02 RADIO: LIVE LOUNGE

Today we read about BBC Radio 1 Live Lounge in the green fact sheet. Read the OCR pdf guide here by opening this link. We note the audience for Live Lounge is 15-24. It is an attempt to reach 'the youth  brand'.

Up-to-date information about Live Lounge also appears here.

The way people are listening to music is changing. This has affected Radio 1 in particular.  People aged between 15-24 listened to just over 14 hours of radio per week last year - seven hours less than the average adult, and 15% less than they did a decade earlier, according to broadcasting regulator Ofcom. Radio 1 is suffering because its core audience is turning away from live radio. This is largely thanks to the arrival of streaming services. 

We link what we know about the BBC's PSB remit to provide high quality, innovative, original programming that meets the needs of diverse audiences and reflects the values of the UK.

We visit the Live Lounge studio and use the buttons at the top left to take a virtual tour around.

We then open the links that OCR have sent to us this morning: "Live Lounge episodes can be accessed through this page on iPlayer.  Videos of Live Lounge performances on the Radio 1 YouTube channel can also be studied for the purposes of the exam.  As a study of media industries and audiences textual analysis is not required.  Students should have an awareness of the typical content of the Live Lounge and be able to refer to relevant examples to support their discussion of media industries and audiences."

As you listen to your own individual choices on Live Lounge, try to remember what artists you picked: 

• Live Lounge is distinctive because it invites both big names and emerging talent
• tends to be acoustic
• spontaneous and unrehearsed quality
• UK talent
• feels intimate
• audience invited to interact the hosts encourage listeners to tweet, comment and share posts during the shows - this can include being able to send in questions to the bands, or for the hosts to ask the artists questions. 
• Videos and information (including photo galleries) are then reposted after the shows to circulate more interest and create a collective response from those that were listening at the time. This encourages a community feel and a further forum for fans. 
• The BBC says that audiences still engage with the Live Lounge and that linked apps and social media platforms, YouTube and Facebook, illustrate this. As you would expect, the platforms use convergence to repost and share information. 

We end the lesson by sharing one particular Live Lounge Stay Home Live Lounge from April 23 2020:

Yr 10 TUESDAY CUFFS: INSTITUTION

Today we focus on the BBC as an institution.

What is Public Service Broadcasting?  

How is the BBC funded?

What does OFCOM do?

Using terminology : ethos, values, Reithian, distinctive, diversity, Royal Charter

Mass / niche audiences 

BBC Bitesize Television

Yr 10 Monday: CUFFS - CHAPTER 3

We watch CUFFS chapter 3 (in point 2.38 when Jo's dog is swimmimg) on Clickview and focus on media language and social contexts.

MEDIA LANGUAGE refers to mise-en-scene, camerawork, sound and editing. This is always question 1 in the exam. You usually have to find two examples and then explain how meaning is made.

EDITING 

1. Identify the editing technique of switching between the view of Jo's dog and the view of Jo talking on the phone. What meaning does this create?

CAMERAWORK

2. What is the camera movement term for the shot that follows DI Felix Cane as he puts up a photo of Keegan Benson? What is the purpose of this shot and the over-the-shoulder shot?

3. What is the name of the shot type which lets the audience see Benson's face? What is the effect of this shot? 

The hard cut between the police office and the corner shop is also a 'motivated edit' that is, motivated by the narrative about Benson.

SOUND

4. Felix speaks about Benson. Is this diegetic or non-diegetic sound? What is the impact of  Carl's response? Why does Jo shake her head and say "Seriously, there is no point'", and what does her remark reveal about their job?

SOCIAL CONTEXTS

5.  While DS Jo Moffat is on the phone about her dog, DC Carl Hawkins enters. How does the police office reflect modern social contexts? If you were asked to find a comparable moment in The Avengers, what would pick?

INSTITUTIONS & AUDIENCES

This is taken from the green fact sheet. Cuffs was scheduled in 2015 on BBC One on Wednesdays at 8 p.m. See our media text book page 23.

 

 

 

 

 

 

PREP Write out these terms under the class post and define them:

SCHEDULING

LIVE TELEVISION

'SECOND SCREENING' 

AUDIENCE INTERACTIVITY

THE WATERSHED 

PEAK VIEWING TIME

HIGH PRODUCTION VALUES 

Yr 11 RADIO: EXAM QUESTIONS

We revise your Paper 2 question on radio by looking at the green fact sheet as well as the mark scheme.  Open OCR pdf guide here by opening this link.

