AQA · GCSE
Your journey to excellence inMedia Studies
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Start with the first Media Studies lesson.
What GCSE Media Studies Studies
1What GCSE Media Studies StudiesRead next2The Four Areas of the Theoretical FrameworkRead next3The Nine Media Forms You Must KnowRead next4What Close Study Products AreRead next5Why CSPs Change Each YearRead next6Audio-Visual, Print and Online CSP RequirementsRead next7Social, Cultural, Historical and Political ContextsRead next8Analysing Media in ContextRead next9Comparing Media Products EffectivelyRead next10Extended Responses and Synoptic ThinkingRead next11Paper 1 OverviewRead next12Paper 2 OverviewRead next13NEA OverviewRead next14AO1 Knowledge and UnderstandingRead next15AO2 Analysis and JudgementRead next16AO3 Creating a Media ProductRead next
What Media Language Means
1What Media Language MeansRead next2Denotation and ConnotationRead next3Signs, Signifiers and MeaningRead next4Icons, Symbols and CodesRead next5Anchorage and How It Fixes MeaningRead next6Sender, Message and ReceiverRead next7How Media Products Communicate MeaningRead next8Selection, Combination and ExclusionRead next9How Media Constructs RealityRead next10Register and Mode of AddressRead next11Direct AddressRead next12Indirect AddressRead next13Building Narratives Through Media ChoicesRead next14Constructing Points of ViewRead next15Communicating Messages and ValuesRead next16Representing the World Through Media LanguageRead next17Propp’s Character TypesRead next18Exposition in NarrativesRead next19Disruption in NarrativesRead next20Complication in NarrativesRead next21Climax in NarrativesRead next22Resolution in NarrativesRead next23Enigma and Audience InterestRead next24Closure and Audience SatisfactionRead next25How Technology Shapes Media ProductsRead next26Image ManipulationRead next27High Definition and Visual QualityRead next28CGI and Constructed RealitiesRead next29Mobile Technology and Media ConsumptionRead next30User-Generated ContentRead next31Technical Codes in Moving ImageRead next32Shot TypesRead next33Camera MovementRead next34CompositionRead next35LightingRead next36EditingRead next37Diegetic SoundRead next38Non-Diegetic SoundRead next39Dialogue and Audio MeaningRead next40Print Design CodesRead next41Layout and Page DesignRead next42Typography and Font ChoiceRead next43Colour and MeaningRead next44JuxtapositionRead next45SuperimpositionRead next46House StyleRead next47Grids and Visual OrganisationRead next48Symbolic Codes and Mise-en-ScèneRead next49CostumeRead next50Make-Up and HairRead next51PropsRead next52Set DressingRead next53LocationRead next54Actor PerformanceRead next55Verbal CodesRead next56Non-Verbal CodesRead next57ParalanguageRead next58What Genre IsRead next59Repetition and Variation in GenreRead next60Genre Conventions Across Media FormsRead next61The Dynamic Nature of GenreRead next62Hybrid GenresRead next63IntertextualityRead next64How Genre Changes Over TimeRead next65Financial Influences on GenreRead next66Cultural Influences on GenreRead next67Audience Demand and Genre DevelopmentRead next
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What Representation Means in Media
1What Representation Means in MediaRead next2Re-Presentation Rather Than RealityRead next3Selection in RepresentationRead next4Construction in RepresentationRead next5Mediation in RepresentationRead next6Why Some Media Looks RealisticRead next7The Media as a Window on the WorldRead next8The Media as the MessageRead next9Events as Media RepresentationsRead next10Individuals as Media RepresentationsRead next11Social Groups as Media RepresentationsRead next12Ideas and Values in RepresentationRead next13Essentialist Views of GenderRead next14Social Constructionist Views of GenderRead next15Feminist Approaches to RepresentationRead next16How Producers Choose to Represent PeopleRead next17How Producers Choose to Represent IssuesRead next18Audience PositioningRead next19Biased RepresentationRead next20Prejudicial RepresentationRead next21Persuasive CommunicationRead next22Representation in AdvertisingRead next23Representation in MarketingRead next24Political Bias in MediaRead next25PropagandaRead next26What Stereotypes AreRead next27Why Stereotypes Become EstablishedRead next28Positive StereotypesRead