended response questions:
“You will be rewarded for your ability to construct and develop a sustained line of reasoning which is coherent, relevant, substantiated and logically structured.” This means you need to write an essay that constructs an argument that answers the question you have been given.
Question 4 will be an evaluation of theory question so you need to know the named theorists on the specification and be able to offer an opinion or evaluation of their key ideas. You can look through this AQA Specimen Paper 1 paper to familiarise yourself with the structure of the paper. Note that several of the CSPs have changed since this specimen paper was produced.
Media Paper 2
The first question in Media Paper 2 will always be a 9-mark question on an unseen media product.
Aside from Q1, Media Paper 2 tests your in-depth topic areas:
The Sims FreePlay and Horizon Forbidden West - index is here.
Indeed, the majority of Paper 2 will be THREE 25-mark essays on your in-depth topics. AQA states for your extended response questions:
“You will be rewarded for your ability to construct and develop a sustained line of reasoning which is coherent, relevant, substantiated and logically structured.” This means plan and write an essay with a clear and convincing argument!
The structure for the 25-mark questions in Paper 2 is as follows:
Q2: evaluation of theory question - you MUST focus on the theory and simply use CSPs for evidence
Q3: contexts question (e.g. social and cultural contexts)
Q4: synoptic question - more details below
Q4: Synoptic question
The final question in Paper 2 will always be the synoptic question – which requires you to demonstrate knowledge of the whole two-year course of study. AQA states:
“Question 4 is a synoptic question in which you will be rewarded for your ability to draw together different areas of knowledge and understanding from across the full course of study.”
How do we do this? Answer: Key concepts - Language, Representations, Audience, Industries. In your answer make sure that you are addressing 2-3 of the key concepts in responding to the question. This will demonstrate your knowledge of the whole course - but make sure you do stay focused on the question! You can look through this AQA Specimen Paper 2 paper to familiarise yourself with the structure of the paper. Note that several of the CSPs have changed since this specimen paper was produced.
How to revise
Revision is a very personal thing and everyone has different techniques. Here's a video on YouTube with top tips for A* A Level revision:
Personally, I strongly recommend using flash cards (they are often called record cards if you are trying to buy them online or in WHSmiths). The simple act of distilling topics into a few key words or phrases to put on the card will seriously help in remembering the key information in the final exams. I have spare flash cards in DF07 if you'd like some. Try creating three sets of cards:
Use the example question booklets we gave you in class to test yourself against the kind of questions to expect in these exams. The practice questions we looked at in class can be found here: Exemplar question notes from class.
Revision example and useful resources - thank you Assia!
One of our former Year 13 Media students, Assia, very kindly shared some of her revision resources with us when she left Greenford. These are notes on CSPs which you may find useful but I'd also recommend creating your own similar resources for the CSPs to help you remember the key details. By the way, this is what an A grade student looks like! You'll need your Greenford Google login to access these and note that some of the CSPs have changed this year:
If you want to mix up your Media revision a little then you can always read around the subject or look through our Factsheet archive for topics you're struggling with.
Anything you read in our Media Magazine archive will help to give you a wider perspective on media debates and every issue has several articles which focus on interesting examples, theories and debates that will help you in the Media exams. You'll find our Media Magazine archive here.
Similarly, you have access to our whole Media Factsheet archive if there are any particular topics or theories you want to revise in more detail. Look at these for example:
If you want to test your knowledge of the complete subject content, you can find it on the AQA website here. Look at the menu on the left-hand side - under media language, media representation etc. you'll find everything that could come up in exams:
Remember, you need to revise EVERYTHING you have learned over the last 18 months for A Level Media in preparing for these exams - terminology, theory and CSPs. Good luck!
The final part of our Horizon Forbidden West case study focuses on Audience and Industry. This requires us to research the companies that produced the game and also consider how the videogames audience is changing.
Audience
Target audience
Does Horizon Forbidden West really target a female audience? Or is the console gaming audience still male dominated? Research by YouGov in 2022 suggests that console gamers are still majority male:
YouGov show that the major console audience is still male dominated - 71% male for PS5 and 68% for Xbox. However, the Nintendo Switch demonstrates that the videogame market is changing and perhaps games like Horizon Forbidden West are also pushing that change.
