OSP: Final index

Having reached the end of our Online, Social and Participatory media unit we need to create an index to ensure we haven't missed any of the content. 

Creating an index is a great way to start your revision for the January mock exams as well as ensuring you haven't missed anything. 

Online, Social and Participatory index

Your index should include the following:

1) OSP: Clay Shirky - End of Audience blog tasks
2) OSP: Influencers and celebrity culture

3) OSP: Zendaya CSP - Language and Representations

4) OSP: Zendaya CSP - Audience and Industries 
5) OSP: Postcolonial theory - Gilroy and diasporic identity
6) Baseline Assessment learner response

7) OSP: The Voice - blog case study

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. 

Index due date: next exam lesson.

Videogames: Women in videogames & Further feminist theory

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

You can find the further notes on van Zoonen in this Google document (you'll need your Greenford Google login to access).

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?


And now read this short Protocol feature on Anita Sarkeesian's talk to the Game Developers Conference in 2022. This covered the progress in gender representation in videogames and references Horizon Zero Dawn and Forbidden West. Answer the following questions:

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’:

A/A* Extension tasks: Anita Sarkeesian Gamespot interview

If you're interested in this topic and aiming for a top grade, read this Gamespot interview with Anita Sarkeesian of Feminist Frequency and think about some of the following questions:

What reaction did Anita Sarkeesian receive when she published her videos on women in videogames? You can find more information on this on Sarkeesian’s Kickstarter fundraising page.

How does Sarkeesian summarise feminism?

How has the videogame landscape changed with regards to the representation of women?

What is the impact of the videogames industry being male-dominated?

Finally, to find out more about the online backlash and #gamergate, this Guardian feature links the online abuse to the American alt-right movement also credited with electing Donald Trump.

Deadline: Complete for homework - due date on Google Classroom.

OSP assessment: Learner response

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.

Videogames: The Sims FreePlay - Audience and Industries

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.

Audience

Read this App Store description and the customer reviews for The Sims FreePlay and answer the following questions:  

1) What game information is provided on this page? Pick out three elements you think are important in terms of making the game appeal to an audience.

2) How does the game information on this page reflect the strong element of participatory culture in The Sims?

3) Read a few of the user reviews. What do they suggest about the audience pleasures of the game? 

Participatory culture

Read this academic journal article - The Sims: A Participatory Culture 14 Years On. Answer the following questions:

1) What did The Sims designer Will Wright describe the game as?

2) Why was development company Maxis initially not interested in The Sims?

3) What is ‘modding’?

4) How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

5) Look specifically at p136. Note down key quotes from Jenkins, Pearce and Wright on this page.

6) What examples of intertextuality are discussed in relation to The Sims? (Look for “replicating works from popular culture”)

7) What is ‘transmedia storytelling’ and how does The Sims allow players to create it?

8) How have Sims online communities developed over the last 20 years?

9) Why have conflicts sometimes developed within The Sims online communities?

10) What does the writer suggest The Sims will be remembered for?

Read this Henry Jenkins interview with James Paul Gee, writer of Woman as Gamers: The Sims and 21st Century Learning (2010).

1) How is ‘modding’ used in The Sims?

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?

Industries

Regulation – PEGI

Research the following using the VSC website PEGI page - look at the videos and Q&A section.

1) How does the VSC and PEGI ratings system work and how does it link to UK law?

2) Click on the PEGI Rating tab in the top menu. What are the age ratings and what content guidance do they include?

3) What is the PEGI process for rating a game? 

The ‘Freemium’ gaming model

Read this Lifewire feature on freemium gaming and answer the following questions:

1) How does the freemium model work?

2) Why do some gamers believe freemium is ruining games?

3) What are the positives of the freemium model for gaming?

Now read this Business Insider feature on freemium gaming and multiplayer games. Answer the following questions:

1) Note the key statistics in the first paragraph.

2) Why does the freemium model incentivise game developers to create better and longer games?

3) What does the article suggest regarding the possibilities and risks to the freemium model in future?

Read this New York Times feature on freemium gaming and answer the following questions:

1) Why did Temple Run use the freemium model?

2) The bigger gaming studios like Electronic Arts used to avoid the freemium model. Why are they now embracing it?

3) Why does Peter Farago suggest independent game makers benefit more from the freemium model than the major publishers like EA?

Electronic Arts

Read this Pocket Gamer interview with EA’s Amanda Schofield, Senior Producer on The Sims FreePlay at EA's Melbourne-based Firemonkeys studio. Answer the following questions:

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.

Finally, read this blog on how EA is ruining the franchise (or not) due to its downloadable content. Answer the following questions:

1) What audience pleasures for The Sims are discussed at the beginning of the blog?

