Content of non-exam assessment: Making media (H409/03/04) — OCR A-Level Media Studies

The non-exam assessment (NEA) component for OCR A-Level Media Studies (H409/03/04) is a significant part of your final grade, accounting for 30% of the total qualification. This coursework requires you to create a media product in response to a brief set by OCR, which changes annually. The briefs cover a range of media forms, including television, online media, magazines, music videos, and radio. You must produce a cross-media product, typically consisting of a main product (e.g., a TV programme extract or a magazine front cover) and two linked ancillary texts (e.g., a website page or a social media post). This assessment tests your ability to apply theoretical knowledge, demonstrate technical skills, and engage with media language, representation, audience, and industry contexts.

The NEA is your opportunity to showcase creativity and critical understanding. You will need to research existing media products, plan your production, and then create original work that meets the conventions of your chosen media form. The process also involves evaluating your work through a reflective commentary, where you justify your choices and link them to media theories. This component is crucial because it allows you to demonstrate practical skills alongside theoretical knowledge, mirroring real-world media production. Success in the NEA requires careful time management, thorough research, and a clear understanding of the assessment objectives, particularly AO3 (create media products) and AO4 (evaluate own work).

The NEA fits into the wider A-Level by complementing the examined components (H409/01 and H409/02), which focus on media messages, representations, and industries. While the exams test your analytical and theoretical knowledge, the NEA lets you apply that knowledge creatively. It also prepares you for further study or careers in media, as you gain hands-on experience in planning, producing, and reflecting on media content. To excel, you must stay updated with current media trends and ensure your work is original and meets the specific requirements of the brief.

• →Media language: How you use mise-en-scène, camerawork, editing, and sound to create meaning and adhere to genre conventions.
• →Representation: How your product portrays social groups, places, or issues, and how this aligns with or challenges stereotypes.
• →Audience: How you target and address a specific audience through content, mode of address, and distribution strategies.
• →Industry: How your product fits into the commercial context, including ownership, funding, and regulatory considerations.
• →Cross-media convergence: How your main and ancillary texts work together to create a coherent brand identity across platforms.

• Application of knowledge and understanding of the media theoretical framework to create a media product (25 marks per product)
• Application of knowledge and understanding of the digitally convergent nature of contemporary media to create meaning (10 marks)
• Excellent realisation of the chosen brief addressing all requirements
• Sophisticated use of media language techniques
• Highly developed use of codes and conventions appropriate to the media form
• Sophisticated construction of representations
• Highly developed awareness of digital convergence and branding across products

• 💡Ensure the Statement of Intent is submitted with the final production
• 💡Use original footage, images, and text to avoid mark capping
• 💡Ensure the cross-media production demonstrates clear digital convergence and branding
• 💡Check work on a universal media player before submission to ensure compatibility
• 💡Ensure all elements of the production are completed under formal supervision within the centre
• 💡Use the 'best fit' approach when selecting band descriptors for marking
• 💡Tip 1: Read the brief carefully and stick to it. Many students lose marks by not addressing all elements of the brief, such as the required target audience or specific content demands. Highlight key words and check your work against the brief before submission.
• 💡Tip 2: Use media terminology accurately in your reflective commentary. Refer to theorists like Stuart Hall (representation), David Gauntlett (identity), or Henry Jenkins (participatory culture) to show depth of understanding. However, avoid name-dropping without explanation; always link theory to your specific choices.
• 💡Tip 3: Pay attention to technical quality. For video, ensure good lighting, clear audio, and stable shots. For print, use high-resolution images and consistent typography. Poor technical execution can undermine a creative concept.

• Failure to carry out sufficient research into relevant genres and media forms
• Inadequate planning of the chosen production
• Submitting work longer than the specified length (only the specified length is credited)
• Not using original footage, images, or text (marks capped at Level 1)
• Failing to supply a Statement of Intent (10-mark penalty)
• Over-reliance on software packages or pre-existing templates
• Inconsistent links between the two cross-media products
• Misconception: 'I can just copy the style of existing media products.' Correction: While research is essential, your work must be original. You should demonstrate creativity and avoid direct imitation. Examiners look for evidence of independent thought and adaptation of conventions.
• Misconception: 'The reflective commentary is less important than the production.' Correction: The commentary is equally important and is assessed under AO4. It must show critical reflection on your choices, linking them to media theories and concepts. A weak commentary can lower your overall grade even if the production is strong.
• Misconception: 'I don't need to plan much; I can just start filming or designing.' Correction: Planning is crucial. You need to produce a statement of intent, storyboards, scripts, and schedules. Lack of planning often leads to inconsistent products that don't meet the brief's requirements.