Making media – Statement of Intent — OCR A-Level Media Studies

The Statement of Intent is a crucial component of the NEA (Non-Exam Assessment) for OCR A-Level Media Studies. It is a written document submitted alongside your media production, explaining your creative choices and how they link to the theoretical framework. This statement demonstrates your understanding of media language, representation, audience, and industry contexts, and it must be 500 words or less. The Statement of Intent is worth 10 marks out of the total 60 for the NEA, making it a significant factor in your final grade.

In this document, you outline your intended media product, including its purpose, target audience, and the conventions you plan to use or challenge. You must reference specific theories (e.g., Barthes, Mulvey, Hall) and explain how your choices reflect or subvert typical media forms. The Statement of Intent is submitted before you begin production, so it acts as a planning tool that guides your creative process. It also allows examiners to assess your ability to apply theoretical knowledge to practical work, a key skill in Media Studies.

Mastering the Statement of Intent is essential because it forces you to think critically about your production from the outset. It connects theory and practice, showing that you can justify your decisions using academic concepts. A well-written statement can elevate your NEA mark, even if the final product has minor flaws, as it demonstrates clear intent and understanding. Conversely, a vague or poorly structured statement can lose marks, regardless of the quality of your production.

• →Media Language: How you use mise-en-scène, camerawork, editing, and sound to create meaning. For example, using high-key lighting to suggest a cheerful tone or low-angle shots to convey power.
• →Representation: How your product portrays social groups (e.g., gender, ethnicity, age) and whether it reinforces or challenges stereotypes. Link to theories like Stuart Hall's representation theory or bell hooks' intersectionality.
• →Audience: Who your target audience is (demographics, psychographics) and how you appeal to them. Use Blumler and Katz's Uses and Gratifications theory or Stuart Hall's encoding/decoding model.
• →Industry: The context of production, distribution, and regulation. Consider the institution (e.g., mainstream vs. independent) and how your product fits into the media landscape (e.g., streaming vs. broadcast).
• →Intertextuality: References to other media texts that your audience will recognise, creating additional layers of meaning. For example, a parody of a famous film scene.

• 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
• 💡Use specific terminology from the theoretical framework (e.g., 'anchorage,' 'paradigmatic,' 'syntagmatic') to show depth of knowledge. However, avoid jargon without explanation; ensure terms are used correctly in context.
• 💡Link each creative choice to at least one theory or concept. For example, if you use a close-up on a character's face, explain how this creates a personal relationship with the audience (uses and gratifications) or reinforces a stereotype (representation).
• 💡Be realistic about what you can achieve. Examiners can tell if your statement promises something your production cannot deliver. Focus on a few key ideas and develop them thoroughly rather than trying to cover everything.

• 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: The Statement of Intent is just a description of your product. Correction: It must explain why you made each choice, linking to theories and concepts. Avoid simply listing what you will do; instead, justify your decisions.
• Misconception: You can write the statement after completing the production. Correction: The Statement of Intent is submitted before production begins. It is a plan, not a reflection. Changing your product later is fine, but the statement must reflect your original intentions.
• Misconception: Longer statements are better. Correction: The word limit is 500 words. Being concise and focused is key. Every sentence should add value, explaining a choice or linking to theory.