Exam Planning - Ad industry and Regulation

Section B: Industry and Audience.
We are using the advertising industry to prepare for and to concentrate mainly on the industry question.
You should discuss three main advertising campaigns, not just single adverts.

Advertising key areas:

The aim of advertisers, whatever the product, is to persuade their audience, this is why advertising is often called the art of persuasion. Advertisements are usually created and produced by advertising agencies whose job it is to market research and come up with creative ideas.

Some campaigns do not use agencies and are produced in house, this may be the case for high profile, financially secure brands although they may recruit agencies to help them with something viral marketing.

Here are some strategies used by advertisers.

Use this terminology when you can but only when it is relevant, don't just 'shoehorn' it in.

Hard sell: This is aggressive, in your face marketing. Hard sell television adverts are usually short and loud. They give the audience clear information about the product, it's price if relevant and what it does.

Soft sell: These advertisements sell the audience a lifestyle, the product is often not the main focus of the advert and may only appear at the end as an iconic representation.

These adverts are often narrative based.

Celebrity endorsement: using an iconic celebrity to tell the audience how good the product is or persuading them to donate money. Other types of endorsement use ordinary people, as audiences are often convinced if they see someone more like themselves using the product or service. (B&Q).

Language and mode of address: The advert might use hyperbolic, emotive or persuasive language to sell the product or service. Catchy slogans or jingles can be an important element of advertising.

Demonstrative action: seeing the product in use, for example a cleaning product, can persuade an audience of its efficiency.

Ideology and messages: some adverts convey messages about what effect the product can have on the audiences.

Key terms: 

Advertising spokesperson: In advertising terms, this is someone who is employed to promote, speak about and be the face of the brand. The are usually high profile celebrities who will have audience appeal, for example Keira Knightley.

Buzz marketing: This can also be termed more simply buzz and is the term for word of mouth marketing. It is the interaction of consumers which creates a positive association, excitement or anticipation about a product or a service.

Globalization: Imagine the vast spectrum of all the cultures in the world. Listen to the music—from the gentle drum beats of Africa, to the melodic didgeridoo of Australia, to the scream of the electric guitar. Taste the curry from India, the coconut milk from Thailand, the cheeseburger from the United States. Now imagine that all these cultures are compressed into one super-culture.

Global brand: For a brand to become global depends on whether or not it generates a certain amount of sales outside its home country.

Links 4 U!

Coco Mademoiselle 1 | Coco Mademoiselle 2 |

Dove 1 | Dove 2 |

PP 1 | PP 2 |

ASA Stuff - Know why people complain about ads and who deals with those complaints

Things to remember for this section:

Advertising campaign - This is a co-ordinated series of linked advertisements with a clear recognisable theme. It will be broadcast across a range of different platforms.

Brand identity - This is the association the audience make with the brand, for example Chanel. This is built up over time and reinforced by the advertising campaigns and their placement.
For example, Chanel produces campaigns with high production values which appear in expensive, glamorous magazines. 

Part of their brand identity is their choice of spokesperson, for example Kiera Knightley.

Chanel appeals to audiences through, female empowerment and are actually selling a lifestyle because it is simply quite difficult to advertise a smell.

Iconic representation - The actual image of the product appears in the advert so that the audience knows what it looks like, for example a perfume bottle.

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PP - Paddy Power is an international betting and gaming group founded in 1988. Its unconventional approach to betting and gaming includes the simple vision that interacting with Paddy Power should be entertaining, fun and fair.

But with their core audience comprising men in their twenties and thirties, Paddy Power knew that their customer base was likely to be made up of smartphone users, so by not offering mobile betting the company stood to deny themselves a major competitive advantage. 

Paddy Power's marketing is all about mischief, PR and press coverage. This has gotten them into trouble with the ASA (Blind football - be ready to discuss this case, how many complaints ASA response).

PP are marketing a service here rather than a product.

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The Dove Campaign for Real Beauty was started after Dove conducted a global study on beauty. The study called, The Real Truth About Beauty: A World Report confirmed that the definition for beauty had narrowed and was impossible to attain. Dove found that:

• Just 12 % of women are very satisfied with their physical attractiveness
• Only 2 % of women describe themselves as beautiful
• 68 % strongly agree that the media sets an unrealistic standard of beauty
• 75 % wish the media did a better job in portraying the diversity of women's physical attractiveness, including size and shape, across all ages

The Dove Campaign for Real Beauty is a worldwide marketing campaign launched by Unilever in 2004 that includes advertisements, video, workshops, sleepover events, the publication of a book and the production of a play.