2) What examples of downloadable content are presented?

3) How did Electronic Arts enrage The Sims online communities with expansion packs and DLC?

4) What innovations have appeared in various versions of The Sims over the years?

5) In your opinion, do expansion packs like these exploit a loyal audience or is it simply EA responding to customer demand?

Complete for homework: due date on Google Classroom.

Coursework: Statement of Intent

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.

Into Film Festival - trip letters and briefing sheets

The Into Film Festival is a fantastic opportunity to see films and hear talks from people in the film industry. 

For our two Into Film Festival trips, you can find all the paperwork below. You'll need to log in to your Greenford Google account to access.

Oppenheimer screening

• Trip letter
• Briefing sheet

BFI screening and exhibition

• Trip letter
• Briefing sheet

We hope you enjoy the trips!

Coursework: Filming

Our coursework projects are really starting to take off with some brilliant preliminary exercises. Now it's time to complete filming on our full three-minute video productions.

This next stage of the project is critical - it is where the video project will stand or fall. The next tasks and deadlines are as follows:

Production filming window

Film everything you need for your three-minute video production.

Filming window: Friday 10 November - Monday 4 December. This means you need to film everything between these two dates.
Deadline: Monday 4 December

Video rough cut deadline

Full three-minute edited and exported rough cut (first draft) of your TV production uploaded to YouTube and linked on your blog. 

Deadline: Monday 18 December

Tutorials
While you work on the above deadlines, you will have another tutorial with your coursework teacher looking at your pre-production planning, statement of intent and checking your project is on track. For those who film early in the filming window, it will also involve checking the 'rushes' (the film clips as they come in). 

If you need a recap on the brief from AQA, you can find the brief here - Brief One: TV Crime Drama.

This is the moment you need to step up... we're asking for professional standards to match the incredible production work Greenford Media students have produced in the past. Good luck!

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 and narrative or technical elements such as mise-en-scene, camerawork or editing.

The deadline for these feedback and learner response tasks will be set by your coursework teacher and on Google Classroom.

Videogames: The Sims FreePlay - Language & Representations

Our first videogames CSP is The Sims FreePlay (2011).

This is another in-depth CSP so will require significant work and research to complete your case study.

Background: mobile gaming

• The videogames industry has changed massively since the emergence of the smart phone and app store distribution model.
• Mobile gaming has changed the audience demographics for gaming and brought the industry into the mainstream.
• The app store model means tech giants such as Apple and Google are making significant sums from mobile gaming but mobile hits can still earn developers millions.
• Angry Birds made developer Rovio $200m in 2012 and broke 2 billion downloads in 2014.

The Sims FreePlay

• The Sims FreePlay is a spin-off from the hugely successful Sims franchise first published by Electronic Arts (EA) in 2000.
• The game is a strategic life simulation game (also known as the sandbox genre). 
• The Sims FreePlay takes the game on to phones and tablets and uses the ‘freemium’ model that makes money via in-app purchases.
• The game has seen more than 200 million downloads since 2011 – remarkable success.

Representations

The Sims franchise offers range of representations on gender, age, race/ethnicity, sexuality, capitalism and even reality itself.

One aspect of The Sims is the values and ideologies that the game reinforces. Although it has been praised for its liberal values over, for example, LGBTQ+ representation, it could also be argued that the game reinforces dominant American capitalist ideologies.

Expansion pack trailers

A useful way to analyse representations in The Sims FreePlay is to study the trailers produced by EA to promote expansion pack DLC. For example: 





Using these expansion pack trailers, we can study the representation of gender, age, race/ethnicity and much more.

The Sims and postmodernism

Watch this introduction to Baudrillard from 8-Bit Philosophy:



Baudrillard argued that our culture now perceives the ‘copy’ (media representation) as more real than the ‘original’ and stated that we live in a culture where the ‘fake’ is more readily accepted than the ‘real’ – therefore creating hyperreality. This blurs the line between fiction and reality.

The Sims franchise is a perfect study in hyperreality as it allows players to create an entirely constructed life through the game.

The Sims FreePlay social media channels also provide an example of simulacra – they are situated in the real world and interact with real players but feature entirely constructed fictional content from the game. Here, they also make intertextual references to real celebrities. Where is the line between fiction and reality?

You can read more on Baudrillard, Hyperreality, postmodernism and The Sims in these notes - you'll need your Greenford Google login. 

The Sims FreePlay CSP - Language & Representations blog tasks

Create a new blogpost called 'The Sims FreePlay CSP - Language & Representations' and complete the following tasks.

Language / Gameplay analysis

Watch The Sims: FreePlay trailer and answer the following questions:

1) What elements of gameplay are shown?

