COM3703/101/3/2017 Tutorial Letter 101/3/2017 Media studies: Media content and media audiences COM3703 Semesters 1 and 2 Department of Communication Science IMPORTANT INFORMATION This tutorial letter contains important information about your module. BARCODE 2 CONTENTS Page 1 INTRODUCTION .......................................................................................................................... 3 2 PURPOSE AND OUTCOMES ...................................................................................................... 3 2.1 Purpose ........................................................................................................................................ 3 2.2 Outcomes ..................................................................................................................................... 3 3 LECTURER(S) AND CONTACT DETAILS ................................................................................... 6 3.1 Lecturer(s) .................................................................................................................................... 6 3.2 Department ................................................................................................................................... 6 3.3 University ...................................................................................................................................... 6 4 RESOURCES ............................................................................................................................... 7 4.1 Prescribed books .......................................................................................................................... 7 4.2 Recommended books ................................................................................................................... 8 4.3 Electronic reserves (e-reserves) ................................................................................................... 8 4.4 Library services and resources information ................................................................................... 8 5 STUDENT SUPPORT SERVICES ................................................................................................ 9 6 STUDY PLAN ............................................................................................................................. 11 7 PRACTICAL WORK AND WORK-INTEGRATED LEARNING ................................................... 11 8 ASSESSMENT ........................................................................................................................... 11 8.1 Assessment criteria ..................................................................................................................... 11 8.2 Assessment plan ........................................................................................................................ 11 8.3 General assignment numbers ..................................................................................................... 14 8.3.1 Unique assignment numbers ...................................................................................................... 15 8.3.2 Due dates for assignments ......................................................................................................... 15 8.4 Submission of assignments ........................................................................................................ 15 8.5 The assignments ........................................................................................................................ 16 8.6 Other assessment methods ........................................................................................................ 65 8.7 The examination ......................................................................................................................... 65 9 FREQUENTLY ASKED QUESTIONS ........................................................................................ 65 10 SOURCES CONSULTED ........................................................................................................... 65 11 CONCLUSION ............................................................................................................................ 67 COM3703/101/3/2017 3 1 INTRODUCTION Dear Student Welcome to the exciting world of media studies. We hope you find the contents of the module rewarding and informative. Before you get ahead of yourselves with excitement, you have to tackle this tutorial letter – which has all the important information that you need in order to begin. Keep it in a safe place; Murphy’s Law is always at work and should it be left lying around, it will probably disappear right before you need it! Start your studies by working through this tutorial letter and selecting the assignments that you wish to do. In the assignments we refer you to relevant chapters in the prescribed book and corresponding study units in your study guide. We wish you everything of the best, but mostly we hope you enjoy yourself and are successful. 2 PURPOSE AND OUTCOMES 2.1 Purpose In this module you will learn more about the content of the media and the specific research techniques available in order to research media content. You will also learn how to research the impact of the media on audiences, and how audiences may respond to the media. This module follows the COM3702 module where the emphasis is on how the media is organised, theories which explain how the media works and important debates surrounding the media. Once you have completed COM2604, COM3702 and COM3703 you will have completed all three of the core undergraduate media studies modules at the Department of Communication Science. 2.2 Outcomes The subject matter covered in COM3703 is presented from a critical academic perspective. You will find the learning outcomes for each of the topics listed below in both the study guide and the prescribed book. You will find the learning outcomes of each written assignment at the start of each assignment. As you page through the study guide you will notice a number of activities and exercises. We suggest you complete them as they will guide you through the specific units in this module, which are often practical exercises, and will help you with your assignments and preparation for your portfolio examination. 4 Learning outcomes for Assignment 01, Semester 1 Once you have worked through this assignment, you should be able to  define questionnaire surveys and explain which topics are suitable to this type of research  distinguish between different types of questionnaire surveys  understand the sampling process and conduct proper sampling  distinguish between different types of questions in questionnaire surveys  formulate different questions relevant to questionnaire surveys  explain the concepts of validity and reliability in context of questionnaire surveys  define the field of semiotics  discuss the various components of a sign  discuss and provide examples of different kinds of signs  discuss the various phases in narrative progression and identify these phases in media examples  discuss Vladimir Propp’s categories of dramatis personae  identify dramatis personae in media texts  discuss the concept of binary oppositions and identify examples in media texts  define the concepts of language and discourse  discuss Jakobson’s six functions of language and provide examples of these functions in media texts Learning outcomes for portfolio examination, Semester 1 Once you have worked through this portfolio examination, you should be able to  discuss the characteristics of questionnaire surveys  explain the suitability of questionnaire surveys to different topics  distinguish between different types of questionnaire surveys  understand the sampling process and conduct proper sampling  distinguish between different types of questions in questionnaire surveys  correctly formulate different questions  discuss the various sources of error and bias that can occur when conducting questionnaire surveys  explain the concepts of validity and reliability in context of questionnaire surveys  discuss Jakobson’s six functions of a sign and provide examples from media texts  distinguish between different kinds of signs and identify examples in media texts  discuss the different types of codes in code typology and identify examples in media texts  discuss the main assumptions regarding media messages  define the various phases that form part of a narrative progression and identify these phases in media texts  discuss Barthes’ codes that work towards meaning production in a narrative and provide examples of these codes in media texts  identify and discuss significant words, concepts and jargon in media texts  explain the concept of grammatical structure and identify it in media texts  explain the concept of metaphors and provide examples in media texts  explain the concept of discursive practice and identify these practices in media texts  explain the concept of rhetorical devices and identify these devises in media texts  define the concept of ideology and identify how ideology operates in media texts COM3703/101/3/2017 5 Learning outcomes for Assignment 01, Semester 2 Once you have worked through this assignment, you should be able to  define specific concepts in quantitative content analysis  formulate a research problem and research questions/hypotheses  identify units of analyses and categories for the purpose of quantitative content analysis  discuss various methods of presenting findings in quantitative content analysis  discuss psychoanalytic theories and their relevance to the study of television  illustrate how key psychoanalytic theorists’ work relates to television  define and discuss the concepts of discourse, ideology and rhetoric  identify examples of rhetoric in media texts  discuss the assumptions of the uses and gratifications theory and reception theory  discuss the various categories of need  distinguish between and define various archetypal characters in soap operas and identify examples in media texts Learning outcomes for portfolio examination, Semester 2 Once you have worked through this portfolio examination, you should be able to  define specific concepts in quantitative content analysis  conduct a basic quantitative content analysis based on a given scenario  formulate a research problem and research questions/hypotheses  identify units of analyses and categories for the purpose of quantitative content analysis  draw up a coding sheet  present results and interpret/analyse findings  discuss psychoanalytic theories and their relevance to the study of television  illustrate how key psychoanalytic theorists’ work relates to television  define and discuss the concept of genre  discuss the characteristics of argumentation  distinguish between and discuss the different kinds of rhetorical practice  discuss the different modes of persuasion and identify examples in media texts  discuss the structural model for the analysis of the soap opera genre  discuss the assumptions of reception theory and provide relevant examples from media texts  discuss the different categories of the social dimension of television viewing and provide examples from interaction with media texts 6 3 LECTURER(S) AND CONTACT DETAILS 3.1 Lecturer(s) The following lecturers are responsible for this module: Mrs Leandra Koenig Visagie Module coordinator Email: [email protected] Tel: 012 429 8500 Office No: TvW 6-90 Ms B Sibango Email: [email protected] Tel: 012 429 2009 Office No: TvW 6-92 Ms M Bvuma Email: [email protected] Tel: 012 429 3508 Office No: TvW 6-79 3.2 Department If you have a query regarding administrative matters, please contact Ms Annelize Vermeulen, Theo van Wijk Building, room 7-77, telephone: 012 429 6016, email: [email protected]. 3.3 University Physical address University of South Africa Preller Street Muckleneuk Pretoria Postal Address University of South Africa PO Box 392 Unisa 0003 If you need to contact the university about matters not related to the content of this module, please consult the publication my Studies @ Unisa, which you received with your study material. This brochure contains information on how to contact the university (e.g. to whom you can write for different queries, important telephone and fax numbers, addresses and details of the times certain facilities are open). Always quote your student number when you contact the university. COM3703/101/3/2017 7 4 RESOURCES 4.1 Prescribed books The prescribed book for this module is authored by Unisa employees and is prescribed in accordance with the Unisa Prescribed Book Policy and the Department of Communication Science’s Ethical Code of Conduct. The prescribed book, which you need to buy, is Fourie, PJ (ed). 