Dove are selling some soap.

Although it can be said that Dove are almost not selling a product, but a lifestyle behind it and the woman herself.

Consider using these terms:

Aspiration
Personal identity
Decoding messages
Denotations
Connotations

Dove launched ads celebrating curvy women and older women. 
While most brands focus on the importance of the product itself, Dove’s key message was the importance of every woman feeling good about herself. (Compare to Coco Mademoiselle with a different key message about luxury helping women to feel empowered).

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Chanel Coco Mademoiselle campaign

This campaign is a multi-layered advertising and promotional campaign comprising a series of print advertisements, two TV adverts, interactive digital performance adverts and a high profile promotion of the campaign itself. For this reason, it is a rich example to study for A level.

There have been two linked campaigns, both using Keira Knightly as the spokesperson for the brand. These were created and produced in house by Chanel. In 2007 there were a few print advertisements and a television advert and in 2011 there were two print adverts and an extended television advert. In 2007 and 2011, there were also other promotional films broadcast before and during the campaign.

In order to illustrate how Chanel marketed their product as luxurious and GLOBAL, indicate the high profile figures that were involved.

Keira Knightley - spokesperson (say how Knightley's previous film roles would attract audiences)

Joss Stone

Mario Testino

Coco Chanel's apartment

Paris

Ducati

Lagerfeld as designer

Joe Wright as director.

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Task: Work in pairs to brainstorm key figures and events in the ad campaigns we looked at.

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Exam Planning - TV industry - Text (Genre, Narra and Rep)

The exam will ask you to discuss Texts. (Genre, Narrative and Representation)
You should approach this with consideration given to the TV Industry texts we have looked at; Luther, LoM and Common.
You will need to show good knowledge of the narrative devices used in TV crime drama with specific references to the shows we have looked at.

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TV Industry - Narrative

Crime has always been a popular TV drama narrative because:

• The good vs evil binary opposition is easily recognisable and dramatic.
• We like to try to solve the crime along with the detective, enigmas keep us hooked.
• The disruption (crime) and restoration of equilibrium (capture and punishment) offers reassurance that the police keep our society safe and that the government will protect us.
• Dominant (hegemonic) ideologies are upheld - crime and lawlessness do not pay, the law prevails.
• These are audience pleasures provided by this format.

Task 1: 

Consider the question below

How do the narrative devices in your chosen texts offer audience pleasures?

Write bullet points based on the TV crime dramas we have looked at (Common, Luther and Life on Mars) with regards to narrative devices.

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TV Industry - Genre

How do the chosen texts use genre conventions?

You should open your response by outlining what is to be understood by the genre conventions of TV Crime drama.

Give consideration to the following:
Settings, usually well known places or cities which are dangerous places.
Titles, can give a clue to the genre, CSI, Sherlock, Sweeney. 

Mise-en-scene can include genre conventions, blood, X-Rays, weapons, fingerprints, police tape, sirens or cars...(discuss the Luther titles here).

Characters are divided into types; crime solvers, criminals, victims. 

Propp's characters can usually be applied here. Say how the different types can be identified, white coats, stethescopes, rubber gloves for forenzic experts. Say that these stereotypes are expected.

That they are cliches used to get a message across quickly.

At the end of the episode/series the crime is solved and the criminal usually is punished. 

Lead characters will often have a back story, and will weave their personal life in to the narrative. There is usually mystery involved, or some sort of puzzle, so that the audience can try to figure it out themselves. 

Almost always ends on a cliffhanger to keep the audience watching the next episode. 
Binary opposites are often used to keep the audience interested.
Don't forget audio codes such as sirens and often a humming sound to make the audience uncomfortable.

Consider the ideological implications of conforming or challenging the standard conventions of TV crime drama.

Be specific about the episode we looked at: LoM - Genre | Luther - Genre | Common - Genre

Task 2: 

Write bullet points based on the TV crime dramas we have looked at (Common, Luther and Life on Mars) with regards to genre conventions. 

Consider if the shows conform or challenge the conventions of the genre.

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TV Industry - Representation

Understanding the concept of representation is essential at A2 level. 

You must be able to go beyond a simplistic discussion of stereotypes or positive and negative representations.