next29Negative StereotypesRead next30Why Stereotypes Help Fast InterpretationRead next31Challenging StereotypesRead next32Subverting StereotypesRead next33Under-RepresentationRead next34MisrepresentationRead next35Bias and PartialityRead next36Representation and Dominant ValuesRead next37Self-Representation in MediaRead next38Dominant RepresentationsRead next39Contested RepresentationsRead next40Viewpoints, Messages and BeliefsRead next41Agenda SettingRead next42News ValuesRead next43Social Significance of RepresentationsRead next44Cultural Significance of RepresentationsRead next45Political Significance of RepresentationsRead next46How Historical Context Shapes RepresentationRead next47How Cultural Context Shapes RepresentationRead next48How Changing Values Affect RepresentationRead next49Audience Interpretation of RepresentationsRead next50How Age Influences InterpretationRead next51How Class Influences InterpretationRead next52How Gender Influences InterpretationRead next53How Ethnicity Influences InterpretationRead next54How Personal Experience Shapes MeaningRead next
What Media Industries Are
1What Media Industries AreRead next2Production, Distribution and CirculationRead next3Large Organisations in the MediaRead next4Individuals and Groups as ProducersRead next5Who Owns Media ProductsRead next6Patterns of OwnershipRead next7Media MergersRead next8Media DemergersRead next9Media TakeoversRead next10Concentration of OwnershipRead next11Production Processes in MediaRead next12Media Personnel and RolesRead next13Technology in ProductionRead next14How Production Decisions Shape Final ProductsRead next15Where and When Media Products Are MadeRead next16Working Practices in Media IndustriesRead next17Conglomerate OwnershipRead next18DiversificationRead next19Vertical IntegrationRead next20Horizontal IntegrationRead next21The Impact of Ownership and ControlRead next22What Convergence MeansRead next23Cross-Media OwnershipRead next24Content Providers and Platform ProvidersRead next25Convergence Across PlatformsRead next26Convergence Across National SettingsRead next27Government-Funded MediaRead next28Not-for-Profit MediaRead next29Commercial Media ModelsRead next30The Television Licence FeeRead next31Advertising as FundingRead next32Sponsorship as FundingRead next33Product PlacementRead next34Direct SalesRead next35Independent and Voluntary Sector MediaRead next36Media as Global BusinessRead next37Globalisation and Media IndustriesRead next38Large Audiences and Niche AudiencesRead next39Cultural ImperialismRead next40International Trade in Media ProductsRead next41Regulation in the MediaRead next42Self-RegulationRead next43Government RegulationRead next44Freedom, Censorship and ControlRead next45OfcomRead next46IPSORead next47VSCRead next48BBFCRead next49ASARead next50PEGIRead next51Digital Technology and RegulationRead next52Online Abuse and BullyingRead next53Online AnonymityRead next54ISP ResponsibilitiesRead next55Social Network ResponsibilitiesRead next56Public Interest and Individual RightsRead next
What Media Audiences Are
1What Media Audiences AreRead next2Active AudiencesRead next3Passive AudiencesRead next4Audience ResponseRead next5Audience InterpretationRead next6Uses and Gratifications TheoryRead next7Why Audiences Matter in Meaning-MakingRead next8Media Effects and Audience PowerRead next9Mass AudiencesRead next10Specialised AudiencesRead next11Why Media Producers Target Different AudiencesRead next12Audiences as a Product for AdvertisersRead next13Marketing Media ProductsRead next14Audience Assumptions Made by ProducersRead next15Genre Conventions and Audience TargetingRead next16Guerrilla MarketingRead next17Viral MarketingRead next18TrailersRead next19TastersRead next20TeasersRead next21Audience SegmentationRead next22Geographic SegmentationRead next23Demographic SegmentationRead next24Psychographic SegmentationRead next25Media Technologies and Audience ReachRead next26Identifying Audiences Through DataRead next27Online Audience Data CollectionRead next28BARBRead next29RAJARRead next30PamcoRead next31NielsenRead next32Quantitative Audience ResearchRead next33Qualitative Audience ResearchRead next34Primary ResearchRead next35Secondary ResearchRead next36Why Different Audiences Read Products DifferentlyRead next37Reception TheoryRead next38Preferred