2009. Media studies: media content and media audiences. Volume 3. Lansdowne, Cape Town: Juta. ISBN: 978-070217-766-8 Please consult the list of official booksellers and their addresses in my Studies @ Unisa. If you have any difficulty in obtaining the prescribed book from these bookshops, contact the Prescribed Books section at 012 429 4152 (e-mail: [email protected]). When purchasing the book, give the book dealer the ISBN to ensure that you purchase the correct volume of this book. ETHICAL CODE OF CONDUCT FOR PRESCRIBED BOOKS The Department of Communication Science commits itself to promoting the highest standard of professional ethical norms and values when prescribing textbooks authored and/or co-authored by staff members. Norms and values Transparency – to create a spirit of openness and trust. To this end, we will  openly communicate to our students whenever textbooks authored by members of the department are prescribed  publish the peer-review reports for these textbooks on our departmental website  accept constructive criticism from students and other stakeholders  explain and take appropriate action regarding significant risks that can affect students’ perception of the department and/or our module offerings in relation to prescribed books Peer review – to submit our prescribed textbooks to a peer review process by colleagues other than ourselves who are experts in a specific field of study. To this end, we will  ensure that prescribed textbooks authored by members of staff have gone through a rigorous process of peer review to ascertain their suitability for the module and level for which they are prescribed 8 Honesty – to be forthright in dealings with students. To this end, we will  prescribe books of value that do what we claim in our communications Responsibility – to accept the consequences of our decisions. To this end, we will  strive to serve the needs of students and our respective fields of research  avoid coercion from the marketplace, that is, reject manipulations and sales tactics that might impact negatively on trust. The study guide for this module Reid, J & Van Heerden, M (eds). 2009. Only study guide COM303A for COM3703. Media studies: content and audiences. Pretoria: University of South Africa. Tutorial letters for this module This tutorial letter (numbered 101) contains all of the assignments that you need to complete in order to pass this module (two assignments and the portfolio examination). After you have submitted your second assignment you will receive another tutorial letter (numbered 201) with detailed feedback on both assignments. You will also be able to access this tutorial letter on myUnisa as soon as it becomes available. Some of this tutorial matter may not be available when you register. Tutorial matter that is not available when you register will be posted to you as soon as possible, but is also available on myUnisa. 4.2 Recommended books Not applicable to this module 4.3 Electronic reserves (e-reserves) Not applicable to this module 4.4 Library services and resources information For brief information, go to www.unisa.ac.za/brochures/studies For detailed information, go to the Unisa website at http://www.unisa.ac.za/ and click on Library. For research support and services of personal librarians, go to http://www.unisa.ac.za/Default.asp?Cmd=ViewContent&ContentID=7102. COM3703/101/3/2017 9 The Library has compiled numerous library guides:  finding recommended reading in the print collection and e-reserves http://libguides.unisa.ac.za/request/undergrad  requesting material: http://libguides.unisa.ac.za/request/request  postgraduate information services: http://libguides.unisa.ac.za/request/postgrad  finding , obtaining and using library resources and tools to assist in doing research: http://libguides.unisa.ac.za/Research_Skills  how to contact the library/finding us on social media/frequently asked questions http://libguides.unisa.ac.za/ask The librarian responsible for the research information needs of the Department of Communication Science is Mr Dawie Malan. E-mail: [email protected] Phone: +27 12 429 3212 Fax: +27 12 429 3489 5 STUDENT SUPPORT SERVICES Free computer and internet access Unisa has entered into partnerships with establishments (referred to as Telecentres) in various locations across South Africa to enable you (as a Unisa student) free access to computers and the Internet. This access enables you to conduct the following academic related activities: registration; online submission of assignments; engaging in e-tutoring activities and signature courses; etc. Please note that any other activity outside of these are for your own costing e.g. printing, photocopying, etc. For more information on the Telecentre nearest to you, please visit www.unisa.ac.za/telecentres. Additional important information appears in your my Studies @ Unisa brochure. Unisa offers online tutorials (e-tutoring) to students registered for modules at NQF level 5, 6 and 7, this means qualifying first year, second year and third year modules. Please log on to myUnisa to find out if any of the modules that you have registered for falls in this category. Once you have been registered for a qualifying module, you will be allocated to a group of students with whom you will be interacting during the tuition period as well as an e-tutor who will be your tutorial facilitator. Thereafter you will receive an sms informing you about your group, the name of your e-tutor and instructions on how to log onto myUnisa in order to receive further information on the e-tutoring process. 10 Online tutorials are conducted by qualified e-tutors who are appointed by Unisa and are offered free of charge. All you need to be able to participate in e-tutoring is a computer with internet connection. If you live close to a Unisa regional centre or a telecentre contracted with Unisa, please feel free to visit any of these to access the internet. E-tutoring takes place on myUnisa where you are expected to connect with other students in your allocated group. It is the role of the e-tutor to guide you through your study material during this interaction process. To get the most out of online tutoring you need to participate in the online discussions that the e-tutor will be facilitating Study groups If you would like to form a study group with other students also registered for COM3703, you can contact the Directorate: Student Administration and Registration. You can also log on to or create a discussion forum on the COM3703 webpage on myUnisa, where you can discuss the module online with other students and your lecturers. myUnisa The myUnisa facility is a very important point of contact between you, your lecturers and other students. We strongly encourage you to make regular use of myUnisa while studying this module so that you don’t miss out on important information that we will post there throughout each semester. On the COM3703 myUnisa webpage you will find the following:  Regular important announcements from the module coordinator relating to your studies will also be sent to your e-mail address.  All of your tutorial letters for COM3703 will be there.  Under Additional Resources, you will find extra notes and feedback that we will compile to assist you with your assignments and portfolio examination.  Discussion forums: you can either start your own discussion forum or take part in any of the discussion forums which are already taking place. Here you can discuss COM3703 with other students, and your lecturers will also regularly post comments. Please note: If you do not get a response to a posting or a query that you make on myUnisa on the same day, please do not panic. We will make every effort to attend to postings and queries as soon as possible. If time permits, we aim to respond daily, or at least within 48 hours. Rest assured, we will respond as soon as possible. If you urgently need an answer or assistance, please feel free to send the module coordinator or any of the other lecturers involved in the module an email to their official email addresses. If other students can benefit from the enquiry or response, we will also post that on myUnisa. COM3703/101/3/2017 11 Accessing myUnisa To go to the myUnisa website, start at the main Unisa website, http://www.unisa.ac.za, and then click on the “Login to myUnisa” link on the right-hand side of the screen. This should take you to the myUnisa website. You can also go there directly by typing in http://my.unisa.ac.za. 6 STUDY PLAN Use the brochure my Studies @ Unisa for general time management and planning skills. 7 PRACTICAL WORK AND WORK-INTEGRATED LEARNING There is no practical work for this module. 8 ASSESSMENT 8.1 Assessment criteria While your submission of Assignment 01 grants you examination admission, and a percentage of the mark you obtain for Assignment 02 contributes towards your semester mark, the portfolio is the document that you have to hand in for examination purposes. Note the following points regarding your assignments for this module:  The marks awarded for your assignments contribute towards your final mark.  The only way you can gain admission to the examination is by submitting Assignment 01.  When you submit your assignments via myUnisa you have an automatic extension of two days only in the event of myUnisa not being available on the due date.  Your lecturers reserve the right to mark only parts of your assignments in order to judge the quality of your work. Comments will be provided in a tutorial letter after the due date for the assignment. Important note: The assignment and examination portfolio questions differ from Semester 01 to Semester 02. Be sure to answer the questions set for the semester for which you are registered. 8.2 Assessment plan 8.2.1 Assignment 01: Written assignment Assignment 01 is compulsory. Two assignments are set per semester. You HAVE TO do Assignment 01 set for the semester for which you are registered and hand it in before the due date to gain admission to the examination. Contribution to year mark: 15% of final mark 12 8.2.2 Assignment 02: Multiple-choice assignment Assignment 02 consists of 20 multiple-choice questions (MCQs) ONLY and you have to fill in a mark-reading sheet for this assignment. You must work through all the study material to be able to answer the MCQs. Once you have worked through the contents of the study material, your answers to each question should be represented on the mark-reading sheet, which you complete in pencil and submit before the due date. Make sure that the unique assignment number is filled in on the mark-reading sheet. Also make sure that you number the assignments correctly. Contribution to year mark: 5% of final mark 8.2.3 Assignment 03: Portfolio examination  You need to submit COMPULSORY ASSIGNMENT 01 (written assignment) to gain examination admission.  The portfolio examination mark contributes 80% towards your final mark. The two assignments together thus contribute 20% towards your final mark. You need a sub-minimum of 40% for the portfolio examination in order to pass. This means that even though your final mark may be over 50%, you will still fail if you have not obtained a minimum of 40% in the portfolio examination. 8.2.4 Assignment 04: Supplementary portfolio examination Assignment 03 is the portfolio for examination purposes. Assignment 04 is the portfolio for the supplementary examination. This portfolio can only be submitted by students who meet the requirements for the supplementary examination. If you qualify for a supplementary examination, your letter of results will state: Departmental requirement. The supplementary portfolio examination  The supplementary portfolio examination is due the following semester at the same time that the registered students hand in their portfolio examination. For example, if you are assigned a supplementary for Semester 01 you hand in your portfolio examination during Semester 02.  The supplementary portfolio examination options which you must complete are the same as for the registered students of the semester in which you submit your supplementary examination portfolio.  If you are registered for Semester 01 but fail and are allowed admission to the supplementary portfolio examination you must complete the second semester portfolio examination questions for your supplementary portfolio examination. You will find the second semester portfolio examination options in the second part of this tutorial letter. COM3703/101/3/2017 13  If you are registered for Semester 02 but fail and get permission to do a supplementary portfolio examination you will not find the portfolio examination options that you need to complete in this tutorial letter. These will be posted on the internet for you. Consult myUnisa in this regard and contact the module coordinator so that you can access the correct supplementary portfolio examination questions.  