To analyse the impact of representation in media texts you must be aware of the context and the purpose of representation within the text. There are some key questions you must be able to consider:

• How has the world represented in this media text been constructed?
• What ideas and values are being communicated in the text? In this case by McGovern and the BBC.
• Who is the target audience of the text? How may different audiences respond to the representations contained within the text? Who will accept and who will challenge? (Consider Stuart hall here - Preferred, negotiated and oppositional readers).
• What messages are contained within the text? How might these messages impact upon the audience?  How might Common, for example, impact upon a teenage viewer?

Crime and the police

Let the examiner know that you are aware of how characters are usually represented in TV crime drama.

Some dominant ideologies about the police:

• Good
• Authoritative
• Powerful
• Male
• Moral
• Upholders of the law

Equally, dominant ideologies about crime and criminals are:

• Bad
• Marginalised groups (the unemployed)
• Must be punished
• Social decay

However, gradual changes in society, coupled with certain events (Hillsborough) have led to a gradual erosion of respect for authority and different perceptions of the police have emerged...

• Incompetent
• Corrupt
• Racist
• Female

Luther - Representation | Common - Representation | LoM - Rep |

Task 3: 

Consider how representation of age and gender are constructed through visual and technical codes.

Do the texts we have looked at show positive or negative representations and show an awareness of the context and the purpose of representation within the text.

Audiences for Michael

• Audience positioning.

Audiences are not passive, we are active.

Texts are polysemic.

Text producers encode texts according to their own ideology.

The encoders include: Editors, journalists, photographers and designers.

Encoding is done through visual and technical codes, language and mode of address.

Some ideologies from Marie Claire magazine (October 2007 featuring Angelina Jolie)

• Looks and appearance are important
• Other people's opinions of you are important
• Feeling good about yourself and having self confidence is important
• Strong independent women should be celebrated - women hold positions of authority and influence
• Emotions and feelings should be discussed and reflected upon
• Celebrities are people too - with feelings and vulnerabilities
• Women need guidance to help them make the right choices
• Women are maternal
• A fashionable look is important but people (children) shouldn't be harmed in attaining this look
• Materialism

You can also discuss the Hollyoaks extract we looked at or the promotional poster for Kidulthood. (See your own task responses.

Audiences are positioned through the use of camera shots, angles and framing.

Humour and sometimes colloquial language or slang.

• Audience responses

This does not necessarily mean that an audience will accept and agree with these ideologies.

Stuart Hall should be applied when the question asks you about responses.

There are a few important things to remember about the three different positions that we can take.

Preferred Reading

Is not just about 'liking' a text - you must understand what the purpose of a text is and agree with its ideologies and the messages it carries.

Oppositional Reading

Is not just 'disliking' a text - there are many reasons why someone may take an oppositional reading - but whatever these reasons are, the audience member must understand what the intentions of the text are, but reject them.

Negotiated Reading

Can be the case whereby an audience member agrees with some ideologies and not others, but it can also be the case where the audience doesn't fully understand the intentions of the text - or is confused about the purpose of the text.

Readers of Marie Claire might take an Oppositional Reading, which might include...

• Rejecting materialism
• Believing that there are more important things in life than appearance
• Believing that having fashionable clothes is more important than knowing where the clothes come from
• It doesn't matter what others think of you so long as you are happy with yourself

• Audience appeal

Media texts appeal to audiences using a variety of methods:

Technical and audio codes - fast paced editing in an action text or bright colours in a gossip magazine

Language and mode of address - Voice over in a horror genre film may attract an audience with promises of a horrific narrative. 

Subject specific lexis

Hyperbole

Imperatives

Quotes to make the text authentic

Elipsis may put answers in the audiences head. 'Got Milk?'

• Audience categories

Here you can consider Psychometric profiles which deal with values and interests, lifestyles of the audience. 

The 4 C's - Mainstreamers, aspirers, reformers, succeeders.

Demographic profiles 

NRS - A, B, C1, C2. D, E

• Audience construction

This is to do with enigmas that keep the audience hooked. 
This is to do with use of celebrity to endorse a product or be a spokesperson for a campaign.

Magazines use the cover, sell lines and cover lines on its front to construct a clear idea of who the audience is.

MS4 Intro and Audience revisited.

Learning Objective:

To familiarise with MS4 sample exam papers.

To note the texts we will study for MS4.