ReadingsRead next39Aberrant ReadingsRead next40Social Differences in Audience ResponseRead next41Individual Differences in Audience ResponseRead next42Why Audience Responses Change Over TimeRead next43Media Practices and IdentityRead next44Actual Self and Desired SelfRead next45Identity and Audience MembershipRead next46Fans and FandomRead next47Talking About the MediaRead next48The Social Significance of Media ProductsRead next49The Cultural Significance of Media ProductsRead next50The Political Significance of Media ProductsRead next51Media and NeedsRead next52Media and DesiresRead next53Media Functions in Everyday LifeRead next54Historical Products and Modern AudiencesRead next55Changing Cultural Values and Audience ResponseRead next
How to Approach a CSP
1How to Approach a CSPRead next2Analysing CSPs Through Media LanguageRead next3Analysing CSPs Through RepresentationRead next4Analysing CSPs Through IndustriesRead next5Analysing CSPs Through AudiencesRead next6Comparing Print CSPsRead next7Comparing Audio-Visual CSPsRead next8Comparing Online and Participatory CSPsRead next9Linking CSPs to ContextsRead next10Using CSP Evidence in Exam AnswersRead next11Applying Theory Without Retelling the ProductRead next12Moving from Product Detail to ArgumentRead next13Comparing Two Products in a Structured ParagraphRead next14Using Terminology Accurately with CSPsRead next15Bringing Context Into CSP AnalysisRead next
Television as a Media Form
1Television as a Media FormRead next2Radio as a Media FormRead next3Newspapers as a Media FormRead next4Magazines as a Media FormRead next5Advertising and Marketing as a Media FormRead next6Online, Social and Participatory MediaRead next7Video Games as a Media FormRead next8Music Video as a Media FormRead next9Film in the Context of Media IndustriesRead next10How Convergence Connects Media FormsRead next11Similarities Across Media FormsRead next12Differences Across Media FormsRead next
What the NEA Requires
1What the NEA RequiresRead next2Reading an AQA Brief CarefullyRead next3Understanding the Intended AudienceRead next4Choosing Appropriate Media LanguageRead next5Choosing Appropriate RepresentationsRead next6Planning an Original Media ProductRead next7Writing a Statement of IntentRead next8Explaining Aims Clearly in the Statement of IntentRead next9Using Subject Terminology in the Statement of IntentRead next10Linking Creative Choices to AudienceRead next11Meeting the Brief FullyRead next12Creating Original Images, Footage and TextRead next13Using Unassessed Participants CorrectlyRead next14Acknowledging Non-Original MaterialRead next15Designing Websites Without CodingRead next16Designing Video Games Without CodingRead next17Managing Time for the NEARead next18Producing Work IndependentlyRead next19Avoiding MalpracticeRead next20Understanding the Marking CriteriaRead next21Excellence in Media Language for NEARead next22Excellence in Representation for NEARead next23Excellence in Communicating Meaning to an AudienceRead next24Reviewing Work Against the BriefRead next25Final Checks Before SubmissionRead next
Understanding Command Words
1Understanding Command WordsRead next2Reading Unseen Sources QuicklyRead next3Spotting Media Language in Unseen SourcesRead next4Spotting Representations in Unseen SourcesRead next5Using Context in Short AnswersRead next6Building a Strong Analytical ParagraphRead next7Embedding Subject TerminologyRead next8Comparing Products in the ExamRead next9Writing About Industry FactorsRead next10Writing About Audience FactorsRead next11Planning an Extended ResponseRead next12Sustaining a Clear Line of ReasoningRead next13Supporting Judgements With EvidenceRead next14Avoiding Description-Only AnswersRead next15Moving From Feature to EffectRead next16Linking Analysis to ContextRead next17Linking Analysis to AudienceRead next18Timing Paper 1 EffectivelyRead next19Timing Paper 2 EffectivelyRead next20Revising CSPs EfficientlyRead next
Paper 1 Section A: Language and Representation
1Paper 1 Section A: Language and RepresentationRead next2Paper 1 Section B: Industries and AudiencesRead next3Paper 2 Section A: Television Extract AnalysisRead next4Paper 2 Section B: Newspapers or Online and Participatory MediaRead next5NEA Weighting and ExpectationsRead next6Balancing Exam Revision and NEA PreparationRead next