QCE Film, Television & New Media Units 3&4 Notes

These are the 20 revision notes inside the QCE Film, Television & New Media Mastery Pack. Open any note to see what it covers before you buy.

1. How the technical features of a platform or format decide what an audience is able to do3 · Unit 3 AOS1 — Technologies

   Platform and format features that enable participation

2. Evaluating how technologies limit or benefit participation, including for rural and remote audiences3 · Unit 3 AOS1 — Technologies

   Access and the digital divide

3. Reading a stimulus for production technologies and post-production processes, not for plot3 · Unit 3 AOS1 — Technologies

   Technologies as a key concept in the exam

4. How audience-made content reshapes a form, using #7DaysLater and Minecraft as case studies3 · Unit 3 AOS2 — Audiences

   User-generated content and emerging trends

5. Mapping how mobile apps, interactive advertising, gaming, social media and VR invite different kinds of participation3 · Unit 3 AOS2 — Audiences

   Participation across multiple platforms

6. Inferring a target audience from a context statement and explaining how the product positions it3 · Unit 3 AOS2 — Audiences

   Target audience and audience positioning

7. Who a product is made for, how they access it, and how they appropriate or adapt it3 · Unit 3 AOS2 — Audiences

   Contexts of use

8. How organisations and their operational practices enable or constrain what audiences can do3 · Unit 3 AOS3 — Institutions

   Institutions and the shape of participation

9. Three institutional phenomena and what each changes about who gets to speak3 · Unit 3 AOS3 — Institutions

   Citizen journalism, community media and online content creation

10. Evaluating the institutional participation of diverse individuals and cultural groups, including First Nations peoples3 · Unit 3 AOS3 — Institutions

    First Nations institutional participation

11. French New Wave, German expressionism, Italian Neorealism, Soviet Montage and Surrealism, and what each did with the tools it had4 · Unit 4 AOS1 — Technologies

    Film movements and their technologies

12. How Gerwig, Miyazaki and Gondry build an artistic identity out of technical choices4 · Unit 4 AOS1 — Technologies

    The auteur and technological signature

13. Camera, lighting, editing and sound choices as the visible evidence of a distinct style4 · Unit 4 AOS1 — Technologies

    Technical codes that carry style

14. What the syllabus means by a representation and how to name one precisely in an essay4 · Unit 4 AOS2 — Representations

    Representations of people, places, events, ideas and emotions

15. Analysing work by Aboriginal and Torres Strait Islander artists, including Sweet As (Jub Clerc, 2023)4 · Unit 4 AOS2 — Representations

    First Nations representation and protocols

16. Kurosawa, Prince-Bythewood, Takahata and Wong Kar-wai as comparative representation case studies4 · Unit 4 AOS2 — Representations

    Auteur representation across cultures

17. Evaluating how products such as Boyhood, Ms. Marvel and Utopia do identity work4 · Unit 4 AOS2 — Representations

    Identity work and representational practice

18. The vocabulary of media language and how symbolic and technical codes differ4 · Unit 4 AOS3 — Languages

    Signs, symbols, codes and conventions

19. Historical vs contemporary, Australian vs international, commercial vs independent uses of the same code4 · Unit 4 AOS3 — Languages

    Media language across making contexts

20. How Luhrmann, Mehta, Campion, Waititi and Anderson each bend convention to build a voice4 · Unit 4 AOS3 — Languages

    Stylistic signature in practice