PPQs and Mark Scheme

Discuss the ways in which media products are produced and distributed to audiences, within a media area, which you have studied.


How important is technological convergence for institutions and audiences within a media area which you have studied?


 “Media production is dominated by global institutions, which sell their products and services to national audiences.” To what extent do you agree with this statement?


What significance does the continuing development of digital media technology have for media institutions and audiences?


Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen media area.


“Successful media products depend as much upon marketing and distribution to a specific audience as they do upon good production practices.” To what extent would you agree with this statement, within the media area you have studied?


 To what extent does digital distribution affect the marketing and consumption of media products in the media area you have studied?


 “Cross-media convergence and synergy are vital processes in the successful marketing of media products to audiences.” To what extent do you agree with this statement in relation to your chosen media area? 

MARK SCHEME SAMPLE:

2 Section B: Institutions and Audiences 
Discuss the ways in which media product(s) are produced and distributed to audiences within a media area, which you have studied. 
Candidates must focus on one of the following media areas though you may make reference to other media areas, which you have studied:

• Music
  
  
• Candidates will be assessed on their ability to illustrate patterns of production, distribution, exchange and consumption through relevant case study examples and their own experiences as audiences. 
  Candidates may cover the following material in their responses to the question: 
  
  • Production practices which allow texts to be constructed for specific 
    audiences 
  • Distribution and marketing strategies to raise audience awareness of 
    specific products or types of products 
  • The use of new technology to facilitate more accurate targeting of 
    specific audiences 
  • Audience strategies in facilitating or challenging institutional practices 
    Candidates should be given credit for their knowledge and understanding, illustrated through case study material, in any of these areas; there is no requirement that they should all be covered equally. Examiners should also be prepared to allow points, examples and arguments that have not been considered if they are relevant and justified. 
    Explanation/analysis/argument- AO1 Specific Use of examples- AO2 Specific
    Use of terminology- AO1 Specific. 
    Level 1 
    Explanation/analysis/argument (0-7 marks) 
    
    • Shows minimal understanding of the task 
    • Minimal knowledge and understanding of institutional/audience 
      practices – general opinions or assertions predominate 
    • Minimal argument evident, with little reference to case study material 
    • Of minimal relevance to set question or a brief response (under one 
      and a half sides of answer booklet

Use of examples (0-7 marks)• Offers minimal use of case study material• Offers a limited range of or inappropriate examples• Offers examples of minimal relevance to set question 
Use of terminology (0-3 marks)• Minimal or frequently inaccurate use of appropriate terminology 
Some simple ideas have been expressed. There will be some errors of spelling, punctuation and grammar which will be noticeable and intrusive. Writing may also lack legibility. 
Level 2 
Explanation/analysis/argument (8-11 marks) 

• Shows basic understanding of the task 
• Basic knowledge and understanding of institutional/audience practices 
  – factual knowledge will have some accuracy 
• Basic argument evident, with some reference to case study material 
• Some relevance to set question 

Use of examples (8-11 marks) 

• Offers some evidence from case study material 
• Offers a partial range of examples from case study and/or own 
  experience 
• Offers examples of some relevance to the set question 

Use of terminology (4-5 marks)• Some terminology used, although there may be some inaccuracies 
Some simple ideas have been expressed in an appropriate context. There are likely to be some errors of spelling, punctuation and grammar of which some may be noticeable and intrusive. 
Level 3 
Explanation/analysis/argument (12-15 marks) 

• Shows proficient understanding of the task 
• Proficient knowledge and understanding of institutional/audience 
  practices – factual knowledge is mostly accurate 
• Some developed argument, supported by reference to case study 
  material 
• Mostly relevant to set question 

Use of examples (12-15 marks) 

• Offers consistent evidence from case study material 
• Offers a range of examples from case study and/or own experience 
• Offers examples which are mostly relevant to the set question 