Explain how and why BBC radio has to provide a wider range of content than commercial radio. Refer to the BBC Radio 1 Live Lounge in your answer.

Yr 10 FILM MAKING

PREP Write about the film making that you have done over the last two weeks. Add photos to support and illustrate your post.

Paragraph 1: Your production company logo

Write about how you made it, explaining the process and referring to the equipment - the Hue camera, the Mac,  the name of your Production Company, the sound effects.

Paragraph 2: Your table top filming

Write about the filming. Explain some of the items that you had on the table and how you handled the camera. Explain what you wanted the audience to focus on (if you paused to make them look at anything in particular).

Paragraph 3: Your 'live action' filming

Explain what you filmed here and how you wanted the film opening to develop in this bit.

Paragraph 4: Editing

• What sound effects did you add to the Production Company logo?
• What track did you put down under the rest of the film?
• What was your FILM TITLE?
• What credits did you add (like actor names)?

Paragraph 5: Your views

How did you think that your production went? Were there any challenges, disasters or triumphs?

PRODUCTION COMPANY LOGOS

We plan to create our own production company logo so the first step is to research the genre then plan our own.

Research into production company logos includes a range of still images and stop-motion from our own students.

Examples include 

• Voyage Productions
• Blacklight Productions
• Teethmark Productions
• Metropolitan Films
• Blondie Productions
• Opening Sequence

In today's class time, you plan and rehearse your production company logo:

• decide your company name
• how are you going to bring it into the frame?
• what font and colour best fit?
• using your phones, rehearse the shots

PREP Write up your research, planning and production so far. If you have photos 'on the set', add them (with permission of your group).

02 NEWS : THE OBSERVER Wednesday

The Observer - here is  the OCR guide here - open the pdf link

You can see the front covers of recent editions here on Pressreader

We look at the edition for Sunday 21st November. Let's evaluate the ways in which The Observer newspaper

• covers hard news (like politics) meeting the readers' needs for information (surveillance) to offer fearless, independent, liberal journalism that explores opposing arguments
• offers soft news as well, meeting the readers' needs for entertainment, diversion, escapism
• conveys the seriousness of a broadsheet newspaper 
• combined with the attractiveness of a tabloid newspaper

Find The Observer /Guardian list of terminology here

 

02 NEWS: THE OBSERVER Monday & Tuesday

Our newspaper set text is The Observer (three front covers from the 1960s and the modern Observer, both online and paper).

We learn about The Observer's history, target audience, values.

Today we look  at representations in its Twitter feed.

Tuesday 03 CREATING MEDIA

We aim to complete the filming and editing of our film openings within the lesson. Your film opening should include:

• the 'table top' filming
• credits such as actors' names, the director's name
• 'live action' footage
• film title
• musical soundtrack plus added sound such as gunshots
• any editing for meaning, such as slo mo
• next week we add the production company logo

02 MUSIC MAGAZINES Year 10 Monday & Tuesday

REPRESENTATION

We look at a real exam question on how representation is used  in music magazines: the MOJO cover featuring David Bowie as the main splash and other musicians in words and smaller images. Representation is about people, places and ideas. In particular, the question asks for analysis of representations of masculinity. 

Useful terminology: 

• we may use terms such as 'stereotype' or 'anti stereotypical', as in 'the stereotypical representation of active masculinity...'  

• 'connote' as in 'the layout in WIRE is unusually sparse with few cover lines connoting an unusual simplicity...' 

MEDIA LANGUAGE

the second exam question is about 'media language'. This term refers to how a text is organised, how it looks: layout, text, typography, fonts, images, colours and so on. 

We need to know the generic conventions of music magazines and be confident in analysing a range of different music magazines. Each magazine has a different target audience, so its media language is adapted to engage that audience. For example, contrast We Love Pop with BBC Music.

MOJO's target audience is profiled in Bauer Media'a Press Pack

In class, we analyse a range of different covers such as MOJO, The WIRE, KERRANG, NME and others using MagForum

Yr 10 Wednesday REPRESENTATION & MISE-EN-SCENE

We are doing The Avengers classwork on how mise-en-scene is used to create atmosphere.

PREP Pick a Christmas TV advert and use the same skills to analyse how mise-en-scene is used to create atmosphere. In your post, add the hyperlink to the advert. Add three screenshots to support your analysis.