Postmodern pleasures
Horizon Forbidden West is a good example of the blurring of 'high' and 'low' culture that Strinati identifies as a key convention of postmodernism. We can see this in the game where the character Tilda's vault contains real exhibits from the Rijksmuseum in Amsterdam. Henry Jenkins suggested videogames as the "art form for the 21st century". Is HFW the evidence of this?
This collaboration is also a good example of Baudrillard's hyperreality - the increasing difficulty in telling what is real in a media-saturated world. The works of art in HFW are real - but the game is entirely constructed. Do audiences now enjoy greater pleasures from 'real' media products?
Industries
Guerrilla Games is the result of a merger of three earlier companies (starting in 1993) which reflects gaming’s origins in small independent companies in contrast to its current status as a global, billion-dollar industry.
The structure of Guerrilla Games and its parent company (Sony) is an example of contemporary media practice in maintaining control of production, distribution and circulation. This is also a case study in vertical integration.
20 years of Guerrilla Games - Killzone and Horizon
Working at Guerrilla Games: behind the scenes
Does this behind the scenes video challenge Hesmondhalgh’s theory regarding the lack of diversity in the cultural industries? It also links to the global nature of the multibillion dollar videogames industry.
Horizon Forbidden West: Audience and Industry blog tasks
Create a blogpost called 'Horizon Forbidden West: Audience and Industry' and work through the following tasks.
2) What are the key features for the game listed on the site?
3) What information does the website offer players about the game world and characters? Give a few examples.
4) What spin-offs and additional content are available as part of the Horizon franchise?
5) Applying Henry Jenkins's work on fandom, what aspects of the website (you may need to scroll down) encourage fan activity and engagement with online Horizon communities?
2) What studios are part of Sony PlayStation Studios?
3) What notable games have they produced?
4) Now research Guerrilla Games. Look at the 'Explore' page in particular. Who owns Guerrilla Games and how does it reflect the modern videogames industry?
5) Choose one of the 'Guerrilla Spotlight' features and write three things you learn about the videogames industry and/or Guerrilla Games from the interview.
1) Which three companies merged to become Guerrilla Games?
2) What other games and franchises were created by Guerrilla Games?
3) How did Guerrilla maximise the Killzone franchise?
4) What did Sony sign with Guerrilla in 2004?
5) How is Horizon Forbidden West described in the article and what is the next stage for the franchise?
Regulation and PEGI
1) What is HFW's PEGI rating and what age rating do you feel would be appropriate? Why?
2) Why is regulating videogames difficult in the digital age?
3) Are attitudes towards media content and regulation changing as a result of the internet? Explain your answer.
Due date: on Google Classroom
A/A* extension tasks
Read this fantastic GQ feature on Horizon Forbidden West - it takes in the history of the franchise, audience pleasures and also gender appeal and videogames. This is the kind of article that will make you an expert on the CSP and help you form opinions on the big media theories and debates. GQ is also another one of our in-depth CSPs too!
Read Factsheet 258 - Exploring the consumption of computer games. Look particularly at the application of media theory on the last two pages. You can find it in our Media Factsheet archive.
Our second videogames CSP is Horizon Forbidden West (2022). This is another in-depth CSP so will require two detailed blog tasks over the next couple of weeks. We'll start with an introduction alongside language and representation contexts. Horizon Forbidden West: introduction
Released in February 2022 as a sequel to the highly successful Horizon Zero Dawn (2017).
Available on PS4, PS5 and Windows platforms.
Horizon Forbidden West sold over 8 million copies in its first year.
Excellent reviews including 9/10 on IGN.
Developed by studio Guerrilla Games which is based in Amsterdam and owned by Sony.
Background and media language
Genres: Action adventure / Action role playing / Sandbox / Open world
Protagonist/avatar (character player controls): Aloy
Setting: Post-apocalyptic future version of USA following extinction event caused by a robot swarm.
Gameplay: Exploring open world, completing quests using weapons against hostile machine creatures.
Official release trailer:
Official gameplay trailer:
Representation: social and cultural contexts
Horizon Forbidden West has been both praised and criticised for the representations of different groups. Driven by a strong, independent female protagonist in Aloy, the game has been held up as an example of how gender in videogames is changing.
Horizon Forbidden West also has an LGBT storyline which can be seen as further evidence of Gauntlett’s view of the liberalising influence of the mass media, particularly in recent years.
However, the game has also been criticised for its representation of indigenous populations and Asian Americans with the accusation of lazy stereotypical tropes.
Key scene analysis
Watch the key scene where Aloy’s love interest storyline develops and think about how representations of gender and sexuality are constructed:
Edward Said: Orientalism
Edward Said (1935-2003) was a Palestinian-American cultural theorist and academic best known for his 1978 book Orientalism.
In it, he argued that the west – particularly colonising Europe – constructed a meaning of the east that suggested it was exotic, dangerous and uncivilised.
East v West
Edward Said argues that the Europeans divided the world into two parts: the east and the west or the civilized and the uncivilized. This was a totally artificial boundary; and it was laid on the basis of the concept of ‘them and us’ or ‘theirs and ours’.
The Europeans defined themselves as the ‘superior race’ and they justified their colonisation by this concept. Media to this day contains particular tropes associated with these views.
“A plethora of racist tropes emerge within Forbidden West’s world. There’s a stereotypical angry Black woman named Regalla, for example, who leads a rebel army and would rather die than seek peace. There’s also constant belittling between tribes, who call each other “savage” or “uncivilized” — terms loaded with racial undertones. There’s also plenty of Orientalism.”
Horizon Forbidden West: Language and Representation blog tasks
Create a blogpost called 'Horizon Forbidden West: Language and Representation' and work through the following tasks.
For your index, the text should link to YOUR corresponding blogpost so you can access your work on each aspect of the case study quickly and easily. This also means you if you have missed anything you can catch up with the work and notes and won't underperform in assessments due to gaps in your knowledge.
Our second CSP gives us the opportunity to explore the representation and role of women in videogames.
Women in videogames: an introduction
The representation of women in videogames has long been considered sexist. Female characters are rarely playable and usually reinforce traditional gender stereotypes. Games that did feature female characters presented them as damsels in distress or sex objects.
Lara Croft of the Tomb Raider series is one of the most iconic characters in videogame history. But while she is a strong, independent playable character, her appearance and costume turned her into a digital sex object. In contrast, the character of Aloy in Horizon Forbidden West could be a sign of progress.
Tropes vs Women in Video Games
Vlogger and gaming expert Anita Sarkeesian has produced two series of YouTube videos documenting the representation of women in videogames.
Vlogging as Feminist Frequency, the series are an important example of digital feminism (and a superb resource for Media students). However, as a result, she has been a target for online abuse and threats – most notably as part of the #gamergate controversy.
Further feminist theory
We have looked at a range of feminist ideas earlier in the course including Laura Mulvey, Judith Butler, Liesbet van Zoonen, the concept of post- or fourth-wave feminism and more. We now need to explore this further with a deeper understanding of bell hooks and van Zoonen.
Notes from the lesson Watch this short extract from Orange is the New Black star Laverne Cox interviewing bell hooks at The New School in New York: bell hooks is a highly influential radical black feminist. She sees feminism as a struggle to end patriarchal oppression - it should be a serious political commitment rather than a fashionable lifestyle choice: “Feminism is a movement to end sexism, sexist exploitation and oppression”. bell hooks also points to the importance of race and class when studying oppression.
Intersectionality
Intersectionality is defined as the common point of two forms of oppression and how they work against a particular group of people. For example, black feminism addresses both gender and race discrimination.
bell hooks suggests that race is so significant that the experiences of gender, class or sexuality-based discrimination cannot be fully understood without also considering race.
This is important when analysing power in society. For example, men generally have more power then women – but white, middle class western women generally have much more power than women from non-white backgrounds.
Liesbet van Zoonen
Liesbet van Zoonen is an influential feminist academic and linked gender roles and the media explicitly in her 1994 book Feminist Media Studies. Some of her key ideas:
Gender is constructed through media language
These constructions reflect cultural and historical contexts
The objectification of the female body is a key construct of western culture (building on Mulvey – male gaze)
If women have to be like men to be treated equally, then equality itself is repressive
Women and videogames: blog tasks Work through the following blog tasks to complete our work on women in videogames and further feminist theory. Part 1: Reading - Is Female Representation in Video Games Finally Changing? Read this short Medium feature on whether female representation in videogames is finally changing. Answer the following questions: 1) How have women traditionally been represented in videogames and what percentage of the video game audience is female? 2) What recent games have signalled a change in the industry and what qualities do the female protagonists offer? 3) Do you agree with the idea that audiences reject media products if they feel they are misrepresented within them?
1) How does Sarkeesian say things have changed in the videogames industry in the last 10 years?
2) Why is gaming still male dominated? Make sure your answer here includes the statistics quoted in the article.
3) How has the conversation shifted on representation in videogames?
Part 2: Further Feminist Theory: Media Factsheet
Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or here using your Greenford Google login. Find Media Factsheet #169 Further Feminist Theory, read the whole of the Factsheet and answer the following questions:
1) What definitions are offered by the factsheet for ‘feminism ‘and ‘patriarchy’?
2) Why did bell hooks publish her 1984 book ‘Feminist Theory: From Margin to Center’?
3) What aspects of feminism and oppression are the focus for a lot of bell hooks’s work?
4) What is intersectionality and what does hooks argue regarding this?
5) What did Liesbet van Zoonen conclude regarding the relationship between gender roles and the mass media?
6) Liesbet van Zoonen sees gender as socially constructed. What does this mean and which other media theorist we have studied does this link to?
7) How do feminists view women’s lifestyle magazines in different ways? Which view do you agree with?
8) In looking at the history of the colours pink and blue, van Zoonen suggests ideas gender ideas can evolve over time. Which other media theorist we have studied argues things evolve over time and do you agree that gender roles are in a process of constant change? Can you suggest examples to support your view?
9) What are the five aspects van Zoonen suggests are significant in determining the influence of the media?
10) What other media theorist can be linked to van Zoonen’s readings of the media?
11) Van Zoonen discusses ‘transmission models of communication’. She suggests women are oppressed by the dominant culture and therefore take in representations that do not reflect their view of the world. What other theory and idea (that we have studied recently) can this be linked to?
12) Finally, van Zoonen has built on the work of bell hooks by exploring power and feminism. She suggests that power is not a binary male/female issue but reflects the “multiplicity of relations of subordination”. How does this link to bell hooks?
A/A* Extension tasks: TED talk
Finally, if you’re interested in some of these ideas, there is plenty more reading and watching you can do. For example, watch this TEDx talk by renowned Nigerian/American novelist Chimamanda Ngozi Adichie ‘We should all be feminists’:
How has the videogame landscape changed with regards to the representation of women? What is the impact of the videogames industry being male-dominated?
Your Online, Social and Participatory media assessment was a great opportunity to test yourself on two key aspects of Media Paper Two - an unseen question and a 25-mark essay. The first part of your learner response is to look carefully at your mark, grade and comments from your teacher. If anything doesn't make sense, ask your teacher - it's crucial we're learning from the process of assessments and feedback as we move towards the exams at the end of this year. The second focuses on using the mark scheme as a learning resource and developing our skills in essay planning and structuring. Your learner response is as follows: Create a new blog post on your Media 1 Exam blog called 'OSP 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) Read the whole mark scheme for this assessment carefully. Identify three specific aspects from Figure 1 (the Google Home advert) that you could have mentioned in your answer (e.g. selection of image, framing and focus, colour, text etc.) 3) Now use the mark scheme to identify three potential points that you could have made in your essay for Question 2 (Hesmondhalgh - validity of theory/narrow range of values and ideologies). 4) Use your exam response, the mark scheme and any other resources you wish to use to write a detailed essay plan for Question 2. Make sure you are planning at least three well-developed paragraphs in addition to an introduction and conclusion. 5) Finally, identify three key areas you plan to revise from the OSP unit (CSP aspects or theories) having looked at your feedback from this assessment.
If you do not finish your learner response in the lesson your work is returned, this needs to be completed at home by your next exam lesson.
The second aspect of our in-depth case study on The Sims FreePlay focuses on the audience and industries key concepts. We need to know how videogames audiences have changed, how the industry is regulated and also the companies behind the game. However, the most significant aspect of this concept is the 'freemium' model that The Sims FreePlay uses. Notes from the lesson: Audience
The Sims FreePlay: Audience
The Sims franchise has demonstrated there is a strong and lucrative market in female gamers.
When The Sims was first pitched by creator Will Wright he described it as a ‘doll house’.
The development company Maxis weren’t keen because ‘doll houses were for girls, and girls didn’t play videogames’. EA then bought Maxis, saw potential in the idea and one of the most successful ever videogame franchises was born.
Expansion packs available for The Sims FreePlay reinforce the view that the target audience is predominantly female.
Participatory culture
The Sims franchise is one of the best examples of Henry Jenkins’ concept of participatory culture.
Since the very first game in the franchise, online communities have created, suggested and shared content for the game.
‘Modding’ – short for modifications – is a huge part of the appeal of the game. Modding changes aspects of the gameplay – anything from the strength of coffee to incorporating ghosts or even sexual content.
Notes from the lesson: Industries
Regulation: PEGI
The videogames industry is regulated by PEGI – Pan European Game Information.
In the UK, the Video Standards Council is responsible for regulating game content. In 2012, PEGI was introduced to UK law to make the age ratings legally enforceable.
It is illegal to sell games to people below the age of the rating.
The Sims FreePlay is rated 12+ due to mild references to alcohol, sexual content and similar adult themes.
Electronic Arts
The Sims franchise is owned by Electronic Arts (EA), a huge name in the videogames industry.
The Sims FreePlay was developed by Firemonkeys Studios, EA’s Australian subsidiary.
The franchise was originally developed by Maxis after EA acquired the company.
EA is famous for big-budget console games such as the FIFA series but has moved more into mobile gaming in recent years.
The 'freemium' model
The Sims FreePlay uses the ‘freemium’ model – free to download and play but with in-app purchases.
Although initially more popular with smaller, independent game developers, the freemium model is now a huge revenue generator for major publishers like EA.
The Sims FreePlay CSP - Audience and Industries blog tasks
Create a new blogpost called 'The Sims FreePlay CSP - Audience and Industries blog tasks' and complete the following tasks.
2) Why does James Paul Gee see The Sims as an important game?
3) What does the designer of The Sims, Will Wright, want players to do with the game?
4) Do you agree with the view that The Sims is not a game – but something else entirely?
5) How do you see the future of gaming? Do you agree with James Paul Gee that all games in the future will have the flexibility and interactivity of The Sims?
1) How has The Sims FreePlay evolved since launch?
2) Why does Amanda Schofield suggest ‘games aren’t products
any more’?
3) What does she say about The Sims gaming community?
4) How has EA kept the game fresh and maintained the active
player base?
5) How many times has the game been installed and how much
game time in years have players spent playing the game? These could be great introductory statistics in an exam essay on this topic.
Our coursework projects are developing well with filming underway and rough cut edits due before Christmas. We now need to update our Statement of Intent with our projects fully planned. This week, we need to write and submit a second draft of our Statement of Intent that will be marked and given feedback in terms of a current level and approximate grade. The Statement of Intent is worth 10 of the 60 marks so if we want A/A* we'll need something close to full marks on this component.
One important point to remember is that your Statement of Intent is what you are planning to do - so it must be written in the future tense ('I will...' rather than 'I have...') This is not an evaluation but instead a written account of what you intend to produce.
You need to submit the second draft of your Statement of Intent as a NEW blog post AND email or share a version from Microsoft Word / Google Docs with your coursework teacher. Statement of Intent guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent questions to consider document too (you'll need to log in with your Greenford Google account to open these documents).
Finally, here's an example Statement of Intent from a previous year (note different brief - TV drama trailer) to give you some ideas on how you can use layout and bullet points to include a large amount of information while keeping close to the 500-word limit.
Statement of Intent deadline: see Google Classroom
Mark scheme
A few of you have requested the mark scheme for the Statement of Intent. You can find it in the A Level Media specification document here - on pages 21-22 (if you keep scrolling you can also find the mark scheme for the remaining 50 marks for your productions).
If you need a recap on the brief from AQA, you can find it here - Brief One: Crime Drama and TV magazine. Your statement of intent is a vital part of the project so make sure you are demonstrating your excellent knowledge of media concepts, terminology and theory.