To revise the concept of audience and targeting.

What will students be required to do in the examination? 
Students will be required to answer three questions: one question (from a choice of two) from Section A and two questions (from a choice of four) from Section B. 

They will be required to select a different industry for each answer and to make reference in their answer to their three key texts. 

Section A will be based on the texts themselves and questions will be based on the areas of genre, narrative and representation. 
Section B will be based on industry and audience. 

the main texts you will study in relation to the Media Studies concepts are:

TV industry - Genre, narrative, representation (Texts)

• Luther
• Common
• Life on Mars

Music industry - Audiences

• Miley Cyrus
• Madness
• Nirvana

Advertising industry - Industry issues

• Dove
• Chanel (Coco Mademoiselle)
• Paddy Power

Task 1: Note these texts and relevant concepts in your orange books.

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In relation to Section B:
Prior to the exam you will study texts from the music industry with consideration given to:

• Audience targeting
• Audience debates
• Audience positioning
• Audience responses

(See handout on MS4)

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Example audience question:

B1. Discuss the audience appeal of your three main texts. [30] 

This question invites candidates to discuss key elements of their chosen texts in relation to audiences. Some candidates may discuss uses and gratifications theory which is acceptable – but need to show clear understanding and coherent application. 

Depending on the texts selected points raised may include reference to:

 Genre – reinforcing or challenging typical conventions

 Narrative – plot, content

 Characters, starts, celebrities

 Audience positioning, preferred readings

 User involvement; interactivity

 Key codes – visual, written, audio etc.

 Familiarity or ‘new’

 Reviews, through its marketing.

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Audience Explained

'Audience' is a very important concept throughout media studies. All media texts are made with an audience in mind, ie a group of people who will receive it and make some sort of sense out of it. And generally, but not always, the producers make some money out of that audience. Therefore it is important to understand what happens when an audience "meets" a media text.

Constructing Audience

When a media text is being planned, perhaps the most important question the producers consider is "Does it have an audience?" If the answer to this is 'no', then there is no point in going any further. 
If no one is going to watch/read/play/buy the text, the producers aren't going to make any money or get their message across. 
Audience research is a major part of any media company's work. 
They use questionnaires, focus groups, and comparisons to existing media texts, and spend a great deal of time and money finding out if there is anyone out there who might be interested in their idea.

Media producers basically want to know the

income bracket/status
age
gender
race
and the location

of their potential audience, a method of categorising known as demographics. Once they know this they can begin to shape their text to appeal to a group with known reading/viewing/listening habits.

One common way of describing audiences is to use a letter code to show their income bracket:

A:     Top management, bankers, lawyers, doctors and other highly salaried professionals
B:     Middle management, teachers, many 'creatives' eg graphic designers etc
C1:  Office supervisors, junior managers, nurses, specialist clerical staff etc
C2:  Skilled workers, tradespersons (white collar)
D:    Semi-skilled and unskilled manual workers (blue collar)
E:    Unemployed, students, pensioners, casual workers

These categories are defined by the NRS (National Readership Survey), they are defined by occupation.

They also consider very carefully how that audience might react to, or engage with, their text. The following are all factors in analysing or predicting this reaction.

AUDIENCE ENGAGEMENT: This describes how an audience interacts with a media text. Different people react in different ways to the same text.

AUDIENCE EXPECTATIONS: These are the advance ideas an audience may have about a text. This particularly applies to genre pieces. Don't forget that producers often play with or deliberately shatter audience expectations.

AUDIENCE FOREKNOWLEDGE: This is the definite information (rather than the vague expectations) which an audience brings to a media product.

AUDIENCE IDENTIFICATION: This is the way in which audiences feel themselves connected to a particular media text, in that they feel it directly expresses their attitude or lifestyle.

AUDIENCE PLACEMENT: This is the range of strategies media producers use to directly target a particular audience and make them feel that the media text is specially 'for them'.

AUDIENCE RESEARCH: Measuring an audience is very important to all media institutions. Research is done at all stages of production of a media text, and, once produced, audience will be continually monitored.