Yr 10 Tuesday MAKING A FILM OPENING

Tabletop film opening: we film and start editing.

PREP Write up an account of what you did in the lesson. Start your post by copying the information from the PREP post (about the research that you did). Then describe your filming. Add a photo if you wish.

Yr 10 THE AVENGERS: REPRESENTATION & MISE-EN-SCENE

THE AVENGERS We take the blacksmith scene to discuss two questions:

• how suspense is created through mise-en-scene 
• how far the representations are stereotypical for the 1960s

PREP To prepare for tomorrow's practical work of filming an opening sequence, please watch the following two title sequences which are filmed in in a similar 'table top' style. 

• Delicatessen (dir. Jean-Pierre Jeunet, 1991)
• To Kill A Mockingbird ( dir. Robert Mulligan,1962)
• Extension work: there are many other opening sequences on the website Art of the Title

For each title sequence, write three sentences about how the conventions of film openings are used. 

The title of your prep blog post is FILM OPENING CONVENTIONS

Copy /paste the lines above and add the two images below : 

• what titles and credits appear on screen?
• how is the film's genre conveyed? 
• what use is made of sound?
• what hooks the audience and makes us want to carry on watching?

EXAM DATES

J200 Media Studies Television and promoting media  - Wednesday 25 May - 1 h 45 m (afternoon)

J200 Media Studies Music and News - Tuesday 14 June - 1 h 15 m (afternoon)

Yr 10 Tuesday CUFFS

Cuffs was broadcast before the 9 pm watershed and therefore although it is a police procedural set in a modern city with all the challenges that involves, it avoids overt violence, strong language and content that is not family-friendly. However, the review sums up how much plot drama and excitement audiences are offered. Thinking about audience pleasures, which of the four 'gratifications' is best described by this exciting plot?

•  Do you agree with the view that the programme offers a 'pro-police perspective'? What do you understand by that? What evidence is there of that so far?

 

• From what you have seen so far, can you support the view of this reviewer that the police force in Cuffs are 'understaffed and underappreciated, working against the odds to bring in a result?
  

Cuffs is set in Brighton which plays an important part in the programme as it is a city of contrasts, as the following review notes:

• What comedy have we seen so far that it typically 'Brighton'?
  
• So far, which scenes most obviously use Brighton as the mise-en-scene? What kind of a seaside town is it? How different is its representation from (say) Little Bazeley in The Avengers? How is it made to seem very much more modern than Little Bazeley, a city that is clearly 2010s? Is it to do with the number of different representations?
  

• As we watch the episode, notice how the different plot lines are woven together, how the editing links them and how the characters develop. The programme is much more than a series of police cases - although the excitement, tension and drama drives the narrative along. The audience also starts to empathise with the individual police officers and in some cases the people that they are dealing with.
• Who do we start to empathise with?
• Which characters start to reveal more about themselves? 

PREP Look back at the bullet point questions and write down your own responses on your blog. Title of your post CUFFS.

Yr 10 Monday CUFFS: SOUND

PREP Watch the first 10 minutes (after the title sequence is over) of The Avengers on Clickview. Analyse how sound is used in the extract to create meaning. Find at least 2 examples. You can use any part of the opening scenes - both the opening scene at the seaside at Little Bazeley or the scene in Emma Peel's flat

• first identify an example - use terminology such as diegetic sound, non-diegetic sound, dialogue.
• then give the example - " Little Bazeley is constructed as a seaside village through realistic sound codes such as..."
• "One example of how sound is used is when Steed makes conversation with Emma Peel..."
• then explain what meaning is created - "In the exchange of dialogue between the fisherman and the undercover agent who arrives from the sea they talk about...... which creates suspicion and comedy because....."
• "Steed's dialogue reveals his accent and shows that he is..." "What Steed says to Emma Peel suggests that he feels in charge because...." /  "Emma's comment about the coffee and cream show that..." / "Emma's throwaway comment about having just finished a scientific article shows that..."

CLASSWORK In today's class, we watch the extract from Cuffs in which the police team's canteen meal is interrupted by a call for assistance at a robbery (starts at Chapter 6 - 2:32).

We practise analysing how sound creates meaning. We also briefly consider editing (cross cutting) and camerawork (framing and camera angles).