2) What audience is the trailer targeting?

3) What audience pleasures are suggested by the trailer?

Now watch this walk-through of the beginning of The Sims FreePlay and answer the following questions:

1) How is the game constructed?

2) What audience is this game targeting?

3) What audience pleasures does the game provide?

4) How does the game encourage in-app purchases?

Representations

Re-watch some of the expansion pack trailers and answer the following questions:

1) How do the expansion pack (DLC) trailers reinforce or challenge dominant ideologies?

2) What stereotypes have you identified in The Sims FreePlay?

3) What media theories can you apply to representations in The Sims FreePlay?

Representation reading

Read this Forbes article on gender and racism in The Sims franchise and answer the following questions:

1) How realistic does The Sims intend to be?

2) How has The Sims tried to create more realistic representations of ethnicity?

3) How has The Sims responded to racism and sexism in society?

4) What is The Sims perspective on gender fluidity and identity?

5) How does The Sims reinforce the dominant capitalist ideologies of American culture?

Read this New Normative feature on LGBTQ representation in The Sims franchise (the website link no longer works but that will take you to the text of the article - you'll need your Greenford Google login to access). Answer the following questions:

1) How did same-sex relationships unexpectedly help the original Sims game to be a success?

2) How is sexuality now represented in The Sims?

3) Why have fans praised the inclusion of LGBTQ relationships in The Sims franchise?

4) Why did the Sims run into regulatory difficulties with American regulator the ESRB? How did EA respond?

5) How is sexuality represented in the wider videogames industry today?

Reality, postmodernism and The Sims

Read this Paste Magazine feature on reality and The Sims franchise. Answer the following questions:

1) What does the article suggest about the representation of real life in The Sims 4?

2) What audience pleasures did the writer previously find in The Sims franchise?

3) Why the does the writer mention an example of a washer and dryer as additional DLC?

4) In your opinion, has The Sims made an error in trying to make the franchise too realistic?

5) How does this representation of reality link to Baudrillard’s theory of hyperreality - the increasingly blurred line between real and constructed?

The Sims FreePlay social media analysis

Analyse The Sims FreePlay Facebook page and Twitter feed and answer the following questions:

1) What is the purpose of The Sims FreePlay social media channels?

2) Choose three posts (from either Twitter or Facebook) and make a note of what they are and how they encourage audience interaction or response.

3) Scroll down the Facebook feed briefly. How many requests for new content can you find from players? Why is this such as an important part of the appeal for The Sims FreePlay?

4) What tweets can you find in the Twitter feed that refer to additional content or other revenue streams for EA?


Extension: Postmodernism academic reading

If you're interested (or planning on studying Media or Cultural Studies at university), read this highly academic and challenging summary of hyperreality, implosion and postmodern theory from the University of Chicago. Consider how these approaches apply to the digital media landscape we’ve been studying and in particular the videogame industry and franchises like The Sims. For example, linking to our work on postmodernism and The Sims, how could The Sims FreePlay's social media presence be an example of Baudrillard’s hyperreality and simulacra?

Due date: on Google Classroom

Visiting speaker: Michael Tuft

TV producer, editor and executive Michael Tuft is visiting Greenford to give a talk on Tuesday 7 November at 9.15am in the Library. 

Michael has worked across British television channels like Channel 4, Channel 5 and the BBC as well as international streaming services such as Apple TV. Notable productions include the documentary series 24 Hours in A&E and Natural History Museum: Saving the Planet.

On the creative industries Talent Manager website Michael describes himself as follows:

"I am a BAFTA and RTS nominated Series Producer and Executive Producer (BBC, C4.and C5 ). I also like to Edit Produce. I'm highly skilled in factual programming including presenter-led, documentary, fixed-rig, obs doc, popular doc, primetime, daytime and factual entertainment and digital production. Always looking for new ways to tell great stories. My key demonstrable skills cover all aspects of successful, efficient prize-winning content production: hiring, inspiring and running teams, development, pitching, budgeting, securing access, talent management, health & safety, foreign filming, legal and editorial compliance, edits, scripting, publicity and post-broadcast management."

This is a brilliant opportunity for Media students to hear from and question a creative industries professional. 

We're asking all Post-16 Media students to attend the talk but if you have another lesson at that time you will need to discuss this with your teacher in advance to ensure they are happy for you to attend. You will also need to catch up with any missed work.

Date: Tuesday 7 November 9.15am - Library in B Block 

Think about a question you could ask Michael: this may be about working in the creative industries or it might be linked to what we've studied - the impact of technology and streaming services in TV, diversity in the media industries, creating representations through editing etc.

We look forward to seeing you there!