The following are some generic points candidates might make for each of the industries. This is not intended to be prescriptive. TELEVISION:  Narrative content and enigmas  Genre  Scheduling  Characters, actors, performers  Tone, style, presentational techniques  Access to website/ interactivity MUSIC:  Genre and music style  Performance  Videos, artwork etc.  Publicity  Attitude  Exposure  Websites, twitter, social networking sites ADVERTISING:  Structure – use of narrative etc.  Layout and design  Placement  Use of celebrity  Shock tactics  Music  Humour  Brand reinforcement Task 2: Note down in orange books the generic points for the Music industry above. ________________________________________________________ Audiences continued Learning Objectives: To understand the key concept of audience and the range of different audience theories. Task 1: Take notes during group discussion on audiences. Now go to the post on Miley Cyrus

A2 Evaluation - Approach

Learning objective: 

To have a clear idea of the requirements for my coursework evaluation

To identify key words and media terminology for use in my A2 evaluation.

AN EVALUATION

This must be 500 - 700 words and is worth 10 marks.

It has a clear focus it must explore how your production has been informed by the research findings.

It must not be a discussion of the production process or of strengths and weaknesses.

It can include bullet points or annotated images to support the points made.

The research findings and primary research texts must be referred to throughout the evaluation.

The A2 evaluation is different in content and structure to the report you completed at AS level. You must be aware of this and establish the correct focus.

This needs to be an evaluation of the link between research investigation and production.

The evaluation must focus on the key decisions that you have made as a result of your Research Investigation and how they impacted on your production work.

HOW DO I DEMONSTRATE THE LINKS BETWEEN RESEARCH INVESTIGATION AND PRODUCTION?

Think of three or four key elements that you found out as a result of your research investigation. 

This will help you focus your evaluation.

Identify clearly how you then used these in your own production. These could be:

• Particular camera shots
• editing techniques
• layout and design
• narrative construction
• genre codes and conventions
• iconography.

It is helpful to visually demonstrate the links, for example, including an image of your production poster alongside a poster you analysed in your investigation. This can illustrate how you chose to conform to or challenge the codes and conventions of the text.

It may also be relevant to refer to the secondary sources you used in your research investigation.

EXAMPLE OF AN OPENING OF AN EVALUATION

For my MS3 coursework I conducted an investigation into the representation of youth in British films. This investigation was focused on two texts; Billy Elliot and Eden Lake.

As a result of my investigation I discovered:

• The effect of mediation and construction techniques on the representations within the films.
• The determination of representation based upon genre.
• The issue of youth representation as a product of stereotypical ideologies of youth culture.

To present my findings I produced a trailer for a social realist film focusing on two young men trying to make their way in the music business. I aimed to create a product that conformed to the conventions of its genre whilst challenging the traditional representations of young people apparent in this genre.

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Task 1: 

Below is an example of an evaluation that scored well. Make a note of the key words and media terms used and consider how you might develop your own evaluation.

For my production piece I decided to create three television sitcom posters in order to represent American women in an idealistic way. 

I drew influence from my research project surrounding the popular sitcoms Desperate Housewives and Sex and the City. 

From my project I found that women are viewed merely for sexual gratification even in today’s apparent modern society. I wanted to illustrate this within my production work.

I viewed existing sitcom posters from the same genre and noted the conventions, themes and styles that I would later adopt in my own work. I found that I had to work closely with the mise-en-scene of each poster as the preferred readingof each visual text was to suggest ‘glamour’ and ‘perfection.’

For my first piece entitled ‘EvenJuicier’ I decided to create an enigma through the image. Only until the audience read the website credentials at the bottom do they know what sitcom the poster is promoting. This would mean that people who were not familiar with the programme or the genre may take an oppositional or negotiated view to the poster, however because of the bold iconography of the image it would immediately make the viewer look, even if they do not appreciate the genre. This I feel this was a successful decision and has been done deliberately to engage the viewer and focus the eye on the image so that the reader decides to look further. 

The iconography is strong, the red strawberry and lips give connotations of lust and sex, which a female audience will aspire to primarily as the passive male audience appreciates the image. I did this to highlight a point from Laura Mulvey’s theory of the Male Gaze that the camera in film, advertising and in fact any media is male. I used this theory within my research project and found that to engage my female target audience one also has to target the male audience as the camera has taken on the male perspective.

Again on my second poster the image was designed to match the title of the sitcom ‘Sex in the Suburbs’ which was subsequently layered on top of the image. 

The mise-en-scene was very important, as the image was to speak for itself, my model was dressed in 50’s clothing and her hair and make-up was immaculately done. 