• first we introduce an example - use terminology such as diegetic sound, non-diegetic sound, dialogue.
• then identify the example - "One example of how sound is used is when casual diegetic music is playing in the canteen and the police are chatting and making jokes in a friendly way as they are eating..." / "The diegetic sound of the JCB crashing into the shop window is loud, abrasive and shocking"
• then explained what meaning is created - "The use of dialogue shows the police as normal people in the real world, making the audience relate to them in a sympathetic way..." / "The crash of the plate glass breaking creates a sense of ...." / "The JCB sounds dangerous and frightening, making the audience afraid for the female support officers who have to deal with violent crime."

Using the OCR text book, we practise answering the prep question by reading the two sample answers and the assessment comments.

We also go through Blumler and Katz's uses and gratifications framework: audiences use media to gratify their needs.

• Entertainment, escapism, diversion - escape from everyday problems and routine, excitement & fun. Cuffs and The Avengers offer the thrills of action/crime /police procedural genres; they offer humour, fun and wit
• 
  
• Surveillance - information which could be useful for living, like weather reports, financial news, holiday bargains - but also, in the case of Cuffs and The Avengers, audiences watch out of curiosity about how the police and government agents handle danger and national security
• 
  
• Personal Relationships - using the media for emotional and other interaction, such as substituting soap operas for family life. Cuffs and The Avengers involve audiences in engaging, realistic sometimes dramatic family and personal relationships
• 
  
• Personal Identity - finding yourself reflected in texts, learning behaviour and values from texts, such as rooting for Emma Peel and Steed against the nasty foreigners out to destroy British safety, or hoping that racist thugs like Benson will be returned to prison.
• 
  

We also meet the terms connotation, denotation and semiotics

• The RP accent used by Steed, Emma Peel and the undercover agent denotes their social class and status.
• This accent connotes educated speakers and formal speech. It has connotations of prestige and authority, but also of privilege and arrogance. The accent reflects Steed's representation as a gentleman and the spy's attempts to impersonate a real British school inspector.

• The diegetic sounds of the walkie-talkie, police car siren and radio denote real police procedures. They have connotations of realism and authenticity.

Yr 10 THE AVENGERS: SOCIAL, HISTORICAL & CULTURAL CONTEXTS

TONIGHT'S PREP: Watch chapter 9 and 10 - see below

CLASSWORK today

You watched The Avengers chapters 3 & 4 for prep yesterday, ready to discuss today.  We look at our text books (pages 31, 32, 33) to support our understanding. 

The Avengers series began in 1961. The narrative is built around Steed and Peele travelling to Little Bazeley to investigate the disappearance of four British agents. 

In Monday's class we set the scene with clips about the Berlin Wall (1961), JFK's visit to Berlin, the trend in spy thrillers like The Saint (1962), The Man From UNCLE (1965) and the Bond franchise - Dr No (1962), From Russia With Love (1963), Goldfinger (1964). We watched some of Went The Day Well? (1944) in which sinister foreigners pretend to be British and take over a small English village.

THE COLD WAR

The Cold War was at its height in 1965, with Britain a member of NATO and anxieties about the threat of nuclear war

Both sides used espionage - spying - as we read in The Observer (October 1966) about George Blake and the Cambridge Five

In the sixties, with WW2 not that long past, audiences knew about films that dealt with war themes, such as The Dam Busters (1955) and would have recognised the scene in which Emma Peel explains the planned invasion of Britain - an intertextual reference

The audience sees how Little Bazeley (and therefore the whole of Britain) is under threat from fifth columnists as part of the invasion (the enemy within), with imposters using disguise and impersonation

The Avengers reassures audiences. It has quirky comedy that makes audiences laugh and which lessens the level of threat (like the tea party on board the train, Piggy Warren, the jokes between Steed and Emma). In the smithy scene, they joke about Emma being tied up. Piggy Warren is played by a well-known comic actor, whose his handlebar moustache and rollicking laugh makes him seem less threatening.

Steed recalls his own war service as he walks around the deserted airfield and salutes into a cracked mirror: the audience is reminded of all those who served and who supported Britain, leading towards the triumphant conclusion of the war

The audience needs to believe that Steed and Peel are capable of keeping Britain safe.

CHANGING ATTITUDES TO GENDER

• The representation of Emma Peel as a new breed of intelligent, tough woman
• However, she is still represented as a sex object, too
• We pick this theme up next lesson

We watch the trailer for Made In Dagenham (2010) about equal pay for women for equal work. Look out for Barbara Castle.

We have seen Barbara Castle mentioned in one of the front covers of The Observer (our text). Do you remember seeing her when we watched The Crown - Aberfan when she advises the Prime Minister Harold Wilson? She is the only female politician mentioned on all three front, pages of The Observer, where in the front cover for October 1968 she argues for less unequal pay for women. This reflects the patriarchal social / cultural context of the 1960s in which it was accepted that women were paid less than men for doing the same job.

Yr 11 REVISION: RADIO

We revised Radio 1 Live Lounge in class: PREP revise this material

• We listen to Radio 1 Live Lounge on BBC Sounds which launched in 2018 
  

• OCR's 'green factsheet' is useful but needs updating: write about Clara Amfo in the past tense as in 'As a BBC radio 1 presenter, Clara Amfo brought particular strengths to offer, as a black creative with a strong music background and track record at Radio 1 Xtra
• Amfo took over Annie Mac's Future Sounds show on Radio 1 in July 2021, following Mac's announcement she would be leaving the station. It was also announced  that Rickie, Melvin and Charlie would take over Amfo's current Live Lounge show.
• On the green factsheet, OCR gives the following listening figures: Radio 1 has '9.7 million listeners aged 15+' (up from 9.59m last quarter and down from 9.87m last year) while the network's share of listening was 5.9%
• Media.info has more up-to-date listening figures: Total listeners per week
  8,790,000 (16.0%)adults (15+); market share 5.6%
• Leading BBC Radio stations ranked by weekly reach in the United Kingdom (UK) as of 1st quarter 2020 (source Statista):

• Radio 1 Live Lounge institution: PSB remit (to inform, educate, entertain). From BBC Trust:

• Radio 1 Live Lounge audience: 15-24
• RAJAR: 
• Radio 1 Live Lounge audience pleasures: big names and emergent up-and-coming artists
• Artists are filmed in an intimate radio studio, acoustically, often with little production rehearsal. They normally perform one or two of their own songs and then a unique cover from an A List Radio 1 artist who has had a release in the last six to nine months. Artists normally perform a cover song that is a contrast to their known genre. 
• Two examples that we watched / listened to today: well-known musicians like Rag'n'Bone Man and Lizzo as part of Live Lounge Month 2021 (click to hear the presenter introduce the show)
• Radio 1 Live Lounge's online presence makes it really attractive to the young target audience who can access it anytime, anywhere. They can interact via the website's convergent links to Twitter, Instagram (and less popular, FB)
• The presenter invites the audience to interact by posing questions to performers
• Online visualisation and social media: in recent years Radio 1 has used social media to help reach a younger audience. Its YouTube channel now has over 7.5 million subscribers. The highest viewed videos on the channel are predominately live music performances from the Live Lounge.

  The station also has a heavy presence on social media, with audience interaction occurring through Facebook and Twitter as well as text messaging.

• September is Live Lounge Month
• We read the 'candidate style answer'

PREP Read the 'candidate style answers' for TV & Promoting Media. 

Yr 10 AVENGERS: HISTORICAL CONTEXT

 PREP Please watch The Avengers chapters 3 and 4, ready for questions in class tomorrow.

In class, we have looked at a selection of clips to support our understanding of the period, in particular, cultural, social, political and historical contexts.

In class, we analyse how both Steed and Peel are represented and what the appeal of the programme is for audiences.

We consider audience theory: how audiences use media to gratify needs.

The Uses and Gratifications audience framework offered by Blumler and Katz suggests that audiences use media to gratify needs for:

• escapism, entertainment, diversion
• surveillance (finding out what's going on in the world) 
• forming relationships (both with on-screen figures and in real life through sharing pleasures with friends & family)
• shared values and beliefs (we identify with certain people as heroes, hope that villains will be defeated, want a particular set of values to be restored and so on)

Yr 11 REVISION: LEGO

PREP today is to revise the poster campaign. The links are below.

We have revised the Lego Movie Ad break.

Q8 and Q9 - Lego in-depth questions that ask you to show understanding of audience pleasures as well as genre codes and conventions. 

Audience pleasures - revise the Uses and Gratifications theoretical framework [each 10 marks]. Revise the Lego Movie Ad break, the media language of the poster campaign and the audience pleasures of the video game.

OCR pdf guide to the Lego Movie: industry here
OCR pdf guide to the Lego movie video game: industry and audience here

1.       The main poster featuring an ensemble cast, running from danger

http://www.impawards.com/2014/lego_movie_ver9.html)

2.       Character poster of Vitruvius in close-up

(http://www.impawards.com/2014/lego_movie_ver3.html)

3.       Character poster of Emmet in close-up

(http://www.impawards.com/2014/lego_movie_ver8.html)

4.       Character poster of Lord Business in close-up

(http://www.impawards.com/2014/lego_movie_ver5.html)

5.       Character poster of Wyldstyle in close-up

http://www.impawards.com/2014/lego_movie_ver7.html)

FILMING AN OPENING SEQUENCE

Four stages today

Stage 1: research the genre by watching three examples

Stage 2: film your table top in one take

Stage 3: film your live action sequence

PREP Write up an account of what you did on your blog

Yr 10 CULTURAL CONTEXTS 1960s

We are looking at 1960s media, making links across our newspaper component The Observer and our TV drama component The Avengers. The news report about George Blake refers to spy rings and the Cold War. This is one element of the cultural, social, historical context. 

In our episode of The Avengers, two British agents (Steed and Emma Peel) set off to a remote sea coast village called Little Bazeley to investigate the mysterious disappearance of other British agents.

Emma Peel is a cool, confident, new type of heroine. She relishes her job and her independence. She feels equal to Steed. She wears the carefree, youthful, fashionable clothes of young women in the Swinging Sixties.

There is a bit of a generation gap between Emma and Steed. He is a British gentleman through and through, from his bowler hat and three-piece suit to his umbrella. Changing gender roles are another element of the cultural, social, historical context. 

PREP

We are introduced to the world of The Avengers in the documentary programme (open link on left) which sets it in context.

Yr 10 1960s CULTURAL, SOCIAL & HISTORICAL

Media language: We compare the 'media language' of the modern day Observer with the 1960s Observer

We then look at the concerns about the Cold War and briefly learn about George Blunt and the Cambridge spy ring before turning to the same concerns in our 1960s TV drama The Avengers.

PREP Carry on watching from here:

Yr 10 NEWS - THE OBSERVER

 02 NEWS Social / cultural and historical contexts of the 1960s.

As for our TV drama text of the same era, The Avengers, we need to understand how social, cultural and historical contexts have influenced our texts. 

• Today, we start to look at one of the three editions of the Observer and carefully read it to ensure that you understand the stories behind the headlines, images and advertisements. We can use the internet to investigate. 
• We watch Netflix's The Crown (S3, E3) to explore the context behind Aberfan story.
• We now have  class TEXT BOOKS and can refer to pages 123 to 127 'How the three set historical Observer from pages from the 1960s reflect their contexts'.  

PREP Look at the edition of The Observer 30 October 1966

THURSDAY 30 SEPTEMBER We go into the front cover to notice 

• representations of women : The Queen, lingerie advertisement, Jane Asher; lack of women in positions of power
• layout compared to a modern Observer : b & w, no skybox, advert on front cover, much bigger (broadsheet) with 8 columns
• cultural, social, historical context : spies (George Blake); the Cold War. 

PREP Find out what is meant by the Cold War and think why audiences at the time were concerned about it.

ALSO email me your blog url

Yr 10 MUSIC: SK8R BOI

 Avril Lavigne Sk8R Boi is our second music video. We study:

• how the genre of her music comes across in the music video's media language 
• https://en.wikipedia.org/wiki/Avril_Lavigne#Musical_style_and_songwriting
• this means the style of editing, the pace, the way she uses the camera to engage her audience, the lighting and colours
• representation in the video - of LA, of Lavigne, of her gang, in particular, the mise-en-scène
• Avril Lavigne Sk8ter Boi

 

PREP You have downloaded three editions of The Observer from the 1960s. See if you can find the one with an article about the Queen visiting Aberfan after the mining disaster. Read the article.

Yr 10 MUSIC

02 MUSIC : MUSIC VIDEOS

We study a pair of music videos: 
Wheatus Teenage Dirtbag

Avril Lavigne Sk8ter Boi

We look at media language, media representations and media audiences.

In today's lesson, we get to know Wheatus Teenage Dirtbag and use ComicLife to make a comic with key scenes that you think are important in the music video. Don't rush: the aim is to get to know the music video.

PREP Find out a little more about Wheatus and Teenage Dirtbag, such as what Brendan Brown explains was the reason he wrote the song and why he felt 'an outsider' at times in his teenage years.