Use of terminology (6-7 marks)• Use of terminology is mostly accurate 
Straightforward ideas have been expressed with some clarity and fluency. Arguments are generally relevant, though may stray from the point of the question. There will be some errors of spelling, punctuation and grammar, but these are unlikely to be intrusive or obscure meaning. 
Use of terminology (0-3 marks)• Minimal or frequently inaccurate use of appropriate terminology 
Some simple ideas have been expressed. There will be some errors of spelling, punctuation and grammar which will be noticeable and intrusive. Writing may also lack legibility. 
Level 4 
Explanation/analysis/argument (16-20 marks) 

• Shows excellent understanding of the task 
• Excellent knowledge and understanding of institutional/audience 
  practices – factual knowledge is relevant and accurate 
• A clear and developed argument, substantiated by detailed reference 
  to case study material 
• Clearly relevant to set question 

Use of examples (16-20 marks) 

• Offers frequent evidence from case study material – award marks to 
  reflect the range and appropriateness of examples from case study 
  and/or own experience 
• Offers examples which are clearly relevant to the set question 

Use of terminology (8-10 marks)• Use of terminology is relevant and accurate 
Complex issues have been expressed clearly and fluently. Sentences and paragraphs, consistently relevant, have been well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar. 

Music Exam Specification

0. Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In addition, candidates should be familiar with:
   
   • the issues raised by media ownership in contemporary media practice;
     
   • the importance of cross media convergence and synergy in production, distribution and
     marketing;
     
   • the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
     
   • the significance of proliferation in hardware and content for institutions and audiences;
     
   • the importance of technological convergence for institutions and audiences;
     
   • the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
     
   • the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
     This unit should be approached through contemporary examples in the form of case studies based upon one of the specified media areas.
     
     
     Music
     
     A study of a particular record label within the contemporary music industry that targets a British audience, including its patterns of production, distribution, marketing and consumption by audiences. This should be accompanied by study of the strategies used by record labels to counter the practice of file sharing and their impact on music production, marketing and consumption. 
     

Evaluation Guide and Mark Scheme

0. Candidates will evaluate their work digitally. Where candidates have worked in a group, the evaluation may be presented individually or collectively but the teacher must allocate a mark according to the contribution/level of understanding demonstrated by the individual candidate. Each candidate should give a clear indication of their role in any group evaluation.
   
   The questions that must be addressed in the evaluation are:
   
• In what ways does your media product use, develop or challenge forms and conventions of real media products?
  
• How does your media product represent particular social groups?
  
• What kind of media institution might distribute your media product and why?
  
• Who would be the audience for your media product?
  
• How did you attract/address your audience?
  
• What have you learnt about technologies from the process of constructing this product?
  
• Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product? 
  
  
  
  
  0. Level 3 12–15 marks
     
  • Proficient skill in the use of digital technology or ICT in the evaluation.
    
  • Proficient understanding of issues around audience, institution, technology, representation, forms
    and conventions in relation to production.
    
  • Proficient ability to refer to the choices made and outcomes.
    
  • Proficient understanding of their development from preliminary to full task.
    
  • Proficient ability to communicate.
    
    Level 4 16–20 marks
    
  • Excellent skill in the use of appropriate digital technology or ICT in the evaluation.
    
  • Excellent understanding of issues around audience, institution, technology, representation, forms and conventions in relation to production.
    
  • Excellent ability to refer to the choices made and outcomes.
    
  • Excellent understanding of their development from preliminary to full task.
    
  • Excellent ability to communicate. 
    

Ownership

Fight like apes use crowdfunding for new album, check out rewards offered for funding http://www.fundit.ie/project/fight-like-apes-new-album-fundraiser

Discuss the issues raised by media ownership in the production and exchange of media products in the music industry.

Check out the Bandcamp page here. Remember this is example of crowdfunding and allowing fans to connect better with artists, and also artists will get more of the money for their products.

Bandcamp empowers artists

We provide a rock-solid platform for selling your music and merchandise to your fans, and we bring your music to a thriving community of enlightened listeners who understand that the best way to support the artists they love is by directly giving them money.

To date, artists have made $38 million using Bandcamp, 

and $2.2 million in the last 30 days alone.

Sign up now

Yep, it’s free.

So Easy Even Your Drummer Could…

Well, perhaps not that easy but still, pretty easy. Bandcamp provides a professional home on the web for your music. It’s straightforward to set up, you get your own bandcamp.com address, unlimited storage, and…

High-Quality Audio

An MP3 may be fine for most, but a vocal minority of fans demand your tunes in high-quality formats like FLAC and Apple Lossless, and obscure ones like Ogg Vorbis (gesundheit). We say more power to ’em, but we also think it’s crazy to expect an artist to create and maintain all those choices. So on Bandcamp, you upload a single, lossless audio file (such as a WAV or AIFF), and we lovingly convert it to every conceivable format your fans could possibly desire. more info

Mobile Mobile Mobile

Bandcamp sites work and look great on mobile devices. Everything is optimized for the smaller screen and touch interface, so your albums look amazing, fans can browse your merch with ease, and the checkout flow is fast and intuitive. more info

Flexible Pricing

Bandcamp gives you the flexibility to charge whatever price for your music you see fit (including zero), or let fans name their own price, with the minimum chosen by you. It’s entirely in your hands (as it of course should be).

Sell Physical and Digital, Side-by-Side

You can sell both your physical merchandise and your digital music from Bandcamp, and better yet, you can sell them together. So, for example, you can easily create a vinyl + digital package where your fans get the music immediately, without having to wait for their record. And if you work with a fulfillment partner, they can see all your merch orders at a glance, mark orders as shipped, search for orders, filter orders by date and shipped status, or generate reports. more info

We Don’t Save You Money,
We Make You Money

Bandcamp’s community features – things like fan accounts, artist recommendations, Discover, tag pages and the weekly show – drive tens of thousands of sales each month, far surpassing our modest fees.

Real-time Statistics

Bandcamp’s rich, up-to-the-instant stats system reveals who’s linking to you, where your music is embedded, which tracks are most and least popular, what’s being downloaded and when, which search engine terms are sending traffic your way, and what you ate for breakfast on January 4th, 1993 (Special K with banana). Use the data for the pure, ego-stroking thrill of it all, or to jump in the conversation and stoke the fires of your fandom.

Gorgeous, Clean Players

Bandcamp gives you, your fans and the press a bevy of sharp, customizable music players to embed across the web. They’re simple, effective, and completely focussed on driving fans back to your site.

Your site will be this beautiful, no more, no less

See how these would apply to the music industry?

Horizontal Integration

Media terms

Media critics, such as Robert McChesney, have noted that the current trend within the entertainment industry has been toward the increased concentration of media ownership into the hands of a smaller number of transmedia and transnational conglomerates.^[1] Media is seen to amass in centre where wealthy individuals have the ability to purchase such ventures (e.g. Rupert Murdoch).

Horizontal integration, that is the consolidation of holdings across multiple industries, has displaced the old vertical integration of the Hollywood studios. The idea of owning many media outlets, which run almost the same content, is considered to be very productive, since it requires only minor changes of format and information to use in multiple media forms. For example, within a conglomerate, the content used in broadcasting television would be used in broadcasting radio as well, or the content used in hard copy of the newspaper would also be used in online newspaper website.

What emerged are new strategies of content development and distribution designed to increase the “synergy’ between the different divisions of the same company. Studios seek content that can move fluidly across media channels.

__________________________________________________________________________________________

Vertical Integration

Media industry [edit]

From the early 1920s through the early 1950s, the American motion picture had evolved into an industry controlled by a few companies, a condition known as a "mature oligopoly". The film industry was led by eight major film studios. The most powerful of these studios were the fully integrated Big Five studios: MGM, Warner Brothers, 20th Century Fox, Paramount Pictures, and RKO. These studios not only produced and distributed films, but also operated their own movie theaters. Meanwhile, the Little Three studios: Universal Studios, Columbia Pictures, and United Artists produced and distributed feature films, but did not own their own theaters.

The issue of vertical integration (also known as common ownership) has been a main focus of policy makers because of the possibility of anti-competitive behaviors affiliated with market influence. For example, in United States v. Paramount Pictures, Inc., the Supreme Court ordered the five vertically integrated studios to sell off their theater chains and all trade practices were prohibited (United States v. Paramount Pictures, Inc., 1948).^[11]The prevalence of vertical integration wholly predetermined the relationships between both studios and networks^{[clarification needed]} and modified criteria in financing. Networks began arranging content initiated by commonly owned studios and stipulated a portion of the syndication revenues in order for a show to gain a spot on the schedule if it was produced by a studio without common ownership.^[12] In response, the studios fundamentally changed the way they made movies and did business. Lacking the financial resources and contract talent they once controlled, the studios now relied on independent producers supplying some portion of the budget in exchange for distribution rights. ^[13]

Certain media conglomerates may, in a similar manner, own television broadcasters (either over-the-air or on cable), production companies that produce content for their networks, and also own the services that distribute their content to viewers (such as television and internet service providers). Bell Canada, Comcast, and BSkyB are vertically integrated in such a manner—operating media subsidiaries (in the case of Bell and Comcast, Bell Mediaand NBCUniversal respectively), and also both provide "triple play" services of television, internet, and phone service in some markets (such as Bell TV/Bell Internet, Xfinity, and Sky's satellite TV services).

Apple [edit]

Apple Inc. have been listed as an example of vertical integration, specifically with many elements of the ecosystem for the iPhone and iPad, where they control the processor, the hardware and the software.^[14] Hardware itself is not typically manufactured by Apple, but is outsourced to contract manufacturers such as Foxconn or Pegatron who manufacture Apple's branded products to their specifications. Apple retail stores sell its own hardware, software and services directly to consumers.

Problems and benefits [edit]

There are internal and external (e.g. society-wide) gains and losses due to vertical integration. They will differ according to the state of technology in the industries involved, roughly corresponding to the stages of the industry lifecycle.

Static technology [edit]

This is the simplest case, where the gains and losses have been studied extensively.

Internal gains [edit]

• Lower transaction costs
• Synchronization of supply and demand along the chain of products
• Lower uncertainty and higher investment
• Ability to monopolize market throughout the chain by market foreclosure
• Strategic independence (especially if important inputs are rare or highly volatile in price, such as REM)

Internal losses [edit]

• Higher coordination costs
• Higher monetary and organizational costs of switching to other suppliers/buyers
• Weaker motivation for good performance at the start of the supply chain since sales are guaranteed and poor quality may be blended into other inputs at later manufacturing stages

Benefits to society [edit]

• Better opportunities for investment growth through reduced uncertainty
• Local companies are better positioned against foreign competition

Losses to society [edit]

• Monopolization of markets
• Rigid organizational structure, having much the same shortcomings as the socialist economy 

Music industry ownership from Sarah media film

Media Ownership in the Music Industry 2013 from Liz Davies

Ownership from ctrmedia

• Classic
 
• Flipcard
 
• Magazine
 
• Mosaic
 
• Sidebar
 
• Snapshot
 
• Timeslide

1. 
   

   The issues raised by media ownership 

   read the following articles regarding EMI's take over bid

   http://www.bbc.co.uk/news/business-15697973

   http://www.guardian.co.uk/media/2012/mar/09/universal-takeover-emi-threaten-market

   
   

   THE BIG THREE:

                           

   • Identify a variety of record labels
   • Research ownership - who owns the labels
   • Conglomerates vs Independents
   • Explain the differences
   • Give definitions of the terminology: S&C give examples of each

   Conglomerate

   Vertical integration

   Horizontal integration

   Oligolpoly

   What do the following programmes / article mean to you personally (the Net Police programme  & The Digital Economy: http://www.guardian.co.uk/technology/2012/mar/02/censorship-inseperable-from-surveillance

   - reflect on your own consumption

   What effects do you think they will have on the Music Industry? 

   
   

   
   

   
   

   Media Ownership  360 deal

    

    Madonna signed a 360 deal with Live Nation

   Robbie Williams signed a 360 deal with EMI

   
   

   Consider the changes over the years following the introduction to digital technology & the Internet, what challenges are there regarding ownership?

    2) Discuss the issues raised by media ownership upon the diversity of media products and services available to audiences in the contemporary media area you have studied

   The ownership of music has become a blurred subject in the digital era with copies of songs being immediately available to consume through Web 2.0 technology, it has never been easier to illegally obtain music and not pay homage to the rightful owners of the music. 
   Sony Corporation is a multi-media conglomerate, owning 33% of the global market share in the music industry alone. Because of this and being one of the ‘Big Three’ music distributors (along with Universal and Warner), they have the money and industry respect, to represent a wide ranging variety of bands and artists. They, as the label, get fees and band/artist revenue, so it could be argued that they claim the ownership of any material produced by their bands and artists. 
   As a conglomerate they converged and bought many smaller labels that specify in certain genres, such as deconstruction, Sony’s dance/electro label and Columbia, Sony’s indie/rock label. With this in mind, if it is Sony’s sub-companies that manage and control the artist and oversee distribution and marketing then surely they are the true owners of the produced music. It is important to note that bands and artists represented by big conglomerates such as Sony are majorly profitable as they have the big financial backing, however, they do not receive as big a percentage of profits than a lesser known independently backed band/artist. 
   As such a big company, Sony are able to create methods of reducing privacy and claiming ownership over produced music. They created synergy with video streaming website YouTube to cut down on illegal/unauthorised distribution of their artist’s material and said usage is immediately blocked and notified. Sony are also the forerunners of a new distribution concept ‘instant pop’. This is when music is immediately available to download as soon as it has received air time. This caters for fragmented audiences who are part of the immediate consumption culture. Instead if of having to turn to torrents and illegal downloads of newly released songs in order to obtain a copy, the music is available legally. In doing this the audience is respecting the rightful ownership of the songs to the artist and label. The first example of ‘instant pop’ is Jessie J who is managed by Sony. 
   A Wolf at Your Door is at a UK based indie/rock independent record label. As a small part of the 30% of global market share that independent record labels take within the overall music industry they do not have the financial or reputational comfort in the way that Sony does. 
   When talking to the label manager, Ian Dickinson, he said that because of the easily accessible illegal copies of music, A Wolf at Your Door suffers. As rightful owners of the music, along with the artists, they are having to resort to highly priced gigs and band/label merchandise in order to make a profit or even break even. 
   Last year, A Wolf at Your Door had to sell the ownership rights of one of their most profitable bands, Deaf Hevana to Sony. This exchange and recognised synergy

   between Sony and smaller independent labels is beneficial to both companies who will both receive profit from this deal. 
   A Wolf at Your Door caters to a fragmented audience by mainly distributing digital through there own website or synergy links with distribution platforms such as iTunes and Spotify. In doing this, they can cater for a global audience, which was near impossible for independent companies decades ago who would have to pay physical distribution fees for CDs, tapes and vinyl. The readily available and more affordable digital software and technologies have been most beneficial to independent labels and have changed the way the audience consumes music. This is evident through the $16.8 million rise in digital download sales in 2010 alone. 
   Overall, it is clear to see that the rightful ownership of music has been blurred in the digital era. This is damaging to all companies within the industry be it major (like Sony) or independent (such as A Wolf at Your Door). Now that audiences have many ways of obtaining music it is harder to control the profit and rightful fees that belong to labels and artists. We are no longer all consuming music purely from fixed time radio broadcasts that have to pay PRS fees to labels. So the digital era has warped our consumption of media. Be this beneficial for independent labels but also damaging to all in the industry. As Bob Dylan once said “The Times They Are A Changing” 
   This is a confident response, making a clear argument throughout and taking a particular slant on the question which is sustained to the end. The contrast between Sony and a UK indie is well integrated and the answer situates the workings of the industry very clearly within the digital era. Examples are apposite. Overall, all three elements are worthy of level 4. 
   Total Marks (44)