I wanted to highlight this dated 50’s ideology in a modern society; therefore I chose to shoot my image within a kitchen. This was used in an ironic way to highlight another part of Mulvey’s theory to demonstrate the inequality in women and that these images similar to my own are not shocking but seem almost natural. 

Implemented within my work I also learnt how to use fragmenting within a shot. By focusing on her face and torso and slightly blurring out the rest of her body, this section of the body was emphasised in a sexual way helping re-enforce the message. Nevertheless I had to edit lighting into my shot because I did not have the means for natural or focused sunlight. I felt this was a negative aspect of my work and would have looked more natural if I was able to use lighting more effectively.

On my third piece I used four females to represent each character of the sitcom. I chose to create a mask on each of my characters, edit them to black and white and highlight each object they were holding in red. This is called equating women with objects, taken from the Male Gaze, and is mirrored in sitcoms such as Desperate Housewives and Sex and the City, where the central characters are placed with objects such as apples and knives to create the lustful, dangerous look. I did this to aim to attract my target audience of 18+ females, and therefore the male audience because of the sexual way it was shot. 

I had a positive response and successfully created a poster that attracted this demographic, as the audience were able to identify with the women in the poster.

All the characters in the posters are young attractive white females, and the text on each poster is seductive and risky, I feel that somebody from an ethnic background or an older audience may take an oppositional reading due to the narrative representations.

Another downfall to my production work would be that the characters used are not models or actresses therefore my posters may seem a little unrealistic especially when all the actresses are in the 18+ demographic range, therefore portraying the meaning successfully may be lost slightly as housewives, generally speaking, are older. One could argue however that the lack of real models and a lower age demographic could highlight the brutal reality of society’s ideals today, to re-enforce Mulvey’s theory that women have not overcome this patriarchal society but have simply conformed to it at an earlier age. Nevertheless I felt my strengths shone through within my work, my ability to edit each photo through Photoshop using the spot healing brush to create a flawless look proved very successful. This was common to each piece to heighten the theme of ‘glamour’ and to appeal to the audiences so that they aspired to look like the characters. 

I feel that during the process of creating my production pieces, my original idea of using a laundrette as a background was too ambitious as to create these images successfully it had to look believable, and often poster sets are made to suit the occasion. If I was to create this effectively or to enhance my original posters I would need a better camera as posters like these are enlarged for billboards. I would also need a bigger budget in order to create sets and maximise lighting effects. Therefore by simplifying my ideas I feel I have created three unique posters that look professional, and give cohesion to my research project.

Task 2: 

Write up a plan for your evaluation including key terms, theories and words. 

This can take the form of a spider diagram or bullet points but must be submitted for feedback.

19 Coursework planning - Production

Learning Objectives:

To plan for production which will be informed by research investigation

Production is marked against the following Assessment Objectives:

A02 Apply knowledge and understanding when analysing media products and processes, and when evaluating their own practical work, to show how meanings and responses are created.

AO3 Demonstrate the ability to plan and construct media products using appropriate technical and creative skills.

A04 Demonstrate the ability to undertake, apply and present appropriate research.



Candidates are required to submit a production which should develop from and be informed by the candidate's research investigation. This production must be in a different form from the AS production.
Audio-visual productions should be up to 4 minutes in length (depending on the nature of the production). 

Print-based productions (or their digital equivalent) should be a minimum of 3 pages.
Digital media (other than audio-visual productions) and print-based productions must be individual. 

Audio-visual productions can be produced either individually or in groups (maximum 4). Group tasks must offer appropriate opportunities for each candidate to demonstrate an individual contribution.


At the upper end of this level, there will be a good ability to plan and construct media products. Good technical and creative skills will also be demonstrated. Good ability to use the research investigation to inform the product.
Quality of written communication (where appropriate) will be good.
Good level of accuracy. Good ability to structure ideas.






A2 Media Studies 2015 Preparation for Production. Name______________________

The following info is from the WJEC specification.

Production
The production should develop from, and be informed by, the student's Research Investigation.
Reflecting their research findings (either by conforming to or deliberately challenging their findings) is essential.

Task 1: 3.2.2015

Use the handout provided to submit the following information about

Create a list of findings by revisiting you research investigation.

Research Investigation Title

Production

Findings on representation

How will this be reflected in production?

Findings on audience responses

How will this be reflected in production?

Findings on narrative

How will this be reflected in production?

How my Research Investigation will inform production: