MEDIA Reframed VCE Units 1-4 Second Edition PDF

MEDIA Reframed VCE Units 1–4 Second Edition...

MEDIA Reframed VCE Units 1–4 Second Edition Ben Hoban Lauren Humphris Nick Booth David Caust Mark Hewitt First Edition authors: Hugh Mason-Jones Lisa Blumenstein Vic Tietze ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party. Shaftesbury Road, Cambridge CB2 8EA, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 314–321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi – 110025, India 103 Penang Road, #05–06/07, Visioncrest Commercial, Singapore 238467 Cambridge University Press is part of Cambridge University Press & Assessment, a department of the University of Cambridge. 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ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party. Contents Introduction vi About the authors vi Author acknowledgements vii The Interactive Textbook viii Assessment in VCE Media viii Study specifications 1 0.1 Study specifications used in VCE Media 2 UNIT 1: MEDIA FORMS, REPRESENTATIONS AND AUSTRALIAN STORIES 22 Chapter 1 Area of Study 1: Media representations 24 1.1 Introduction: What are media representations? 26 1.2 Purpose of representations 26 1.3 Construction of representations 38 1.4 Interpretation of representations 40 1.5 Representations of individuals 42 1.6 Changing representations of females 53 1.7 Representation of identity and self 72 Chapter review 76 Chapter 2 Area of Study 2: Media forms in production 78 2.1 Introduction: Creating your first VCE media product 80 2.2 Understanding audience 80 2.3 Pre-production process 86 2.4 Practical tasks 88 2.5 Submission and Statement of Outcome 96 Chapter review 97 Chapter 3 Area of Study 3: Australian stories 98 3.1 Introduction: What are Australian stories? 100 3.2 A short history of the Australian story 100 3.3 The Australian story 109 3.4 First Nations voices 124 3.5 Making Australian stories 134 3.6 Evolving Australian audiences 141 Chapter review 144 UNIT 2: NARRATIVE ACROSS MEDIA FORMS 146 Chapter 4 Area of Study 1: Narrative, style and genre 148 4.1 Introduction: What is the purpose of narratives? 150 4.2 Storytelling conventions 151 4.3 Genre conventions 158 4.4 What is style? 169 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 iii Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed 4.5 Historical and cultural context, the construction of narratives and using and subverting genre 174 4.6 How media creators engage audiences 181 4.7 The influence of narratives on audiences 185 4.8 Manipulating media codes and conventions in the construction of narratives 189 4.9 The development and communication of a distinctive style: Assessment studies 201 Chapter review 221 Chapter 5 Area of Study 2: Narratives in production 222 5.1 Introduction: Creating your first VCE media narrative 224 5.2 Pre-production research 226 5.3 Pre-production story development 233 5.4 Pre-production Statement of Intention 237 5.5 The production stage 243 5.6 Post-production 245 5.7 Methods of distribution 247 5.8 Statement of Outcome 248 Chapter review 249 Chapter 6 Area of Study 3: Media and change 250 6.1 Introduction: The Fourth Industrial Revolution 252 6.2 Characteristics of new media technologies 252 6.3 Characteristics of new media audiences 276 6.4 How audiences interact and engage with new media forms 286 6.5 How technological developments and other factors change the media 291 6.6 Assessment task: Social, ethical and legal issues in the media industry 296 Chapter review 297 UNIT 3: MEDIA FORMS, NARRATIVES, CONTEXTS AND PRE-PRODUCTION 298 Chapter 7 Area of Study 1: Narratives and their contexts 300 7.1 Introduction: The perpetual significance of media narratives 302 7.2 How media narratives are constructed in different media forms 303 7.3 How audiences engage with, consume and read media narratives 310 7.4 How media codes and conventions convey meaning 312 7.5 Media narrative case studies 333 Chapter review 396 Chapter 8 Area of Study 2: Research, development and experimentation 398 8.1 Introduction: Conducting production experiments 400 8.2 Brainstorming and gathering knowledge 400 8.3 Researching 406 iv ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Contents 8.4 Documenting and presenting your research 408 8.5 The exercises, presenting and reflecting 410 Chapter review 415 Chapter 9 Area of Study 3: Pre-production planning 416 9.1 Introduction: Planning for success! 418 9.2 Clarifying your intention and researching your audience 418 9.3 Preparing your production 424 9.4 Presenting your production design 430 9.5 Planning your production 433 Chapter review 440 UNIT 4: MEDIA PRODUCTION; AGENCY AND CONTROL IN AND OF THE MEDIA 442 Chapter 10 Area of Study 1: Media production 444 10.1 Introduction: Executing your production plan! 446 10.2 Production checklists 446 10.3 Production design annotation 448 10.4 Rehearsals 449 10.5 Post-production checklist 450 10.6 Testing and feedback 451 10.7 The Statement of Outcome 452 Chapter review 453 Chapter 11 Area of Study 2: Agency and control in media 454 11.1 Introduction: What is agency and control? 456 11.2 A changing relationship: Media and audiences 460 11.3 Explaining contemporary media influence and audience agency 475 11.4 The influence of media and audiences 479 11.5 How media is used by different stakeholders 483 11.6 Regulating media and audiences in Australia 502 11.7 Issues of regulation and control of the media 513 11.8 Ethical and legal issues in the media 531 Chapter review 541 Glossary 543 Permissions acknowledgements 550 Digital files: Interactive Textbook only Polly Smyth interview History of media effects theories The flow of agency and control Endnotes ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 v Photocopying is restricted under law and this material must not be transferred to another party.  Introduction Welcome to the world of VCE Media! You have selected a study that is arguably one of the most relevant and important as we dive further into an age where developing a critical eye and mind are essential life skills. The first line of the Study Design reads, ‘the media is ubiquitous’ – whether it is our smartphones, streaming services, social media platforms, the 24-hour news cycle or the pervasive nature of data harvesting and targeted advertising, it is true that the media is omnipresent. It is crucial that students become informed, savvy and critical consumers and producers of media. VCE Media Units 1–4 have been written to develop solid media literacy skills, analytical and technical skills as well as an awareness of the impact the media has on an individual, collective and global scale. About the authors BEN HOBAN Ben is a teacher of VCE Media and History and has been teaching both subjects at Balcombe Grammar School and in government education since 2009. Ben is the co-author of Media Reframed first edition, Cambridge Humanities for Victoria and Modern History Transformed Year 12. He is the Digital Pedagogies leader at Balcombe Grammar School and a passionate advocate for innovative learning and digital literacy. Outside of education, Ben has been widely published in pop culture and action sports media and is a skateboarder who is old enough to know better. LAUREN HUMPHRIS Lauren is an experienced teacher of both VCE Media and English at St Joseph’s College, Geelong. She has taught Media since 2005 and is a strong advocate for media education and literacy for all students. Lauren has been a Victorian Curriculum and Assessment Authority (VCAA) assessor for both Media and English as well as serving on exam panels. Outside of teaching, Lauren is also a freelance writer, contributing to several websites and blogs. NICK BOOTH Nick studied film in San Francisco and teaches English and Media at Mentone Grammar. He is also the author of Cambridge Checkpoints Media Units 3 & 4. With a passion for video production, Nick enjoys helping students bring their stories to life. DAVID CAUST After graduating from the legendary Rusden State College, David Caust has worked as a teacher of Media and Art for 35 years, with the occasional breakout in the broader media–arts industry. MARK HEWITT Mark Hewitt has been a Media teacher for the best part of a decade. Working with students to create engaging films, animations, zines and everything in-between is the thing that keeps him returning to the classroom each year. Throughout his career, Mark’s love of cult cinema and panache for hyperbole have been tolerated by scores of students. vi ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party. Author acknowledgements BEN HOBAN I would like to thank my wife, Rebecca, for her inexhaustible support and constant encouragement. To my children, Jemima and Murphy, I hope you never tire of The Simpsons and Star Wars, for there you will learn all you ever need to learn. Thank you to the incredible team who worked on this book, Lauren, Nick, David and Mark. Thank you to Christina Burton and the Creative Arts Team at BGS and, finally, Nick Alexander at Cambridge University Press for your non-stop passion for media and this book. LAUREN HUMPHRIS Thank you so much to my good mate Ben Hoban, who I sat next to in VCE Media all those years ago, for inviting me to be a part of this incredible project – it is such an honour to be able to contribute to the VCE Media landscape in this way. Thanks to Nick Alexander at Cambridge for being the most understanding and patient publisher. Thank you to my amazing family, especially my two sons who are incredibly supportive while I write. I am so glad you love Back to the Future as much as I do. Most of all, thank you to my Media students – past, present and future. You make coming to work the most fun job ever. NICK BOOTH Thank you to my amazingly supportive partner, Amelia, for your love and patience. I dedicate my work on this text to our children, Rose, Jimmy and Rudy. Thank you again Nick Alexander and Cambridge for allowing me to be a part of this wonderful textbook. DAVID CAUST I would like to thank my wife, Vicki Hobbs, and daughter, Lucinda Caust, for their inspiration, and my colleagues in the Arts at Taylors Lakes Secondary College for their brilliance and support over many years. MARK HEWITT I would like to thank my family for sweetly listening to my dinner table monologues about Sam Fuller, Joseph H Lewis and Sergio Leone and for tolerating my anxiety during deadlines. To Nick Alexander for indulging my love of cult movies and allowing me to crowbar my thoughts into this new edition. And, finally, to the students reading this, remember, there’s a whole universe of cinematic brilliance out there, hidden just beyond the multiplex and noise of the streaming queues. Publisher acknowlegements The publisher and authors would like to sincerely thank reviewers Sharon Davis of Goorlil Consulting, Daniel Hennequin, and Amy Robson for their time, expertise and valued contributions to the second edition. We would also like to acknowledge the work of First Edition authors Hugh Mason-Jones, Vic Tietze and Lisa Blumenstein – thank you. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 vii Photocopying is restricted under law and this material must not be transferred to another party.  The Interactive Textbook The Interactive Textbook included with Media Reframed, second edition, includes a range of additional content, including: a range of examples of former VCE Media student productions, across different media forms, including Video, Photography, Print layout, Audio examples of student pre-production work across various media forms, including storyboards, scripts and media production design plans tips for the shooting process reflective video interviews with former VCE Media students about their experiences through the media production process and lessons learnt. The Interactive Textbook also includes downloadable ‘success criteria’ checklists per chapter. Below is an example of how these look and an explanation of their purpose. Checklist The success criteria are linked to the learning intentions from each section of this chapter, and have been written based on the key knowledge and skills of the VCE Media Study Design. Completing the linked questions per success criteria will thoroughly prepare you for success in this subject. Fill in, print or photocopy this page (like the example below) and tick the boxes when you have answered the corresponding questions correctly. Success criteria – I am now able to: Linked question Completed 2.2 Understanding use media pre-production, production and Activity 2.1  audience post-production techniques and processes Activity 2.2  2.3 Pre-production research and apply media design and Activity 2.3  process production techniques to represent ideas Activity 2.4  and achieve particular effects Activity 2.5  2.4 Practical tasks apply media codes and conventions to Activity 2.6  2.5 Submission construct meaning in media products Activity 2.7  and Statement operate media technologies to produce Activity 2.8  of Outcome representations in a range of media forms Activity 2.9  evaluate the characteristics of a range of Activity 2.10  media representations in media forms Activity 2.11  Activity 2.12  Throughout the use media language appropriate to the Activity 2.6–2.12  chapter design, production and evaluation of media representations in a range of media forms Assessment in VCE Media VCE Media is a subject that combines theory and practice, and the types of assessment across both years of the study reflect this. This book is written with the intention of helping you to develop the skills you need to succeed in your studies; however, we recommend you speak to your teacher and visit the VCAA website for the latest information about assessment in this subject. Endnotes Please note that in this textbook you may encounter occasional endnotes, where the authors wanted to reference additional sources. A list of endnotes is available in the PDF and Interative Textbook versions of viii this resource. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party. STUDY SPECIFICATIONS INQUIRY QUESTION What are the key concepts used in VCE Media? OVERVIEW Underpinning VCE Media are the study specifications that allow for teachers and students to develop a common language and collective understanding of the terminology that is used throughout Units 1–4. It is essential that you delve into each of these specifications – learn them, use them and be able to draw upon examples to demonstrate what they mean. Through regular revision and use of these terms, your coursework – both written and practical – will consistently improve. So, without further ado … here are the VCE Media Units 1–4 Study specifications. FIGURE 0.1 (above) A camera person on the set of a media production ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 1 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed 0.1 Study specifications used in VCE Media Media literacy Media literacy is defined as an interrelated set of competencies that help people to maximise advantages and minimise harm in the new information, digital and communication landscapes. Media and information literacy covers competencies that enable people to engage with information, other forms of content, the institutions that facilitate information and diverse types of content, and the discerning use of digital technologies critically and effectively. VCE Media promotes media literacy by encouraging students to produce their own media products and engage critically with media as citizens in a democratic society. FIGURE 0.2 VCAA, VCE Media Study Design 2024–2028, p. 12, used with permission Media literacy is a brand-new study specification and a competency that is found in many Media courses around the globe. Essentially, this specification draws closely on the rationale for studying media – that with the rise of global media, ease of access to information and the ability to communicate widely and instantaneously, it is increasingly becoming important that young people have a strong ability to read, dissect and critique the media. Being media literate means that an individual has the ability to critically analyse narratives, news and information – all the assortment of ‘stories’ in the mass media. The ability to be able to read, interpret and critically dissect the messages presented in the mass media is critical for citizens across the globe. The need for this to be explicitly taught and considered is conveyed by UNESCO (United Nations Educational, Scientific and Cultural Organization) through its campaign for Media and Information Literacy. UNESCO supports the development of media and information literacy for all to enable people’s ability to think critically and click wisely. The Organization particularly strives to enhance the capacities of policymakers, educators, information and media professionals, youth organizations, and disadvantaged populations in this area, assisting Member States to formulate national media and information literacy policies and strategies. FIGURE 0.3 ‘About Media and Information Literacy’, UNESCO website Through the recognition of the need to make media literacy a global priority, UNESCO has developed the Five Laws of Media and Information Literacy. These Laws, alongside policy advice, advocacy for media and information literacy across the globe and a commitment to stand against false and misleading information, form the platform for UNESCO and much of the global work being done in the media literacy space. Further to the work of UNESCO in this area is the common understanding that media literacy is a term that encompasses several key ideas. Through a developed understanding that the mass media is playing in our lives, the goal of media literacy is to ensure that students develop critical thinking skills in all types of media. This means the ability to question, seek further details, opinions and perspectives, and to be able to decode the messages being presented. 2 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications FIGURE 0.4 UNESCO’s Five Laws of Media and Information Literacy In addition to this is the importance of developing an understanding of how media messages shape culture and society. While there are many theories and ideas around the ability and the extent of the media’s role in the shaping of culture and society, through developing the skills of media literacy, citizens can be more aware of the connection between them. Another goal of developing media literacy is to empower and enable citizens to advocate for media organisations and producers of media messages to be created thoughtfully and ethically.1 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 3 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed ACTIVITY 0.1 Defining ‘media literacy’ 1 Write your own short definition of what you believe media literacy means. You may need to do some further research. 2 As a student today, why do you believe it is important for people to be educated and aware of the role of the media in our lives? 3 Head to the UNESCO website and explore the Five Laws of Media and Information Literacy. Which of these laws do you believe to be the most important and why? Media products Essentially, media products are the tangible ‘thing’ that is consumed by an audience. A media product could be … Media products are the consumable output designed by media producers. They are distributed to audiences who engage with, consume and read them. FIGURE 0.5 VCAA, VCE Media Study Design 2024–2028, p. 12, used with permission A film, a magazine, a book, a podcast, a software product, a computer game, a TV series, a webpage, a photograph, a billboard, a social media post … These products have been created, distributed, consumed and read within a specific context – time, place, cultural, societal. It is through this lens of context that we can see how media products are indeed a ‘product’ of the time and place in which they were created. Media products are made by a creator and distributed via a range of media forms to an audience. See below! Media forms Media products are designed and produced in a wide variety of media forms. The construction of a media product is dependent on the style and genre of the product and the intended audience, location, context and time in which the product was created, produced, distributed, consumed and read by audiences. Media forms refer to technological means and channels by which the media is created, produced, distributed, consumed and read. Media forms include: Moving image: film, television, video, animation Still image: photography Audio: radio, podcast Print: magazine, zine, comic, graphic novel, newspaper, poster Digital: online video and audio, streaming video and audio, podcast, magazine, comic, graphic novel, newspaper, video game, blog, website, app. Convergent or hybridised media: the combination or joining of two or more media forms, such as photography and animation, print productions and a digital game, augmented and virtual reality products. FIGURE 0.6 VCAA, VCE Media Study Design 2024–2028, p. 12, used with permission 4 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications It seems really simple and easy to understand – media products = ‘the thing’ vs media forms = ‘the mode/ channel’ through which we consume ‘the thing’. However, it is a common error that students make in the use of the terminology. Media products and media forms are two separate concepts, and we need to understand how they are not one and the same. This is increasingly important as we can have media creators producing the same content and messages, but across multiple products and forms. For example, Taylor Swift can produce an audio form of her music in the product of the single, a digital form through a social media post about the single and a moving image form of a short film of the song as a music video. Essentially, all three ‘products’ are the same – the song – yet the forms differ through which they are distributed and consumed. ACTIVITY 0.2 Analysing media forms 1 Make a list of all the media products you have consumed over the last 48 hours. Try to include the products you intentionally sought out and consumed and others you may have had only a secondary exposure to: e.g. the talkback radio on the bus into school! Be specific – e.g. Channel 9 news, an episode of your favourite TV show, a trip to the movies to see the latest Marvel blockbuster. 2 Look at your list and consider the media form that each of FIGURE 0.7 Taylor Swift releases content these products fits into. through a range of media forms. Media technologies Media technologies are the analogue and digital technologies used in development of media products. FIGURE 0.8 VCAA, VCE Media Study Design 2024–2028, p. 12, used with permission There are many different types of technology that can be used in the development of media products, including digital audio and video editing software, animation and special effects software. Additionally, the internet and various digital communication platforms are often used to distribute media products. Some examples of digital technology used in the development of media products include Adobe Creative Suite, Final Cut Pro and Avid Media Composer for video editing, and Ableton Live and Pro Tools for audio production. Social media platforms continue to develop the ability for users to quickly and easily create, edit and distribute content. AI tools that can generate text and images, and edit FIGURE 0.9 Your smartphone is a powerful form of media video with a huge range of effects have resulted in all technology. users of social media platforms being able to become their own legitimate producers in their own right. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 5 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Analogue technologies refer to traditional methods of creating and producing media products such as film, music and photography. These technologies include film cameras and tape recorders. In the film industry, analogue technologies such as film cameras and film stock were used to create movies before the advent of digital technologies. Filmmakers would use film cameras to shoot their movies and then process the film in a lab to create the final product. This process was time-consuming and costly, but it also had its benefits. Film stock provides a unique texture and grain that is not replicable in digital formats, and many filmmakers still prefer the look of film over digital. Similarly, in photography, analogue technologies such as film cameras and film stock were used to create photographs before the advent of digital technologies. Film cameras used film rolls to capture images and the film had to be processed in a lab to create the final product. Film cameras have a unique look and feel that is not replicable in digital formats and many photographers still prefer the look of film over digital. A high level of skill and technique when using such analogue technologies is important as there is limited ability to ‘fix’ the images in post-production. (Unless of course these images are digitised!) Analogue technologies require the knowledge of lighting and exposure techniques to ensure the images are clear. Analogue technologies have played an important role in the creation of media products and many people still prefer the unique qualities that these technologies offer. While digital technologies have made it easier and more cost-effective to create media products, analogue technologies are still used by many professionals and enthusiasts. ACTIVITY 0.3 Analysing media technologies 1 List five digital media technologies and find a media product that has been produced using each technology. For example, the digital technology of Photoshop – a heavily edited photograph with multiple layers. 2 List five analogue media technologies and find a media product that has been produced using each technology. For example, the analogue technology of a cassette player/recorder – a mixed cassette tape! Media narratives In VCE Media, narrative is used to describe fictional and non-fictional media stories in all media forms. A narrative is composed of story and plot. The term ‘story’ refers to all events that contribute to the narrative, while plot refers to how the story is structured or told. Narratives are the depiction of a chain of events in a cause-and-effect relationship occurring in physical or virtual space over a period of time. Fictional and non-fictional stories are fundamental to the media and are found in all media forms. Media industries such as journalism, filmmaking, publishing and photojournalism are built upon the creation and distribution of stories. Stories are constructed using the elements of plot in the form of a systematically organised series of interconnected images, sounds and/or words using media codes and conventions. The creator and the audience share an understanding of both the construction, distribution, consumption and reception of stories. Digital media forms enable creators and participants to develop and distribute stories in hybrid forms, including collaborative and user-generated content, which challenges the traditional understanding of story forms and advances new modes of audience engagement. FIGURE 0.10 VCAA, VCE Media Study Design 2024–2028, p. 13, used with permission 6 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications What sets VCE Media apart from the other Visual Art studies is this key study specification – media narratives. In the other studies, there is arguably more scope to be more ‘experimental’ or ‘abstract’ – or in the case of Visual Communication and Design, the SAT (School-assessed Task) is based around client needs that fit a design brief. What sets this study apart is the notion that the practical work produced by students must tell a story. What underpins the work – in whatever form you choose to work in – is a narrative. The narrative that is at the core of your work can be used to entertain, to create a sense of suspense or to make a story more interesting. The narrative could provide a moral message, seek to educate or inform. A good narrative can make a media product more engaging and enjoyable for the audience, which can increase its appeal and its chances of success. A strong media narrative is important in media products because it helps to organise and present information in a way that is engaging for the audience. Through codes and conventions, media narratives allow audiences to understand the concepts and ideas presented in a media product. A strong narrative can also create emotional investment in a story, which can make it more memorable and impactful for the audience. This is the case with both fictional and non-fictional media products. For example, the advertising industry understand the importance of a story to connect with their audience. Through this story, audiences become invested in the product or service, which, in turn, converts into sales. A company that has mastered the concept of a narrative in its advertising is Qantas, which capitalises on the emotional pull of family and Christmas. In non-fiction media products, narrative is just as important as fictional products. For example, FIGURE 0.11 Qantas has capitalised in the power of narrative in news stories the media narrative can also be through its ‘Feels Like Home’ campaign used to shape the way an audience interprets and understands a story. By choosing certain facts, quotes and images, and by presenting them in a certain order, media producers can influence the way an audience understands and responds to an issue or event. Selection and omission are key elements of any narrative – what to include and what to leave out. Narrative can also be used to frame a discussion or to create a certain story around a particular event, person or situation. This can be particularly useful for political or social issues, where the media can play an important role in shaping public opinion. Political parties aim to create a narrative around their policy platforms, especially during election campaigns. This narrative is practised and refined and fed to political journalists in order to communicate what the party FIGURE 0.12 Political parties aim to create a narrative around their represents. policy platforms, especially during election campaigns. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 7 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Overall, the narrative is an important tool for media products, as it helps to organise and present information in a way that is engaging and easy to understand, and it should form the core of your production work throughout VCE Media. ACTIVITY 0.4 Analysing media narratives Find a media product from each of the following categories. Watch and/or read the content. Identify what the narrative is. What story is the media creator trying to convey? An advertisement for a sport/lifestyle brand A social media Reel A popular video or computer game An online news story Media contexts Media contexts refers to the societal context in which media products are produced and read. The study of media contexts is an examination of factors (including social, cultural, economic, political and/or historical) that may influence production and audience readings. Media contexts are explored through an analysis of these factors and how they are reflected in media products studied, and how these products may implicitly or explicitly comment on, reflect on, develop, reject or ignore dominant views and values. Media products should be viewed in the light of the contexts in which they are produced and received. When producing their own media texts, students should also demonstrate an understanding of how their contexts help to shape their work. FIGURE 0.13 VCAA, VCE Media Study Design 2024–2028, p. 13, used with permission There is a common phrase that is used throughout many areas of study, society and everyday life situations – ‘context is everything’. Context refers to the information or environment surrounding a particular situation or event. Context shapes almost everything we see and how we perceive a particular moment. It can greatly affect how something is interpreted or understood. Without a wider understanding of context, it can be very easy to misinterpret or misunderstand a situation. For example, have you ever come into a heated conversation and not fully understood the lead-up to it? It can lead to jumping to conclusions and a misunderstanding of what is being discussed. When we discuss the concept of media contexts, it is quite similar. Without an understanding of the context in which a media product has been produced, we can become easily confused or even offended by what is being communicated. Media products are quite often a clear reflection of the society, time and culture in which they are made. Media creators are rarely producing content for past or future audiences – they are producing for an audience within the framework of their own context. The media often reflects the values, attitudes, beliefs and norms of the society it serves. It can shape public opinion and bring attention to social issues, but it can also perpetuate stereotypes and reinforce existing power structures. 8 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications Media creators are influenced by the cultural, social, economic, historical and political contexts in which they live and work. These contexts can shape the themes and messages of their films, as well as the techniques and styles they use to tell their stories. For example, a filmmaker living in a country with a strict censorship regime and conservative ideas around moral issues may have to be more subtle in the ways they address certain storylines, while a filmmaker working in a more liberal society may be able to be more direct. Additionally, filmmakers can be influenced by the cultural contexts they are immersed in, such as literary or artistic movements, which may shape their aesthetic choices. Also, the socioeconomic contexts of the filmmaker can play a role in their work, as filmmakers from marginalised communities may choose to tell stories that reflect their experiences and perspectives. At times, these perspectives and points of view are overtly expressed within a media product. It is clear what position the media creator is taking towards a particular issue or event. For example, director Jordan Peele openly conveys his views around racism towards African Americans in his 2017 film Get Out. Through a mix of horror and comedy, the film highlights the various ways in which racism operates in contemporary society, including micro-aggressions and cultural appropriation. The film ultimately reveals the depths of the systemic racism that still exists in the USA and makes a powerful statement about the urgency of anti-racist activism. Peele created this film set against the context of the Black Lives Matter (BLM) movement. The BLM movement seeks to address systemic racism, police brutality and the disproportionate use of deadly force against Black people. It has inspired a global conversation about the ongoing fight for racial justice. In 2023, the movement has continued to draw attention to ongoing incidents of police violence and to advocate for reforms to the criminal justice system. On the other hand, there are media products that are far less overt or explicit in conveying the views and values of a time and place, yet are still clearly products of the context in which they are created. The media creator may subtly imply a view or position on what is going on in their world and how this is influencing their work. The 2016 Disney feature animation, Moana (dir. Ron Clements et al.), is a classic children’s narrative with the usual big musical scenes and a princess who overcomes adversity. However, this film makes a clear statement about the impact of climate change, particularly in the Pacific nations and on Indigenous people who feel a deep connection to their lands. At the time of production, many nations were debating the impact of climate change and committing to the 2015 Paris Agreement to lower emissions to limit global warming. While Moana is not directly about climate change, it does draw upon environmental themes. The film follows the journey of a young woman named Moana as she sets out to save her island and her people from the ‘darkness’ that has been caused by greed. The film touches upon themes of environmental conservation and the importance of caring for the Earth and its resources. The story highlights the consequences of neglecting the natural world, as the island and its inhabitants are suffering due to the depletion of its resources and overfishing. Moana’s journey to restore the health of the ocean and the island serves as a metaphor for the importance of protecting FIGURE 0.14 Peele’s film won the Academy Award for Best the environment and restoring balance to the Original Screenplay and has become a catalyst for deeper natural world. conversations around racism in the United States. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 9 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Like Aesop’s Fables, Moana’s film fable has ‘a moral to the story’. With its rare depiction of an intact, untouched Polynesian culture, Moana shows how the issues of native lifestyles and climate change are inextricably bound up with one another; how Indigenous peoples are among those most impacted by global warming. Moana and Maui’s quest is to restore ecological balance to preserve traditional culture. Framed in the medium of computer- generated animation with some hand-drawn artwork, Moana presents an environmental, Indigenous vision via mass entertainment for children of all ages. FIGURE 0.16 A quotation from a film review of Moana by Ed Rampell, ‘Disney’s Latest Motion Picture Is a Parable about Climate FIGURE 0.15 The title character Moana, from the Change and Indigenous Rights’, Earth Island Journal website, animated film Moana 2 December 2016 When we view media products from the past or from a different cultural setting, we can find it difficult to relate or understand. When we explore advertising from the 1950s and 1960s, most audiences today would find the narrative and the images incredibly sexist and demeaning to women. This is due to the progress made by subsequent feminist movements and the societal, historical and cultural shifts towards women being seen as equal to men. However, at the time, these advertisements were widely accepted by the society in which they were produced. Throughout the 1950s and early 1960s, women in Western society were defined by their marital status and their ability to be a perfect homemaker, wife and mother. These types of advertisements reflect this context. ACTIVITY 0.5 Analysing media contexts 1 Summarise and define the concept of media contexts in your own words. 2 Explore media products from different periods of history. An easy way to do this is searching YouTube FIGURE 0.17 An advertisement for Surf washing powder for ‘1980s TV’ or ‘1960s advertising’. Choose a media from 1955. In the story featured, the male character product and research the time and place in which decides the female character is ‘his kind of girl’ when he it was created. Does the media product reflect the realises she is capable of washing a shirt. context in which it was made? Or does it challenge or reject the mainstream views of the time? 10 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications Media codes Technical and symbolic tools are used to construct meaning in media forms and products. Media codes may include the use of camera, acting, mise en scene, editing, lighting, sound, typography, colour, visual composition, text and graphics and paper stock for print. FIGURE 0.18 VCAA, VCE Media Study Design 2024–2028, p. 13, used with permission Media codes and conventions are the cornerstones of the study of Media. Essentially, they form the basis for how we discuss media products and media forms. They are the tools you will use when you begin to make your own media products. Media codes work alongside Media conventions (see next category) to create images and sound that convey meaning. Media codes can be separated into three distinct categories. 1 Technical codes: In media studies, refer to the equipment and techniques used in the production of media content, such as camera work, lighting, sound and editing. Within different media forms, there is a need for different technical codes. For example, in a print media product, the technical codes include the typography and the printing process. 2 Written codes: In media studies, refer to the language used in media content, such as scriptwriting, dialogue and narration, as well as the writing conventions and styles used in different forms of media. 3 Symbolic codes: In media studies, refer to the use of symbols, images and representations to convey meaning. This includes things such as characters, objects, costumes, settings and other visual elements, as well as the way they are used and the meanings they convey. These codes play an important role in shaping our understanding and interpretation of media content. Media codes and conventions are covered in depth throughout this text and it is vital that you understand the toolkit that media creators draw upon. Media conventions Media conventions are rules or generally accepted ways of constructing meaning or organising media products. Conventions may refer to: Conventions of media forms and products: the rules and common practices for constructing and organising media forms and products. Genre conventions: the rules that define genres are subject to debate and change, revealing cultural assumptions about the significance of media products; the type of audiences who consume media products; and practices of the media industries. Narrative conventions: common narrative structures, such as character, character arcs, and three-act structures. FIGURE 0.19 VCAA, VCE Media Study Design 2024–2028, p. 13, used with permission When we go to see a movie, we have a pretty clear set of expectations of what the experience will be like based upon our choice of film. We know that if we are going to see a Marvel film, we can expect fast-paced action, special effects, superheroes and a booming soundtrack. Similarly, if we pay to see a supernatural horror film, we expect to feel a sense of fear. We expect to see jump cuts, chases, blood and darkness. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 11 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Media conventions refer to established norms, customs and practices within a particular media industry (e.g. film, television, journalism, advertising, etc.). These conventions dictate how content is produced, distributed and consumed within the industry, and often include things like: narrative structure character development and representation representation of social issues technologies and production techniques used in the construction of media products distribution and consumption methods. Audiences develop an understanding of conventions through repeated exposure and familiarity with specific genre, cultural and societal norms, as well as personal experiences. They also use their own prior knowledge and critical analysis skills to interpret and make meaning from new media products they encounter. From a very young age, audiences develop this awareness. For example, classic children’s stories introduce us to fear of strangers through exposure to stories like ‘Little Red Riding Hood’ and ‘Hansel and Gretel’. The incredibly popular and successful ABC animation Bluey is another example of how conventions are used to draw an audience in and have an instant connection and understanding with the content. The children’s show is about a family of dogs, the ‘Heelers’ – Mum and Dad (Chilli and Bandit) and their two ‘pups’, Bluey and Bingo. Despite being dogs, audiences recognise the conventions of a family narrative – this is achieved through the structure of each episode, which follows the story of one of the members of the family usually trying to resolve a moral dilemma, the conventions of suburban life supported by the symbolic codes of a typical family house (the producers of the show pay homage to their hometown of Brisbane, Queensland through the symbolic code of the classic Queenslander-style house) and the development of the FIGURE 0.20 Audiences develop an understanding of media conventions character conventions of the role of through repetition, for example, Little Red Riding Hood helps introduce parents within the family structure. children to sense danger around strangers. 12 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications ACTIVITY 0.6 Analysing media codes and conventions Media codes and conventions work together to create media products that convey ideas, narratives and meaning to audiences. Have a look at these images, list the media codes and conventions you can identify and write a brief sentence about what you believe the media creator is attempting to communicate. FIGURE 0.21 Nike marketing image: Never FIGURE 0.22 Drew Barrymore in Scream Done Inspiring (dir. Wes Craven, 1995) FIGURE 0.23 George MacKay as Schofield in 1917 (2019), co-written and directed by Sam Mendes ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 13 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Media production process Production processes across media industries have developed to reflect the needs of practitioners. Audience engagement, consumption and reception, and the requirement to work under constraints including time, budget and skills, are all central to the media production process. The process identifies discrete stages that provide the framework for a media production applicable to all media forms. The stages of the process should not be seen as static or linear; rather, they are iterative and interrelated. Underpinning the media production process is ongoing analysis, reflection and evaluation requiring critical, creative and reflective thinking. FIGURE 0.24 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission. The media production process we follow in VCE Media allows for students to explore, research and develop quality ideas for their practical work. Each stage builds upon the previous stage and allows for students to critically reflect on their progress and their artworks. The stages in the media production process are: DEVELOPMENT Development involves exploring the ideas, intentions, narrative and audience of a production. In this stage, media practitioners may research other media products, analysing codes and conventions, narrative, genre or style and may consider the societal context of a product. Media practitioners may investigate equipment, materials and technologies in a range of media forms relevant to their audience and intention. They may perform experiments using materials, equipment and technologies to develop their skills. FIGURE 0.25 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission The development stage of the media production process is really important in gaining an understanding of what you like, what you dislike, what inspires you and what is possible. In this stage, students should cast their viewing, listening and reading nets wide. Look at older media products, play around with equipment and techniques, consider different media forms … this stage is all about getting your ideas down and building your skillset. PRE-PRODUCTION Pre-production planning considers the concept, audience, intention, narrative and context of a media product. Pre-production involves planning a narrative, including how it will engage, be consumed and read by an audience. Media codes and conventions, genre and style are considered in the construction of the narrative. Documentation and planning may take visual and written forms, such as production notes or storyboards. Media practitioners may undertake technical tests and experiments prior to production, reflecting on their success or failure. Equipment, technologies and materials to be used in the production are documented. Media practitioners plan how the product will be distributed to an audience and the context in which it will be consumed. FIGURE 0.26 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission 14 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications This is the stage where your ideas and concepts from the development phase begin to take shape. You will begin to consider your audience and how they will engage with, consume and receive your media product. You will start to refine your ideas around the narrative – what story are you trying to tell? It is a crucial part of the process and you will need to consider how you will document these plans. Pre-production is an exciting phase as your visions and ideas begin to take shape. Testing out the capabilities of the equipment – and indeed your own skillset! – can be a challenge, yet this is the part of the process in which you will learn the most. Perhaps your grand ideas for a cast of thousands becomes more of a smaller scale cast of two or three of your mates. This is the time to play around with the tools you have available. Explore the capabilities of the camera, the sound recording equipment or the software program. Complete YouTube tutorials to upskill or learn a new technique. The most important part of this stage is to set up a clear, realistic and manageable production schedule. Ensure that you know your dates and your timelines – alongside any other cast and crew – so that your production comes together in an organised and timely way. PRODUCTION Production is when a product is captured or recorded. Production may be a collaborative process involving a number of people with specific roles or it may be an individual process. Reflection and evaluation of the production can occur through written documentation, oral feedback and visual feedback. FIGURE 0.27 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission The time has finally come! You are now going to create your media product! The time of planning and developing, testing and experimenting is now over and you will draw closely on the process to create. Using your immaculately planned schedule, this part of the process should be a breeze. However, the hard work is not over yet. Media creators will continuously reflect and critically view their work. These reflections will be recorded throughout this stage of the process. POST-PRODUCTION During post-production, the production is refined and resolved, considering the intention, audience and planned narrative. Codes and conventions are used to resolve ideas and engage audiences. Specific equipment and technologies are used in editing. Feedback is sought and the creator and participant will reflect upon the product and its relationship to the specified audience and intent. FIGURE 0.28 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission By this stage of the process, many students can feel a sense of fatigue or frustration around their media product; however, it is in this stage where many issues can be resolved and refined. In this stage, it is vital to seek feedback – from your teacher, your family and friends, your classmates. It is through this feedback – and acting upon it – that students can really develop their media product. At times, media creators may use the post-production stage to reshoot a scene, make changes or create a better ending. They may have a test audience view the work and give feedback. Media creators should always go back to their intention and see how this work reflects what they set out to do. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 15 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed DISTRIBUTION The product is delivered to the specified audience in a planned context and location. At this point, the creator and/or participants will seek feedback for future productions based on audience response and personal reflection. FIGURE 0.29 VCAA, VCE Media Study Design 2024–2028, p. 14, used with permission For each media creator, this stage of the process may look different. Is the media product going to be uploaded to your YouTube channel or social media? Perhaps you have entered a film competition or you will be presenting your podcast on air? It is important that this stage is planned for in the process. How will you reach your intended audience? Audience All media products are distributed to audiences who consume them in different ways. Factors such as technology, critical media literacy and the context of creation and consumption can alter the way audiences receive, engage with and respond to media products. Audience reception: This refers to both the physical way audiences consume media p ­ roducts and the context of the time and place in which they receive it. Audience engagement: This refers to how audiences are affected emotionally and cognitively by a media product and how these ways of engaging combine to form complex meanings and experiences. Audience response: This refers to the way a media product may influence audiences to act or change their behaviour. All media products are made for target audiences, defined by their cultural, social and historical context, and demographics, as well as individual traits such as age, gender and values. A media product may be considered successful if the intended audiences receive, engage and respond to the product the way the media creator intended. FIGURE 0.30 VCAA, VCE Media Study Design 2024–2028, p. 15, used with permission Media products are created to be consumed by an audience. While an audience may all receive the same message, what we as students of Media find interesting is how differently audiences can interpret or understand what is being communicated. Different audiences view the same text in different ways due to a variety of factors, including: 1 Background and experience: each person’s life experiences, cultural background and individual values can affect how they interpret media messages. 2 Context: the social, cultural and historical context in which a text is consumed can impact its interpretation. 3 Ideology: an individual’s political or cultural beliefs can influence the way they understand and respond to a text. 4 Purpose of consumption: why someone is consuming the text can affect their interpretation of it. 16 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications 5 Active interpretation: audience members engage with texts and construct their own meaning based on their personal experiences and perspectives. 6 Technological mediation: the technology used to access a text can also impact interpretation, such as the size of the screen, sound quality or access to background information. These factors demonstrate that media messages are not simply received and passively understood by audiences, but are actively interpreted and reconstructed through the lens of an individual’s experiences and beliefs. There are countless examples of how audiences receive media products in different ways. What is hilarious and amusing to one person may be crude and deeply offensive to another. We only need to read the comments on social media to see the many varied ways in which people receive the same message. Media context (see above) plays a significant role in how audiences receive messages. Time and place, political, historical and cultural factors all impact how an audience responds to a media product. This context can also impact the engagement or the emotional response. When we look back at many films from the past, often there is a sense that the message, the dialogue or the ways in which certain characters are portrayed or treated haven’t aged well. The classic 1978 musical Grease (dir. Randal Kleiser) is an example of this. The film has not aged well due to its portrayal of gender roles and sexual harassment, as well as its stereotypical and insensitive representation of different racial and ethnic groups. Another example is the John Hughes films of the mid 1980s. Muse and star of several of these films, Molly Ringwald, penned an essay in the New Yorker in 2018 reflecting on how problematic the portrayal of girls and consent were throughout these films. She claimed to realise only in her thirties with the benefit of hindsight how inappropriate the Sixteen Candles (1984, dir. John Hughes) script was, especially a particular scene late in the film. Perhaps the most significant consideration we as students of media have in relation to audience is the ability for the media to influence opinion, beliefs and behaviour. When we explore these topics throughout VCE Media, the notion of audience is always considered. There are audiences that we would consider to be more vulnerable – such as children – who require moderation of the media to which they are exposed. Laws and regulations exist to protect audiences and to try to limit the spread of misinformation. FIGURE 0.31 Children have always been considered to be the most vulnerable of audience members for media products. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 17 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed ACTIVITY 0.7 Identifying media audiences An understanding of audience is an important factor for all media creators. Knowing which segment of the population to target is a key part of creating successful media products. Influencers and YouTubers are masters at identifying and capturing a specific audience. Imagine you have started a clothing brand – it could be any style – vintage, outdoor, formal, skate/surf … your choice. In order to be successful, you need to build an audience profile – who is going to ‘buy-in’ to your product? Who are you targeting? Follow the steps below to determine the audience – who in turn becomes the consumer – of your brand. 1 Identify your target audience – consider factors such as age, gender, education level, location, interests and values. 2 Gather data – use market research techniques, such as surveys, focus groups and demographic data, to get a better understanding of your target audience. 3 Create segments – divide your target audience into smaller groups based on shared characteristics, such as age, interests or behaviours. 4 Develop personas – create detailed profiles that represent the typical members of each segment, including information on their values, interests, challenges, goals and motivations. By building a detailed audience profile, you can gain a better understanding of your target audience’s needs, behaviours and preferences and use that information to create more effective and relevant media strategies to engage your consumer. Media language Media language is evolving and dynamic. Students develop knowledge and use of the language of media in terms of design, production, distribution, consumption, engagement with, reception, reading and critique of their own and others’ media products. They also examine the terms used by media practitioners and institutions. For the purposes of this study, media language is a framework for both the construction of media products and discussion of the ways the media communicates meaning to audiences. Creators, producers and audiences share an understanding of media codes, conventions and technologies and how these are selected and sequenced dependent on the media form, the intent of the product, genre, style and the making of meaning. FIGURE 0.32 VCAA, VCE Media Study Design 2024–2028, p. 15, used with permission Like many other subjects, Media has a language all of its own. It is highly likely that even reading through these study specifications, you have been introduced to terms and vocabulary you have not been exposed to before. One of the most effective ways to improve your written responses in Media is to confidently and correctly use media language throughout your responses. It is a key knowledge and key skill point throughout Units 1–4 and well worth investing time and energy into understanding. Media language encompasses technical terminology that is used when discussing – and developing – media products. An effective strategy is to create your own glossary of technical terms drawn from the media codes, conventions and technologies. Practise using this technical and specific language when analysing media products. 18 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications In addition to the technical language of media, there is also the analytical language that is used to describe how audiences consume, read and engage with media products. The language is evolving rapidly in this area of study. Terminology we would not have heard of five years ago has now become part of the discussion of media products and media forms. ACTIVITY 0.8 Using media language Make a list of at least 20 words or phrases that would form part of the media language dictionary. Some examples of words or phrases could be: consumption time-lapse assemble edit target audience colour saturation key lighting. For each word or phrase, create a meaningful sentence with the word or phrase the focus. For example: Coppola’s use of washed-out, low-key lighting gives her film The Virgin Suicides a nostalgic and vintage vibe. Through the use of a pastel palette, the characters appear young and innocent. FIGURE 0.33 Kirsten Dunst in The Virgin Suicides (1999, dir. Sophia Coppola) ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 19 Photocopying is restricted under law and this material must not be transferred to another party.  VCE Media Reframed Aboriginal and Torres Strait Islander knowledge, cultures and histories Aboriginal and Torres Strait Islander peoples are the first Australians and the oldest living cultures in human history. They have diverse cultures, social and kinship structures, cultural traditions, diverse languages and dialects. Through these traditions and structures, Aboriginal and Torres Strait Islander people have a history of unique and complex knowledge systems. Through engagement with Aboriginal and Torres Strait Islander creators and media products, all students develop respect for a recognition of the world’s oldest continuous living culture and understand the significant contribution of Australia’s First Peoples to the Australian media landscape, through traditional, historical and contemporary media narratives and voices. The inclusion and acknowledgement of Aboriginal and Torres Strait Islander media texts and content will assist in the building of intercultural understanding for students. This understanding helps support cultural learning, encouraging students to make connections between their own world and the worlds of others, encourage collaboration and develop a mutual understanding with others. It will also provide students with the insight to understand themselves as part of a diverse and global community. Teachers are encouraged to include Aboriginal and Torres Strait Islander knowledge and perspectives in the design and delivery of teaching and learning programs related to VCE Media. Many local Aboriginal and Torres Strait Islander communities have protocols that they have developed in relation to education. The Victorian Koorie community-preferred education model enables teachers to focus on inclusively supporting students to consider Victorian Koorie education matters, and systematically support students to learn about local, regional, state and national Indigenous perspectives. VCE studies involve a focused extension of this model and include a broader application of national and international perspectives. The Victorian Aboriginal Education Association Incorporated (VAEAI) has developed Protocols for Koorie education in Victorian Primary and Secondary schools, and other resources relating to the inclusion of Aboriginal and Torres Strait Islander knowledge and perspectives. This can be accessed at the VAEAI website. FIGURE 0.34 VCAA, VCE Media Study Design 2024–2028, pp. 15–16, used with permission An exciting and timely addition to this new study design is the acknowledgement of the contribution of First Nations stories to our national narrative. Throughout the study – and, in particular, Unit 2 – teachers and students are encouraged to explore media products from Aboriginal and Torres Strait Islander creators. Through the purposeful engagement, the goal is for teachers and students to gain a deeper appreciation and understanding of Aboriginal and Torres Strait Islander perspectives. First Nations voices and perspectives in the media are important for several reasons: 1 Representation: First Nations peoples are often underrepresented or misrepresented in the media. Providing their voices and perspectives helps to counter these harmful narratives and provides a more diverse and accurate representation of Indigenous experiences. 2 Empowerment: Giving First Nations peoples a platform to share their stories and perspectives helps to empower them and promote their rights and issues. 20 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party.  Study specifications 3 Cultural preservation: Aboriginal and Torres Strait Islander peoples have unique cultural heritage and history. Sharing their perspectives helps to preserve and celebrate their cultural heritage and promote cultural diversity. 4 Education: Aboriginal and Torres Strait Islander voices and perspectives can provide new perspectives and insights on current issues, educate the public, and contribute to a better understanding of Indigenous experiences. 5 Decolonisation: The media has played a role in the colonisation of Aboriginal and Torres Strait Islander peoples. Amplifying Indigenous voices and perspectives helps to promote decolonisation and challenge colonial narratives. In recent years, there has been a growing awareness and appreciation of First Nations media products. Black Comedy, Cleverman and Australian Wars are all media products created by First Nations people and have enjoyed mass success and a large audience. FIGURE 0.35 The cast of Black Comedy ACTIVITY 0.9 Research task Research a media product created by an Aboriginal or Torres Strait Islander creator. If possible, watch, listen to or read the narrative. Find out about the creator. Write a paragraph about how this media product helps to build intercultural understanding and a dialogue between Indigenous and non-Indigenous Australians. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 21 Photocopying is restricted under law and this material must not be transferred to another party.  UNIT 1 MEDIA FORMS, REPRESENTATIONS AND AUSTRALIAN STORIES I never paint dreams or nightmares. I paint my own reality. — Frida Kahlo OVERVIEW The images we see in the media have been constructed, read and interpreted over centuries. From the early days of the printing press and photography, media makers have been constructing versions of reality for society to examine and interpret for themselves. As society has developed, the technology available to media producers has made for more detailed and intricate representations of reality. With those developments, the audience has matured in the way it views itself and makes sense of the images, sounds and ideas expressed in the media. Even today, as you look across the words and images included within this book, you bring with you centuries of practice in determining meaning. You will use your personal, family and broader cultural experiences for each image you look at, each visual clip you deconstruct and every media product you will make. Welcome to Unit 1 of VCE Media! Across this unit, you will learn how media messages are made and understood by audiences all around the world. You will learn about the codes used to determine meaning and the conventions by which audiences interpret them. You will examine how your understanding of Australian society has been constructed and represented back to itself as well as the role you are actively playing in the creation of a new Australian identity in the media. You will, of course, become the creator yourself and employ the knowledge of centuries of media creation to represent your own version of the world. WHAT’S AHEAD CHAPTER 1 CHAPTER 2 CHAPTER 3 Area of Study 1: Area of Study 2: Area of Study 3: Media Media forms in Australian representations production stories IMAGE ON OPPOSITE PAGE: A professional media production during shooting: Rachel Brosnahan and director Daniel Palladino are seen at the film set of The Marvelous Mrs Maisel (2017–23) on 30 June 2022 in New York City. 22 ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 Photocopying is restricted under law and this material must not be transferred to another party. ISBN 978-1-009-36510-9 Hoban et al © Cambridge University Press & Assessment 2023 23 Photocopying is restricted under law and this material must not be transferred to another party.