Mark your portfolio examination Assignment 04.  If you have permission to do the supplementary portfolio examination you need to repeat the portfolio but not the assignments. This supplementary portfolio examination will replace all your previous marks for this module and will contribute 100% to your final mark. Self-assessment and self-reflection Assignment 01 and the portfolio examination each have to include a self-assessment and selfreflection. The self-assessment and self-reflection comprises one page in which you have to answer the following questions: 1 What have you learnt (what knowledge have you gained) by doing the assignment/portfolio examination task? 2 What skills, abilities and orientations (attitudes and values) have you accomplished? 3 Which strengths could you apply in your future life and work environment? 4 Which shortcomings do you need to address in future? 5 To what extent have you achieved the learning outcomes formulated for each study unit? (List the learning outcomes which you have achieved for the selected assignment/portfolio examination– these can be found on pp 4-6 of this tutorial letter. No marks are awarded if these are not listed.) Technical presentation The technical presentation of your assignment and portfolio examination and your performance will also be evaluated. This implies that the following allocation of marks will be applicable to both Assignment 01 and Assignment 03 (portfolio examination): Technical presentation Maximum 5% Self-assessment and self-reflection Maximum 5% Evaluation of Assignment 01/portfolio exam Maximum 90% Minimum criteria for the evaluation of your performance Refer to Tutorial Letter CMNALLE/301 in this regard. 14 The criteria to evaluate your performance by are as follows: Technical presentation  The assignment/examination portfolio contains a personal declaration of own work.  The table of contents corresponds with the numbering, headings and subheadings in the theme. The correct numbering system is used (as in the study guide) — not the alphabet, nor I, II, III, IV, nor (i), (ii), (iii).  All sources consulted are cited in the list of sources consulted, including newspapers, magazines, policy documents, tutorial letters, study guide(s), prescribed book(s) and people consulted.  The correct referencing techniques are used in the assignment/portfolio examination and in the list of sources consulted and the sources are not numbered in the list.  Any other aspects related to the presentation of the assignment/portfolio examination will be assessed (e.g. appropriate research terminology is used and presentation does not contain language, spelling or typing errors, or personal types of address). The correct use of referencing techniques is an important presentation requirement for both Assignment 01 and the portfolio examination. The completed Assignment 01 and Assignment 03 (portfolio examination) each have to include  a signed declaration stating that the assignment/portfolio examination contains your personal work  a table of contents  the contents of your assignment/portfolio examination  the self-assessment and self-reflection  a list of all the sources consulted 8.3 General assignment numbers Assignments are numbered consecutively per module, starting from 01. Please number the assignments correctly. Here is a breakdown of assignment and portfolio examination ASSIGNMENT NUMBERS (label them carefully to avoid confusion): Assignment 01 Written assignment Compulsory for examination admission Assignment 02 Multiple-choice questions Assignment 03 Portfolio examination Assignment 04 Supplementary portfolio examination COM3703/101/3/2017 15 8.3.1 Unique assignment numbers The unique assignment number is quoted at the start of the assignment and portfolio questions. Note that the unique assignment numbers differ in the first and second semesters. 8.3.2 Due dates for assignments FIRST SEMESTER DUE DATE Written assignment (Assignment 01) 8 March 2017 Multiple-choice assignment (Assignment 02) 6 April 2017 Portfolio examination (Assignment 03) 4 May 2017 Supplementary portfolio examination (Assignment 04) 9 October 2017 SECOND SEMESTER DUE DATE Written assignment (Assignment 01) 11 August 2017 Multiple-choice assignment (Assignment 02) 8 September 2017 Portfolio examination (Assignment 03) 9 October 2017 Supplementary portfolio examination (Assignment 04) To be announced, but will be at the end of the first semester of 2018 8.4 Submission of assignments For detailed information on assignments, refer to the brochure my Studies @ Unisa, which you received with your study package. To submit an assignment via myUnisa, do the following:  Go to myUnisa.  Log in with your student number and password.  Select the module.  Click on Assignments in the menu on the left-hand side of the screen.  Click on the assignment number you wish to submit.  Follow the instructions 16 In the past, some students copied their prescribed books or study guides, and offered these copies as original work in their assignments. If you do not acknowledge the authors of the books you use, you are committing plagiarism, which is a SERIOUS offence (i.e. legal infraction). If you are charged with plagiarism the university is obliged to subject you to a disciplinary hearing. If the charge is validated in the hearing and a guilty verdict is pronounced you may be suspended and banned from studying at all universities (SA tertiary institutions) (including Unisa) for several years. If you present Assignment 01 or the portfolio examination with text copied from the prescribed book, study guide or any other book or internet source without acknowledging the author and publication, the specific sections in which this occurs will not be marked. We cannot overemphasise the radically offensive nature of plagiarism. If proven against you it can fundamentally jeopardise your academic career. Refer to Tutorial Letter CMNALLE/301 for information on plagiarism. Make sure you are familiar with its content and with the Disciplinary Code for Students. Although students may work together when preparing assignments, each student must write and submit his or her own individual assignment. In other words, you must submit your own ideas in your own words, sometimes interspersing relevant short quotations that are properly referenced. It is unacceptable for students to submit identical assignments on the basis that they worked together. That is copying (a form of plagiarism) and you will be penalised or subjected to disciplinary proceedings by the university. 8.5 The assignments SEMESTER 01 ASSIGNMENTS You must complete and hand in Assignment 01 because it is compulsory – you need to hand this assignment in to gain examination admission. Assignment 01 and Assignment 02 contribute 20% in total to your final mark. Your first assignment will count for 15% of your final mark and the second assignment will count for 5% of your final mark. ASSIGNMENT 01 Due date 8 March 2017 Contribution towards final mark 15% Unique assignment number 872274 IMPORTANT To complete Assignment 01 you need to study the following: In the prescribed book Chapter 1: Questionnaire surveys in media research Chapter 2: Communication and media semiotics Chapter 7: Narrative analysis Chapter 3: Media, language and discourse COM3703/101/3/2017 17 In the study guide Study unit 1: Questionnaire surveys in media research Study unit 2: Communication and media semiotics Study unit 7: Narrative analysis Study unit 3: Media, language and discourse This assignment is structured as follows, with the mark allocation indicated: DECLARATION 1 INTRODUCTION (5) 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH (20) 3 COMMUNICATION AND MEDIA SEMIOTICS (20) 4 NARRATIVE ANALYSIS (20) 5 MEDIA, LANGUAGE AND DISCOURSE (20) 6 CONCLUSION (5) 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) SOURCES CONSULTED (Technical presentation: 5) Total [100] 1 INTRODUCTION (5) In the introduction you should clearly identify/indicate what you will discuss in the assignment and also how your assignment is going to be structured. You should refer to all four themes/study units that you are covering in your assignment, as well as the particular topics within the theme that you will answer questions on. Furthermore, in your introduction you need to identify by name/title any media texts that you use as examples in answers to questions. The introduction should ideally comprise at most a paragraph of approximately eight sentences that cover approximately half a page. 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH (20) 2.1 Define questionnaire research. (2) 25% deducted for not referencing sources 2.2 Describe two general research topics that are suitable for questionnaire surveys. (2) 25% deducted for not referencing sources 2.3 Read the scenario below. The SABC (South African Broadcasting Corporation) has decided that all its radio stations should play 90% local music. Some musicians and listeners are happy with this decision, while others are not. The SABC wants you to investigate what type of music is preferred by radio listeners and how many of their loyal listeners are happy with the decision of playing 90% local content. 18 2.3.1 Which type of questionnaire survey would you use to conduct the research in the abovementioned scenario and why? You should identify the type of survey and provide a definition for it (25% deducted for not referencing sources) (2 marks) and then explain its suitability to the provided scenario (1 mark). (3) 2.4 Describe the sampling process. 2.4.1 Explain the concepts of target and accessible population. (2) 25% deducted for not referencing sources 2.4.2 Identify your target and accessible population for this study. 2.4.3 Discuss the differences between probability and non-probability sampling. (2) 2.4.4 Read Bornman (2009:438-444) and select the type of probability sampling technique deemed suitable for this study and justify your choice. You should identify the sampling technique and provide a definition for it (25% deducted for not referencing sources) (2 marks) and then explain why it is appropriate for the scenario provided (1 mark). (3) 2.5 The art of formulating questions. 2.5.1 Discuss the differences between open- and closed-ended questions. (2) 25% deducted for not referencing sources 2.5.2 Formulate one open-ended and one closed-ended question that relates to the abovementioned scenario. The questions should meet the criteria set out by Bornman (2009:462-464). (2) 2.6 Discuss the concepts of validity and reliability. (2) 3 COMMUNICATION AND MEDIA SEMIOTICS (20) 3.1 The media can communicate in various ways. Define the field of media semiotics and explain how it relates to communication. (2) 25% deducted for not referencing sources 3.2 According to Fourie (2009:50) a sign “…is never the real object. It is not reality, but represents and serves as a means of referring to reality”. Name and briefly discuss the three characteristics of a sign. (6) 25% deducted for not referencing sources 3.3 A sign is made up of three components. Based on the relationship between the physical quality of the sign (the signifier) and the object or idea which that signifier refers to (the referent), four different signs can be differentiated. 3.3.1 Name and discuss these four different kinds of signs. (8) 25% deducted for not referencing sources 3.3.2 Provide an example of each of these four different kinds of signs. You need to include the example physically as part of your assignment and also justify your choice. (4) COM3703/101/3/2017 19 4 NARRATIVE ANALYSIS Narrative analysis refers to how stories are told and interpreted in media texts. Select an episode from a soap opera of your choice. Note that you are not allowed to use the following soap operas as examples, as they have been discussed in your study material:  Egoli  The Bold and the Beautiful  Isidingo  Binnelanders Examples from the above productions would earn no marks. 4.1 Provide the following details of your chosen soap opera episode: 4.1.1 Name of the soap opera (½ mark) 4.1.2 Main characters featured in the episode (½ mark) 4.1.2 Brief description of the plot of your chosen episode (1 mark) (2) 4.2.1 Name and discuss the four phases that form part of the narrative progression of a storyline. (4) 25% deducted for not referencing sources 4.2.2 Discuss the abovementioned four phases in context of your chosen soap opera episode. In other words, provide an example of each of the four phases as found in your chosen soap opera episode (½ mark per phase). (2) 4.3 Television characters are readily classifiable in terms of Propp’s categories of dramatis personae. 4.3.1 Define each of the four categories of dramatis personae (4 x ½ marks) and briefly discuss each of these categories’ spheres of action (4 x ½ marks). (4) 25% deducted for not referencing sources 4.3.2 Identify the four character roles in the episode of your chosen soap opera (4 x ½ marks) and explain their respective spheres of action (4 x ½ marks). You can answer this question by copying and completing the following table: (4) Character role Name of character Sphere of action in film hero helper princess villain 20 4.4.1 Discuss the role of binary oppositions in context with a narrative. (2) 25% deducted for not referencing sources 4.4.2 Provide two examples of binary oppositions in the episode of your chosen soap opera. (4) 5 MEDIA, LANGUAGE AND DISCOURSE (20) 5.1 Define the concept of language with reference to Sonderling (2009:84). (2) 25% deducted for not referencing sources 5.2 Explain what is meant by discursive practice. (4) 25% deducted for not referencing sources 5.3 Name and discuss Jakobson’s six functions of language (1½ marks each). (9) 25% deducted for not referencing sources 5.4 Choose any article in a newspaper (printed or online). You need to attach your chosen article (or a copy of it) to your assignment. If you do not attach the article, you will receive no marks for the following two questions. 5.4.1 Is the article presented in the inverted-pyramid format? Give reasons for your answer. (2) 5.4.2 Identify and provide an example of three of Jakobson’s functions of language in your chosen article. (3) 6 CONCLUSION (5) Here you will present a summary of the contents of your assignment as a conclusion. The conclusion should mirror your introduction and you should never include new information or theory in your conclusion. Once again, you will refer to all the themes discussed in the assignment and refer back to media examples that you might have used for analysis, etc. The conclusion should ideally consist of a paragraph of approximately eight sentences and not more than half a page. 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) See page 12 for guidelines. TECHNICAL PRESENTATION (5) See page 12 for guidelines. TOTAL [100] COM3703/101/3/2017 21 ASSIGNMENT 02 Due date 6 April 2017 Contribution towards final mark 5% Unique assignment number 762222 QUESTIONS FILM THEORY AND CRITICISM Q1 Italian neo-realist filmmaking is characterised by … . (1) avoidance of literary dialogue (2) avoidance of artifice in the editing and camera work and lighting (3) a predilection for neutral, objective, ordinary life renditions (4) all of the above Q2 You have been tasked to conduct a social film historiography on the film, iNumber Number. Which of the following aspects won’t form part of your investigation? (a) The historical-social context against which the film is set. (b) How the South African film industry is financed. (c) Film as a social phenomenon. (d) How the technology used dictated the form of the film. (1) a c (2) a b (3) b c (4) b d MEDIA, LANGUAGE AND DISCOURSE Q3 All writing, from personal letters to news reporting in the mass media, is an act of … . (1) vocabulary (2) mediation (3) discourse (4) rationalisation Q4 Which methodology is best suited to the analysis of language in a text? (1) Discourse analysis (2) Political economy (3) Content analysis (4) None of the above 22 MEDIA AND VISUAL LITERACY Q5 Ability to analyse overt and implicit messages in a medium can be referred to as … . (1) medium literacy (2) media content literacy (3) visual literacy (4) media grammar literacy Q6 A phallic symbol is an example of a/an ………. code? (1) displaced (2) condensed (3) analogic (4) metonymic COMMUNICATION AND MEDIA SEMIOTICS Q7 You are watching the state president deliver the state-of-the-nation address/speech on live television. You feel as though you agree with some of what the president has said, but also believe that the president is incorrect about some important political matters. What type of reading have you produced at the moment of decoding? (1) Dominant or hegemonic reading (2) Negotiated reading (3) Oppositional or counterhegemonic reading (4) None of the above Q8 You have recently updated your Instagram account and uploaded a new profile picture of yourself, which reveals a close-up of your face. Your new profile picture is a/an ………. sign. (1) symbolic (2) iconic (3) arbitrary (4) indexical TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT Q9 The paradigmatic approach to analysing narrative includes … . (1) the chain of events in a media text (2) a description of the formal organisational structure of the text (3) the universality of the narrative (4) the organisation and patterns of the symbolic meaning of the narrative COM3703/101/3/2017 23 Q10 Vladimir Propp established seven character functions in a narrative. Which of the following is not among these functions? (1) Arch-enemy (2) Hero (3) Princess (4) Villain NARRATIVE ANALYSIS Q11 The postmodern television series Glee (2009-2015) is about a group of misfit high school students who find acceptance in a glee club. The students in the club perform a variety of existing songs. This act of rehashing existing songs and thereby paying homage to the original artists is a characteristic of which of the following postmodern concepts? (1) Spectacle (2) Faux TV (3) Pastiche (4) Mystery Q12 Which one of the following pairs is not an example of a binary opposition? (1) Peace – war (2) White – grey (3) Youth – old age (4) Dominant - submissive QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH Q13 Which of the following criteria for closed-ended questions is not met by the following questions? Do you think the EFF is disrupting meetings of parliament and society at large? o a lot o a little bit o a great deal o not at all (a) Questions should not be leading. (b) The response options should be exhaustive. (c) Questions should be unidimensional. (d) The wording should be unambiguous. (e) The options should be mutually exclusive. (1) a c d (2) b d e (3) a b c (4) a c e 24 Q14 A two-part question in which the first part determines which question(s) the respondent needs to answer next is known as … . (1) matrix questions (2) contingency questions (3) multichoice questions (4) rank-order questions FIELD RESEARCH IN MEDIA STUDIES Q15 Ziya, a researcher from the Independent Electoral Commission (IEC), spoke face to face to participants in her study for an hour per participant to gauge their views about the imminent local government elections. This is an example of … . (1) focus group interviews (2) structured interviews (3) unstructured interviews (4) in-depth interviews Q16 Thomas is conducting focus group research for a local NGO in a rural area of KwaZuluNatal on the responses of Zulu-speaking male high-school learners’ responses to a recently launched educational campaign about HIV/Aids. His focus group is exclusively made up of Zulu-speaking boys under 18 years of age. Which type of sampling technique does Thomas use in the following scenario? (1) Snowball sampling (2) Volunteer sampling (3) Purposive sampling (4) Available sampling MEASURING MEDIA AUDIENCES Q17 Consider the following scenario and answer the question that follows: Rendani is the station manager at a local radio station in Port Elizabeth. He was tasked by the management committee of the station to establish the values, attitudes, motivations and preferences regarding audience members’ media use. In audience measurement these characteristics are referred to as … . (1) demographic variables (2) geographic variables (3) behavioural variables (4) psychographics COM3703/101/3/2017 25 Q18 Which of the following is a characteristic of panel research? Panel research … . (1) involves the use of diaries (2) is longitudinal (3) makes use of systematic recall (4) includes the entire population PSYCHOANALYSIS AND FILM Q19 Ravi watches television to avoid thinking about the problems he experiences at work. Which relationship with the media does this example illustrate? (1) Identification (2) Escapism (3) Regression (4) Transference Q20 Film and television programmes resemble dreams in that they are fictional narratives represented visually. What similarity is there between television and dreams? They both have … . (1) powerful content (2) a high degree of wish fulfilment (3) a highly visual quality (4) all of the above ASSIGNMENT 03 PORTFOLIO EXAMINATION Due date 4 May 2017 Contribution to final mark 80% Unique assignment number 814415 You need to study the following to prepare for the portfolio examination: In the prescribed book Chapter 1: Questionnaire surveys in media research Chapter 2: Communication and media semiotics Chapter 7: Narrative analysis Chapter 9: Media, language and discourse In the study guide Study unit 10: Questionnaire surveys in media research Study unit 2: Communication and media semiotics Study unit 7: Narrative analysis Study unit 9: Media, language and discourse 26 This portfolio examination is structured as follows, with the mark allocation indicated: DECLARATION 1 INTRODUCTION (5) 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH (35) 3 COMMUNICATION AND MEDIA SEMIOTICS (35) 4 NARRATIVE ANALYSIS (35) 5 MEDIA, LANGUAGE AND DISCOURSE (35) 6 CONCLUSION (5) 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) SOURCES CONSULTED (5: technical presentation) Total [160] 1 INTRODUCTION (5) In the introduction you should clearly identify/indicate what you will discuss in the portfolio exam and also how your portfolio is going to be structured. You should refer to all four themes/study units that you are covering in your portfolio, as well as the particular topics within the theme that you will answer questions on. Furthermore, if you are using any media texts as examples in your answers to some of the questions, you need to identify those media texts by name/title in the introduction. The introduction should ideally comprise a paragraph of approximately eight sentences that take up half a page. 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH (35) The Minister of Women in the Presidency wants to know what people’s opinions and attitudes are towards Youth Month, which is celebrated in June. The minister has asked you to conduct research to determine whether Youth Month is more popular with younger than older people, and what initiatives and events the prospective audience would like her office to arrange for the celebrations. The research has to be conducted in your residential area. 2.1 Describe two characteristics of survey research. (2) 25% deducted for not referencing sources 2.2 Give two reasons why questionnaire survey research would be suitable to investigate the topic in the scenario provided (2 marks for a theoretical discussion– 25% deducted for not referencing sources – and 2 marks for justification of its suitability for a specific scenario). (4) 2.3 Explain the sampling process. 2.3.1 Briefly explain the difference between target and accessible population. (2) 25% deducted for not referencing sources 2.3.2 Identify the target and accessible population for this particular scenario. (2) 2.3.3 Select a sampling method that is suitable for this study and motivate your choice. You should identify and define the sampling method (2 marks – 25% deducted for not referencing sources) and then explain why it is suitable as claimed. Equal numbers of younger and older people should be participants in the study. (4) COM3703/101/3/2017 27 2.4 Choose the type of questionnaire survey that is suitable for this study and justify your choice. You should identify and define the type of questionnaire survey (2 marks – 25% deducted for not referencing sources) and then explain its suitability to the relevant scenario. (3) 2.5 Formulate two open-ended and two closed-ended questions that you will ask the participants. (7) (1 mark for the open-ended questions, 1 mark for each closed-ended question and 1 mark for the reasonable-response options for each of the closed-ended questions) 2.6 According to Bornman (2009:477) all surveys are susceptible to error and bias over a wide front. Discuss the following sources of error and bias and explain how you would reduce the possibility of error in each of these areas in your study (2 marks for a theoretical discussion of each source of error and bias – 25% deducted for not referencing sources – and 1 mark for its application in your research). 2.6.1 Sampling error (3) 2.6.2 Interviewer bias (3) 2.6.3 Nonresponse error (3) 3.7 Describe the concept of external validity (25% deducted for not referencing sources) and explain how you would improve the external validity of this study. (2) 3 COMMUNICATION AND MEDIA SEMIOTICS (35) To answer this question you must select an episode from a television programme that you are familiar with and enjoy watching. The episode you select must be from a fictional series and can be either a half-hour or an hour long. The programme that you choose MAY NOT BE a news, current affairs (e.g. Carte Blanche), or lifestyle programme (e.g. Top Billing). Your selection must be a closed-ended episode, which means that the story cannot end on a “cliff-hanger” or a “to be continued” (therefore you are not allowed to choose a soap opera). You may not select any series that has been analysed in either the prescribed book or study guide. Please note that no marks will be awarded unless a relevant example is produced. 3.1 List the details of your chosen television series as follows: 3.1.1 Title of series (1) 3.1.2 Title of episode watched (1) 3.1.3 Main characters seen in the episode (1) 3.1.4 Basic plotline of the episode (1) 28 3.2 Semiotics can very simply be defined as the study of signs. Roman Jakobson identified six linguistic functions, which today are generally referred to as the functions of signs. 3.2.1 Name and discuss these six sign functions (3 marks per sign). (18) 25% deduction for not referencing sources. 3.2.2 Provide an example of each of these six functions in your chosen television programme episode. You need to be able to justify your choice and clearly explain how the example you have chosen relates to the particular sign function. (6) 3.3 In Assignment 01 you had to discuss the four kinds of signs based on the relationship between the signifier and the referent. Refer back to your answer to refresh your memory on what the four signs indicate and then provide an example of each as found in your chosen television programme episode. You are once again expected to justify your choices and explain why the chosen examples aptly represent the signs concerned. (4) 3.4 According to Fourie (2009:57), a code is considered to be “…the technique according to which signs are combined in order to convey meaning”. 3.4.1 Code of behaviour is one of the types of code in the code typology. Explain what this particular code entails. (2) 25% deducted for not referencing sources 3.4.2 Provide one example of the code of behaviour as found in your chosen television programme episode. (1) 4 NARRATIVE ANALYSIS (35) 4.1 Discuss the three main assumptions regarding messages in the media. Your discussion should include examples from your personal interaction with the media. These could include examples from television, newspapers or online media. (6) 25% deducted for not referencing sources 4.2 Choose any episode of a television programme. The programme you choose must be fictional and may not be a news programme, a lifestyle programme, a talk show or a current-events programme. The specific episode that you choose must also be closedended (therefore it should not end on a cliff-hanger). Write an essay in which you cover the following: 4.2.1 The name of your television programme (1 mark), a brief description of the main characters involved in the action of your chosen episode (1 mark) and a brief description of the storyline of your chosen episode (1 mark). (3) 4.2.2 A discussion of the three elements that make up the chain of a narrative (3 marks – 25% deducted for not referencing sources) and an analysis of your chosen episode based on these three elements (3 marks). (6) COM3703/101/3/2017 29 4.2.3 A discussion of the four phases that form part of the narrative progression of a storyline (4 marks – 25% deducted for not referencing sources) and an analysis of your chosen episode based on these four phases (4 marks). (8) 4.2.4 Barthes (in Wigston 2009:274-276) identifies a set of five codes that collectively produce meaning in a narrative. Name and discuss any four (4) of these codes (2 marks per discussion – 25% deducted for not referencing sources) and provide an example of each of the four codes occurring in and discussed in context with your chosen television series (1 mark per example). (12) 5 MEDIA AUDIENCE THEORY (35) Read the following article: Source: Farouk, F. 2015. Do we have the humanity to take care of each other in a post-work society? SACSIS [O]. Available at: https://www.sacsis.org.za/site/article/2421 Accessed: 17 May 2016 Do We Have the Humanity to Take Care of Each Other in a Post-Work Society? By Fazila Farouk · 26 Jun 2015 The South African government has finally come around to talking about introducing a national minimum wage. There’s still no indication what the floor will be set at, but this is surely good news in a country with one of the most deplorable levels of income inequality. No doubt the nation will be engaged in a great deal of debate about what suitable compensation ought to be for the legions of low-level workers trapped in mundane manufacturing and service jobs. What is a decent level of pay for assembly line workers, domestic workers, cashiers, street sweepers and so on? The business community is bound to engage in a great deal of fear mongering about further haemorrhaging jobs to China, whilst the trade unions will be putting their best case forward for decent pay and stronger labour regulations, as they should. The parameters of this debate are well known and the arguments well-worn. But sadly for us, people on both ends of the spectrum are prone to a form of rigidity that rejects new thinking on how to deal with the age-old question of meaningfully and gainfully employing people for a life of comfort and purpose in a rapidly changing world. It’s the idea of “a life of purpose” that's missing from the South African debate on job creation. Very few South Africans would even entertain the question of whether or not low-level jobs should exist in the first place. We are, it seems, stuck with the quintessential Third World problem – what to do with the army of unskilled and unemployed people in the country? Conventional thinking holds that it’s better to give them a job, any job, instead of having them drag down the economy with the bleak emptiness of their unemployment. 30 And so we tolerate demeaning and downright offensive occupations such as “car guards” and “pamphlet distributors” whilst making no attempt to do away with work that is mundane, repetitive, unnecessary and insulting to human beings. South Africa finds itself at an interesting juncture. Our situation is not dissimilar to countries like Greece and Spain with large numbers of unemployed young people. The difference between our youth and theirs is that many of those kids come from middle class families and they’re highly educated. The blame for their state of joblessness has been placed on their shrinking economies that are not producing jobs in sufficient numbers to absorb them. It’s a fair argument, but increasingly, as the nature of the work environment changes, it’s becoming an incomplete argument. There’s another problem facing the workingman and woman: To borrow a phrase recently used by the New York Times, “The machines are coming!” - and it’s not just blue and pink-collar jobs that are at risk. White-collar workers are very much on the frontlines of this confrontation with the machines. Fortune magazine recently compiled a list of “5 white collar jobs that robots have already taken”, among them financial and sports reporters, real estate agents, surgeons and anaesthesiologists, financial analysts and lawyers. The marriage of big data and software has simply done away with the need for people with number crunching and basic analytical skills. Associated Press is already using software to generate stories for some of the sporting events it provides coverage for, Fortune reports. Meanwhile Google’s self-driving cars are stirring up a storm in California where they will be introduced on public roads in coming months. So the lady at your nearest supermarket’s checkout counter is not the only one at risk of being replaced by the growing international trend of self-service checkout stations. As robots start taking over many of the activities that human beings perform today, the idea of a largely jobless future is gaining currency. However, whether we see the machines as a threat or as an opportunity will depend very much on our humanity towards each other and our recognition of the fact that society is changing in fundamental ways. Writing in The Atlantic, Derek Thompson highlights the challenges of this forthcoming “postwork” society where humans will have little work to do. His lengthy essay examines the issue from varied perspectives, including psychological, sociological and economic. So how will we survive in the post-work society? Thompson sees a bigger role for government to organise society in a way that its wealth is more evenly distributed. He debates a few ideas, including higher taxation for owners of capital and redistribution of income, a “universal income grant”, paying people to go to college and university to maintain an educated society, as well as supporting the creation of municipal community centres and artisanal foundries where people learn skills to apply to their daily lives, as work becomes less regular and more episodic. COM3703/101/3/2017 31 The solution, whether we like it or not, is looking more socialist in orientation, and people all over the Western World are starting to push the boundaries of the debate. Even seemingly liberal analysts are invoking Marx to examine the problems of our current economic order. The philosophers over at the School of Life, a UK-based think tank that applies philosophical theories to deal with life’s bigger problems, contend that Capitalism has got to reform and Marx's analysis is going to have to be part of the solution. Of relevance is their point that “Few of us actually need to work because the modern economy is so productive. But rather than seeing this need not to work as the freedom it is, we…describe it by a pejorative word: unemployment. We should call it freedom.” Some forward thinking CEOs are starting to embrace the change. The introduction of the 32hour workweek in some companies is seen as one way to retain a level of employment, whilst encouraging leisure and family time. Brazilian CEO Ricardo Semler practices a radical form of workplace democracy to encourage work-life balance. His TED talk offers hope for those frustrated by a world dominated by workaholic CEOs mindlessly pursuing wealth for its own sake. His refreshing message to those who have accumulated an abundance of wealth and want to give some of it back to society is, “If you’re giving back, you took too much.” It’s early days in terms of fully appreciating the scope and depth of the problem that is being described by some as “the jobless future”. It’s a complex future. The question is how are we going to respond here in South Africa? We already have masses of unemployed people. Are we simply going to insist on creating low-level manual jobs for people in an age when machines can do them? Worse, do we continue coercing people into survivalist activities, such as car guarding which is nothing more than glorified begging, because society is unwilling to look after them? Very few of us would ever think of ourselves as being disrespectful towards others, but we are indeed disrespecting the humanity of large masses of people in this country by continuously calling for them to be employed in low-level jobs performing tasks that can be done by machines. Moving beyond ethical considerations, we should be thinking about bypassing the problems that the First World is facing today. They offer us a glimpse into the future and an opportunity to set a different course that could circumvent many of the challenges, which plague them today. For this, our society requires a massive mind shift in terms of how we view each other. We should automate our work as much as we can and free others and ourselves for a life of higher purpose. This will require fundamental changes to the way our society is organised as well as a massive redistribution of wealth. The problem, of course, is that those who hold the wealth are unwilling to share it - there is massive class conflict all over the world. Here in South Africa this tension is heightened by racial difference because those who own this country’s economy tend largely to be white, whilst those who languish in poverty and joblessness are largely black. Will those who own the wealth of this country ever overcome their prejudices to reach across the race and class divide to build a society that nurtures its own? It’s difficult to offer an answer to this question, but the challenge for us all is to look deep into our hearts and far into the future to build a strong nation that will withstand the ravages of an impending world without much work for human beings. Farouk is founder and executive director of The South African Civil Society Information Service. 32 Write an essay focusing on the use of language in this article. Your essay should focus on the following elements. You should first provide a theoretical discussion of each element and then identify suitable examples of each as it occurs in the text. See the mark rubric on page 52 for a detailed breakdown of marks. 5.1 Significant words, concepts or jargon used in the text. (5) 5.2 Grammatical structures used in the text. (5) 5.3 Metaphors used and what they mean. (5) 5.4 The discursive practice that produced the text. (5) 5.5 The rhetorical devices in the text. (5) 5.6 Three functions of language fulfilled by the text. (6) 5.7 The ideology evident in the text. (4) 6 CONCLUSION (5) Here you will present a summary of the contents of your portfolio exam as a conclusion. The conclusion should mirror your introduction and you should never include new information or theory in your conclusion. Once again, you will refer to all the themes discussed in the portfolio and refer back to media examples that you might have used for analysis, etc. The conclusion should ideally consist of a paragraph of approximately eight sentences and not more than half a page in length. 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) See page 12 for guidelines. TECHNICAL PRESENTATION (6) See page 12 for guidelines. TOTAL [160] COM3703/101/3/2017 33 SEMESTER 02 ASSIGNMENTS You must complete and hand in Assignment 01 because it is compulsory – you need to hand this assignment in to gain examination admission. Assignment 01 and Assignment 02 contribute 20% in total towards your final mark. Your first assignment will count 15% of your final mark and the second assignment will count 5% of your final mark. ASSIGNMENT 01 Due date 11 August 2017 Contribution towards final mark 15% Unique assignment number 686610 To complete Assignment 01 you need to study the following: In the prescribed book Chapter 10: Questionnaire surveys in media research Chapter 13: Psychoanalysis and television (and film) Chapter 6: Textual analysis: narrative and argument Chapter 4: Media and visual literacy In the study guide Study unit 10: Questionnaire surveys in media research Study unit 13: Psychoanalysis and television (and film) Study unit 6: Textual analysis: narrative and argument Study unit 4: Media and visual literacy This assignment is structured as follows, with the mark allocation indicated: DECLARATION 1 INTRODUCTION (5) 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH (20) 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (20) 4 TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT (20) 5 MEDIA AND VISUAL LITERACY (20) 6 CONCLUSION (5) 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) SOURCES CONSULTED (5: technical presentation) Total [100] 1 INTRODUCTION (5) In the introduction you should clearly identify/indicate what you will discuss in the assignment and also how your assignment is going to be structured. You should refer to all four themes/study units that you are covering in your assignment, as well as the particular topics within the theme that you will answer questions on. Furthermore, if you are using any media texts as examples in your answers to some of the questions, you need to identify those media texts by name/title in the introduction. 34 The introduction should ideally be a paragraph of approximately eight sentences and not more than half a page. 2 QUANTITATIVE CONTENT ANALYSIS (20) The Centre for Democracy wants to make sure all young people are active in solving some of the social and political problems the country is facing. The Centre has asked you to investigate how active your friends are in engaging with social and political topics on Facebook, Twitter or any other form of social media over a period of one week. 2.1 Describe the main difference between quantitative and qualitative content analysis. (2) 25% deducted for not referencing sources 2.2 Explain why quantitative content analysis would be suitable to conduct the research required to address the abovementioned assignment. (1) 2.3 Leedy (in Wigston 2009:11) says the research problem is “paramount to the importance to the success of the research effort, and it should be considered by every researcher”. 2.3.1 Discuss the three key criteria set out by Wigston (2009:12) as basic requirements that have to be met when formulating a research problem. (3) 25% deducted for not referencing sources 2.3.2 Formulate a research problem suitable to the abovementioned scenario. Your research problem should meet the three criteria noted in 2.3.2. (3) 2.4 Once you have a clear research problem, the next step is to formulate research questions or hypotheses. 2.4.1 Explain the need for research questions or hypotheses in conducting quantitative content analysis. (1) 25% deducted for not referencing sources 2.4.2 Formulate one research question or hypothesis that links to your research problem and the abovementioned scenario. Remember that you are conducting a quantitative content analysis, therefore your question or hypothesis should be suitable for this type of study. (1) 2.5 The next step is to select of analysis. 2.5.1 Briefly describe the function of units of analysis. (1) 25% deducted for not referencing sources 2.5.2 Select two units of analysis and explain how you would use them. Your units of analysis should be selected from the table in Wigston (2009a:15). (2) 2.6 The next step is developing categories. 2.6.1 Describe three criteria that categories must comply with. (3) 25% deducted for not referencing sources COM3703/101/3/2017 35 2.6.2 Formulate two categories that you would allocate to the units of analysis that you identified in 2.5.2 above. (2) 2.7 Define one method that you would use to present findings (1 mark - 25% deducted for not referencing sources) and motivate why the method is suitable for presenting your findings (1 mark). (2) 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (20) 3.1 Sonderling (2009a:582) notes that “films, like dreams, project the spectator’s imagination on the screen”. Write a paragraph in which you do the following: 3.1.1 Identify six similarities between dreaming and watching a film. (6) 25% deducted for not referencing sources 3.1.2 Identify what, in your opinion, are two possible differences between dreaming and watching a film or television programme. (2) 3.2 There are four processes of “dream work”. 3.2.1 Identify and briefly explain the four processes of what Sigmund Freud referred to as “dream work” (Sonderling 2009a:585). (4) 25% deducted for not referencing sources 3.2.2 Select any television programme or film of your choice. Choose any two of the four processes discussed in 3.2.2 and show how these processes function when a person watches either television programmes or films, by providing examples from a television programme or film of your choice. (4) 3.3 Explain the concept of television apparatus by referring to the four elements comprising this apparatus. 25% deducted for not referencing sources (4) 4 TEXTUAL ANALYSIS: NARRATIVE ARGUMENT (20) 4.1 Critically discuss the concept of discourse. (5) 4.2 Explain what is meant by the term ideology. (5) 4.3 Explain the concept of rhetoric in terms of media texts. (5) 4.4 Choose any printed media text (e.g. advertisement or article taken from a newspaper, magazine or the Internet). You need to attach your chosen media text or a copy of it to your assignment, failing which no marks will be awarded for this particular question. Give two examples of rhetoric that occur in the chosen text. In other words, what is the argument made by the sender of the particular media text, and how does the particular text as presented in the medium concerned persuade. You will need to quote the relevant words or clearly explain what aspects of the printed text that you have chosen are examples of rhetoric and justify your choice. (5) 36 5 MEDIA AUDIENCE THEORY (20) According to the uses and gratification theory, watching television satisfies certain needs that a viewer might have. The uses and gratification theoretical approach therefore focuses on media audiences who actively select a particular medium to satisfy particular needs. On the other hand reception theory focuses on how audiences interpret text in a particular medium. Write an essay in which you critically discuss the following: 5.1 The theoretical assumptions of the uses and gratification theory. (3) 25% deducted for not referencing sources 5.2 Three categories of need. (6) 25% deducted for not referencing sources 5.3 Three assumptions of reception theory (6) 25% deducted for not referencing sources 5.4 Two archetypal characters found in soap operas (2) 25% deducted for not referencing sources 5.5 Two examples of archetypal characters occurring in any soap opera of your choice (i.e. identify your soap opera (1 mark) and explain why your chosen character conforms to a particular archetype). (3) 6 CONCLUSION (5) Here you will present a summary of the contents of your assignment as a conclusion. The conclusion should mirror your introduction and you should never include new information or theory in your conclusion. Once again, you will refer to all the themes discussed in the assignment and refer back to media examples that you might have used for analysis, etc. The conclusion should ideally consist of a paragraph of approximately eight sentences and not more than half a page. 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) See page 12 for guidelines. TECHNICAL PRESENTATION (5) See page 12 for guidelines. TOTAL [100] COM3703/101/3/2017 37 ASSIGNMENT 02 Due date 8 September 2017 Contribution towards final mark 5% Unique assignment number 687663 QUESTIONS FILM THEORY AND CRITICISM Q1 The 2015 film, Mad Max: Fury Road was hailed for its portrayal of female characters as strong and independent. From a film and identity perspective, this critique will fall under which one of the following: (1) Postcolonial theory (2) Feminist criticism (3) Queer theory (4) Film and race Q2 Jennifer has written a film review on X-Men: Apocalypse (2016) for her university newspaper. In her review she focused on the depiction of the characters as well as the types of relationships between the various characters. Her review is grounded in … . (1) medium-shot theories (2) establishing shot theories (3) close-up shot theories (4) all of the above NARRATIVE ANALYSIS Q3 In an episode of a popular sitcom two parents cannot agree on a curfew for their teenage daughter. They have a huge fight when the father allows the daughter to go out with her friends until 23:00 without consulting his wife. In the context of the four phases that form part of a narrative progression the abovementioned scene can best be described as the … . (1) exposition (2) climax (3) resolution (4) denouement 38 Q4 The narrative of an episode of Grey’s Anatomy usually starts off with a voice-over by the main character Meredith Grey. Soon after she concludes her monologue some form of crisis or disaster strikes. Which of the following five steps in the linear progression of a narrative as identified by Todorov can be equated to the initial calm in the beginning of the episode? (1) A recognition of the disruption of equilibrium (2) A state of equilibrium (3) A disruption of the equilibrium (4) An attempt to restore the equilibrium QUANTITATIVE CONTENT ANALYSIS Q5 Sipho wants to compare the coverage of political stories in two top-selling South African newspapers in January 2017. The type of research that he will conduct is known as … . (1) explanatory research (2) descriptive research (3) applied research (4) participatory research Q6 Which of the following research questions will not be suitable in a quantitative content analysis? (1) Does the ANC feature more frequently than opposition parties on the cover of Pretoria News? (2) Do news bulletins spend more time reporting on sports stories than on stories that deal with arts and culture? (3) Do newspapers cover women’s rights more frequently during Women’s Month than during other months of the year? (4) Did the Mail & Guardian report fairly on government initiatives in the run-up to the 2017 local government elections? MEDIA, LANGUAGE AND DISCOURSE Q7 The newspaper article heading “Fat-cat bureaucrats riding the gravy train” is an example of … . (1) a metaphor (2) a passive sentence (3) a theme (4) an argument COM3703/101/3/2017 39 Q8 You are watching your favourite soap opera on television and one of the actresses is crying as she apologises to her lover for some wrongdoing. She is highly emotional as she speaks, her voice is shaky and tears stream down her cheeks. Which one of Jakobson’s functions of language is the most prominent in this scene? (1) Referential (2) Expressive (3) Conative (4) Metalinguistic VISUAL TEXT ANALYSIS Q9 Which lens distorts the readers’ normal depth perception by placing more emphasis on elements or people in the foreground? (1) Selective focus (2) Narrow-angle lens (3) Wide-angle lens (4) Aspect ratio Q10 The positioning of the bridge in this frame is an example of … . The Storms River bridge © Tanja Botha (1) Graphic depth (2) Motion vector (3) Down diagonal (4) Diverging vector 40 MEDIA AUDIENCE THEORY Q11 John recently watched a sexually explicit movie. Which of the following needs, according to the uses and gratifications theory, was he aiming to satisfy? (1) Social integrative needs (2) Cognitive needs (3) Affective needs (4) Personal integrative needs Q12 The characters Lucas Nyathi (Scandal) and Barker Haines (Isidingo) are both highly disliked characters in their respective soap operas due to their deplorable actions. Which archetypal character type do these two characters represent? (1) Romantic hero (2) The patriarch (3) The meddling mother (4) The arch-villain FIELD RESEARCH IN MEDIA STUDIES Q13 Busi is a reporter for a current events television programme. She is investigating reports of abuse of the elderly by nurses at a frail-care facility. She realises that the only way to investigate the behavioural patterns of employees is to pretend to be a volunteer who reads to the elderly on a daily basis. What type of observation does Busi use in this scenario? (1) Overt role (2) Closed observation (3) Unethical observation (4) Concealed observation Q14 What can the researcher do to resolve or mitigate the ethical issues involved in adopting a covert role? (1) Conduct a debriefing interview. (2) Publish the research results and allow the people observed to read the results after publication. (3) Adopt a fake identity. (4) Nothing, since ethical issues can be ignored for the sake of the research. COM3703/101/3/2017 41 MEASURING MEDIA AUDIENCES Q15 Mary has been requested to conduct audience research on behalf of a Vereenigingbased community newspaper. So far she has documented the race, age, gender, education, income and occupation of the selected audience. Which of the following categories encapsulates these attributes of the audience? (1) Geographic variables (2) Behavioural variables (3) Demographic variables (4) Psychographic variables Q16 Which one of the following alternatives is reputed to be a source of reliable, consistent and high-quality audience data? (1) Diaries (2) Content analysis (3) Focus group interviews (4) Electronic metering devices COMMUNICATION AND MEDIA SEMIOTICS Q17 Maria is looking at an advertisement for cough medicine in a magazine. The image in the photograph features a little girl wearing a red cape and nursing a wolf wearing a nightcap, and it is clear that the advertisement is referenced to Little Red Riding Hood, the classical fairy tale. In the context of semiotics this reference to an existing text is considered an example of … . (1) intertextuality (2) denotation (3) ideology (4) none of the above 42 Q18 Sarah is watching a perfume advertisement on television. The last shot of the advertisement features a man in a suit walking along a busy street with a perfume bottle in his hand. Which one of the following statements best describes the denotative meaning of the man in that image? (1) An adult male (2) A sex object (3) A successful businessman (4) All of the above MEDIA & VISUAL LITERACY Q19 An advertising campaign for a top fashion house has come under fire for its depiction of women. According to critics the women were portrayed in an overtly sexual manner. What level of media and visual literacy did these critics employ to make this observation? (1) Media grammar literacy (2) Media content literacy (3) Medium literacy (4) None of the above Q20 Which of the following are not examples of visual ‘language’ variables? (1) Typeface, page size and shape (2) Spacing, blank spaces, page layout (3) Zoom, fade, focus (4) Argument, persuasion, rhetoric COM3703/101/3/2017 43 ASSIGNMENT 03 EXAMINATION PORTFOLIO Due date 9 October 2017 Contribution to final mark: 80% Unique assignment number 853386 To complete the portfolio examination, you need to study the following: In the prescribed book: Chapter 1: Quantitative content analysis Chapter 13: Psychoanalysis and television (and film) Chapter 6: Textual analysis: narrative and argument Chapter 4: Media and visual literacy In the study guide: Study Unit 1: Quantitative content analysis Study unit 10: Psychoanalysis and television (and film) Study unit 6: Textual analysis: narrative and argument Study unit 4: Media and visual literacy This portfolio examination is structured as follows, with the mark allocation indicated: DECLARATION 1 INTRODUCTION (5) 2 QUANTITATIVE CONTENT ANALYSIS (35) 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (35) 4 TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT (35) 5 MEDIA AND VISUAL LITERACY (35) 6 CONCLUSION (5) 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) SOURCES CONSULTED (5: technical presentation) Total [160] 1 INTRODUCTION (5) In the introduction you should clearly identify/indicate what you will discuss in the portfolio exam and also how your portfolio is going to be structured. You should refer to all four themes/study units that you are covering in your portfolio, as well as the particular topics within the theme that you will answer questions on. Furthermore, if you are using any media texts as examples in your answers to some of the questions, you need to identify those media texts by name/title in the introduction. The introduction should ideally be a paragraph of approximately eight sentences and not more than half a page. 44 2 QUANTITATIVE CONTENT ANALYSIS (35) Read the scenario below and then answer the questions that follow. The Minister of Women in the Presidency feels that newspapers do not cover stories with sufficient frequency about the achievements of women, nor does it sufficiently cover the persistently high incidence of abuse that women are subjected to. The minister has asked you to investigate the frequency of stories relating to women’s achievements and the abuse of women over a five-day period. You need to select one newspaper or online news site and review it over the said period. 2.1 Define quantitative content analysis (2 marks – 25% deducted for not referencing sources) and explain why it is a suitable method to conduct the research related to the abovementioned scenario (1 mark). (3) 2.2 Formulate a suitable research problem for the abovementioned scenario. Your research problem should meet the three criteria set out by Wigston (2009a:12). (3) 2.3 Formulate two research questions OR two hypotheses that relate to your main research problem which you formulated in answering 2.2 above. (2) 2.4 Select two units of analysis that you will use for your research, based on the above scenario and give reasons for your choice. The research questions formulated in response to 2.3 above will guide you in your choice of units of analysis (1 mark for the correct unit of analysis and 1 mark for the reason for your choice). (4) 2.5 Formulate two categories that you would allocate to the units of analysis that you identified in 2.4 above. (2) 2.6 Coding is an important part of analysis. 2.6.1 Explain differences between manifest and latent coding. (2) 25% deducted for not referencing sources 2.6.2 Explain whether you would use manifest or latent coding for the study and give reasons to justify your answer. (2) 2.6.3 Code the newspapers you have chosen by placing your units of analysis into the various categories you have specified. This should be done in the form of a coding or counting sheet. (2) 2.7 Present the results that you have drawn from the coding of your newspapers in a table, chart or graph. Refer to Wigston (2009a:24-29). (7) COM3703/101/3/2017 45  Your table/graph/chart will be assessed as follows: o Title of table/chart/graph (1 mark). o General presentation of table/graph/chart (neatly presented; easily read/interpreted/understood) (1 mark). o Y-axis (1 mark for labelling of axis; 1 mark for unit of measurement) (Note that in the case of a pie chart 2 marks will be allocated for the various categories/sections). o X-axis (1 mark for labelling of axis; 1 mark for unit of measurement) (Note that in the case of a pie chart 2 marks will be allocated for how the categories/sections are presented – clearly definable and sizes reflecting proportions represented by numbers/percentages allocated to the categories/sections). o Totals calculated correctly (1 mark). 2.8 Interpretation of findings. 2.8.1 Provide a brief narrative description of your findings in a table or chart. (2) 2.8.2 Explain how your two research questions/hypotheses were answered (2 per research question). (4) 2.8.3 Provide a brief narrative description of how the research problem was answered. (2) 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (35) 3.1 FailArmy (https://www.youtube.com/user/failarmy) is an extremely popular YouTube channel with over 7 million subscribers. Find and select a clip in their list that appeals to you, whether it be “wins”, “fails”, or a compilation, and watch it. Make sure that your chosen clip is less than 30 minutes long. Be sure to note the specific URL of the clip that you watch as part of your sources consulted (and reference it correctly). 3.1.1 Write down the title of the clip that you selected (½ mark). The clip that you found comes from an internet website. Write down its URL or website address (½ mark). (1) 3.1.2 Explain what is meant by a defined narrative storyline (1 mark – 25% deducted for not referencing sources). Does your FailArmy clip have a defined narrative or storyline (½ mark)? Briefly explain your answer (½ mark). (2) 3.1.3 Choose the answer you believe to be an accurate description of the clip you viewed from the list below. Write down both the number and the answer next to it: FailArmy is … . (1) a combination of different video sources into a single video (2) an attempt at documenting reality to teach or preserve history (3) a television programme with a certain number of episodes (4) a film containing both drama and comedy (1) 46 3.2 Select a television series that you enjoy watching. The series you select must be fictional (as in a story). It may not be a news (e.g. e-News), current affairs (e.g. Carte Blanche), or lifestyle programme (e.g. Top Billing). It can be 30 or 60 minutes long, and must be a closed-ended episode, which means that the story cannot end on a “cliffhanger” or a “to be continued”. Good examples would include Modern Family or Two and a Half Men (you are welcome to select either of these series for analysis, but you may not select any series that has been analysed in either the prescribed book or the study guide). List the details of your chosen television series as follows: 3.2.1 Title of the series. (1) 3.2.2 Title of the episode you watched. (1) 3.2.3 Main characters seen in the episode. (1) 3.2.4 Basic plotline of the episode. (1) 3.3 Read the statement below: The psychoanalytic perspective on film and television viewing can be applied to BOTH your chosen FailArmy clip AND your chosen episode of the television series. 3.3.1 Provide two reasons why the statement above is true. (2) 3.3.2 Explain the concept of the “dream state” and how it affects the manner in which a person views a film or television programme. (3) 25% deducted for not referencing sources 3.3.3 Define the concepts of pleasure, catharsis, voyeurism and fantasy in terms of the psychoanalytic perspective on film and television and explain the role that each of these concepts have in watching television (1½ marks per concept). (6) 25% deducted for not referencing sources 3.3.4 Illustrate your explanations of the concepts of pleasure, catharsis, voyeurism and fantasy by drawing on examples from both your chosen FailArmy clip and television series episode. Note that you need to relate two of the concepts to the FailArmy clip and two to your chosen television programme episode. (4) 3.3.5 Define the concepts of regression, disavowal, mirror identification and modes of enunciation in terms of the psychoanalytic perspective on film and television (1 mark per concept). (4) 25% deducted for not referencing sources 3.3.6 Explain how the concepts of regression, disavowal, mirror identification and modes of enunciation influence the interaction that occurs between a viewer and the film or television programme he/she is watching. (4) 25% deducted for not referencing sources COM3703/101/3/2017 47 3.3.7 Illustrate your explanation of the concepts of regression, disavowal, mirror identification and modes of enunciation by drawing on examples from both your chosen FailArmy clip and television series episode. Please note that you need to apply two of the concepts to the FailArmy clip and two of the concepts to your chosen television programme episode. (4) 4 TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT (35) Read the following article: Farouk, F. 2015. Do we have the humanity to take care of each other in a post-work society? SACSIS [O]. Available at: https://www.sacsis.org.za/site/article/2421 Accessed: 17 May 2016 Do We Have the Humanity to Take Care of Each Other in a Post-Work Society? By Fazila Farouk · 26 Jun 2015 The South African government has finally come around to talking about introducing a national minimum wage. There’s still no indication what the floor will be set at, but this is surely good news in a country with one of the most deplorable levels of income inequality. No doubt the nation will be engaged in a great deal of debate about what suitable compensation ought to be for the legions of low-level workers trapped in mundane manufacturing and service jobs. What is a decent level of pay for assembly line workers, domestic workers, cashiers, street sweepers and so on? The business community is bound to engage in a great deal of fear mongering about further haemorrhaging jobs to China, whilst the trade unions will be putting their best case forward for decent pay and stronger labour regulations, as they should. The parameters of this debate are well known and the arguments well-worn. But sadly for us, people on both ends of the spectrum are prone to a form of rigidity that rejects new thinking on how to deal with the age-old question of meaningfully and gainfully employing people for a life of comfort and purpose in a rapidly changing world. It’s the idea of “a life of purpose” that's missing from the South African debate on job creation. Very few South Africans would even entertain the question of whether or not low-level jobs should exist in the first place. We are, it seems, stuck with the quintessential Third World problem – what to do with the army of unskilled and unemployed people in the country? Conventional thinking holds that it’s better to give them a job, any job, instead of having them drag down the economy with the bleak emptiness of their unemployment. And so we tolerate demeaning and downright offensive occupations such as “car guards” and “pamphlet distributors” whilst making no attempt to do away with work that is mundane, repetitive, unnecessary and insulting to human beings. 48 South Africa finds itself at an interesting juncture. Our situation is not dissimilar to countries like Greece and Spain with large numbers of unemployed young people. The difference between our youth and theirs is that many of those kids come from middle class families and they’re highly educated. The blame for their state of joblessness has been placed on their shrinking economies that are not producing jobs in sufficient numbers to absorb them. It’s a fair argument, but increasingly, as the nature of the work environment changes, it’s becoming an incomplete argument. There’s another problem facing the workingman and woman: To borrow a phrase recently used by the New York Times, “The machines are coming!” - and it’s not just blue and pink-collar jobs that are at risk. White-collar workers are very much on the frontlines of this confrontation with the machines. Fortune magazine recently compiled a list of “5 white collar jobs that robots have already taken”, among them financial and sports reporters, real estate agents, surgeons and anaesthesiologists, financial analysts and lawyers. The marriage of big data and software has simply done away with the need for people with number crunching and basic analytical skills. Associated Press is already using software to generate stories for some of the sporting events it provides coverage for, Fortune reports. Meanwhile Google’s self-driving cars are stirring up a storm in California where they will be introduced on public roads in coming months. So the lady at your nearest supermarket’s checkout counter is not the only one at risk of being replaced by the growing international trend of self-service checkout stations. As robots start taking over many of the activities that human beings perform today, the idea of a largely jobless future is gaining currency. However, whether we see the machines as a threat or as an opportunity will depend very much on our humanity towards each other and our recognition of the fact that society is changing in fundamental ways. Writing in The Atlantic, Derek Thompson highlights the challenges of this forthcoming “postwork” society where humans will have little work to do. His lengthy essay examines the issue from varied perspectives, including psychological, sociological and economic. So how will we survive in the post-work society? Thompson sees a bigger role for government to organise society in a way that its wealth is more evenly distributed. He debates a few ideas, including higher taxation for owners of capital and redistribution of income, a “universal income grant”, paying people to go to college and university to maintain an educated society, as well as supporting the creation of municipal community centres and artisanal foundries where people learn skills to apply to their daily lives, as work becomes less regular and more episodic. The solution, whether we like it or not, is looking more socialist in orientation, and people all over the Western World are starting to push the boundaries of the debate. Even seemingly liberal analysts are invoking Marx to examine the problems of our current economic order. The philosophers over at the School of Life, a UK-based think tank that applies philosophical theories to deal with life’s bigger problems, contend that Capitalism has got to reform and Marx's analysis is going to have to be part of the solution. Of relevance is their point that “Few of us actually need to work because the modern economy is so productive. But rather than seeing this need not to work as the freedom it is, we…describe it by a pejorative word: unemployment. We should call it freedom.” COM3703/101/3/2017 49 Some forward thinking CEOs are starting to embrace the change. The introduction of the 32hour workweek in some companies is seen as one way to retain a level of employment, whilst encouraging leisure and family time. Brazilian CEO Ricardo Semler practices a radical form of workplace democracy to encourage work-life balance. His TED talk offers hope for those frustrated by a world dominated by workaholic CEOs mindlessly pursuing wealth for its own sake. His refreshing message to those who have accumulated an abundance of wealth and want to give some of it back to society is, “If you’re giving back, you took too much.” It’s early days in terms of fully appreciating the scope and depth of the problem that is being described by some as “the jobless future”. It’s a complex future. The question is how are we going to respond here in South Africa? We already have masses of unemployed people. Are we simply going to insist on creating low-level manual jobs for people in an age when machines can do them? Worse, do we continue coercing people into survivalist activities, such as car guarding which is nothing more than glorified begging, because society is unwilling to look after them? Very few of us would ever think of ourselves as being disrespectful towards others, but we are indeed disrespecting the humanity of large masses of people in this country by continuously calling for them to be employed in low-level jobs performing tasks that can be done by machines. Moving beyond ethical considerations, we should be thinking about bypassing the problems that the First World is facing today. They offer us a glimpse into the future and an opportunity to set a different course that could circumvent many of the challenges, which plague them today. For this, our society requires a massive mind shift in terms of how we view each other. We should automate our work as much as we can and free others and ourselves for a life of higher purpose. This will require fundamental changes to the way our society is organised as well as a massive redistribution of wealth. The problem, of course, is that those who hold the wealth are unwilling to share it - there is massive class conflict all over the world. Here in South Africa this tension is heightened by racial difference because those who own this country’s economy tend largely to be white, whilst those who languish in poverty and joblessness are largely black. Will those who own the wealth of this country ever overcome their prejudices to reach across the race and class divide to build a society that nurtures its own? It’s difficult to offer an answer to this question, but the challenge for us all is to look deep into our hearts and far into the future to build a strong nation that will withstand the ravages of an impending world without much work for human beings. Farouk is founder and executive director of The South African Civil Society Information Service. 50 4.1 Explain what is meant by the concept of genre (25% deducted for not referencing sources) and identify the genre of the article provided. (2) 4.2 Critically discuss the three characteristics of argumentation. (3) 25% deducted for not referencing sources 4.3.1 Name and define the three kinds of rhetorical practice. (9) 25% deducted for not referencing sources 4.3.2 Provide two examples of each of the three rhetorical practices discussed in 4.3.1 as found in Farouk’s article. (6) 4.4.1 Name and define the three modes of persuasion. (9) 4.4.2 Provide two examples of each of the three modes of persuasion discussed in 4.4.1 as found in Farouk’s article. (6) 5 MEDIA AUDIENCE THEORY (35) A soap opera is described as a serialised drama that appears regularly during the week in a specific time slot on television or radio (Pitout 2009:403). 5.1 Critically discuss and explain the structural model for the analysis of the soap opera genre as it relates to reception theory. (10) 25% deducted for not referencing sources 5.2 Select any soap opera of your choice that is currently showing on television (examples include Generations, Muvhango, 7de Laan, Villa Rosa and Days of our Lives). You are not allowed to use the following soap operas as they have been discussed in your study material:  Egoli  The Bold and the Beautiful  Isidingo  Binnelanders In the following questions, applications based on the above examples will not be marked. 5.2.1 Critically discuss any five assumptions of the reception theory (2 marks per assumption – 25% deducted for not referencing any sources) and provide practical examples of each of your five chosen assumptions as they can be applied to your selected soap opera (1 mark per example). (15) COM3703/101/3/2017 51 5.2.2 The social dimension of television viewing can be divided into four categories. Critically discuss these four categories (1½ mark per category – 25% deducted for not referencing sources) and provide one practical example from your viewing of the soap opera that you chose (1 mark per example). (10) 6 CONCLUSION (5) Here you will present a summary of the contents of your portfolio exam as a conclusion. The conclusion should mirror your introduction and you should never include new information or theory in your conclusion. Once again, you will refer to all the themes discussed in the portfolio and refer back to media examples that you might have used for analysis, etc. The conclusion should ideally consist of a paragraph of approximately eight sentences and not more than half a page. 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) See page 12 for guidelines. TECHNICAL PRESENTATION (6) See page 12 for guidelines. TOTAL [160] 52 9 MARK SCHEMES FOR ASSIGNMENTS AND PORTFOLIO EXAMS COM3703: MARK SCHEME FOR ASSIGNMENT 01 SEMESTER 01, 2017 TOTAL 1 INTRODUCTION (5) /5 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH 2.1 Define questionnaire survey research. (2) 25% deducted for not referencing sources 2.2 Describe two research topics suitable to questionnaire survey. (2) 25% deducted for not referencing sources 2.3.1 Which type of questionnaire survey is applicable to the scenario?  Name and define chosen survey type. (2) 25% deducted for not referencing sources  Justify suitability. (1) 2.4.1 Explain the difference between target and accessible population.(2) 25% deducted for not referencing sources 2.4.2 Identify the target population and accessible population in scenario provided. (2) 2.4.2 Discuss the difference between probability and non-probability sampling. (2) 25% deducted for not referencing sources 2.4.2 Select a type of probability sampling techniques suitable to the scenario. (3)  Name and define chosen sampling technique. (2) 25% deducted for not referencing sources  Justify suitability. (1) 2.5.1 Discuss the difference between open- and closed-ended questions. (2) 25% deducted for not referencing sources 2.5.2 Formulate one open-ended question related to scenario. (1) Formulate one closed-ended question related to scenario. (1) 2.6 Discuss the concepts of validity and reliability. (2) 25% deducted for not referencing sources /20 3 COMMUNICATION AND MEDIA SEMIOTICS 3.1 Define the field of semiotics and how it relates to communication. (2) 25% deducted for not referencing sources 3.2 Name and discuss three characteristics of a sign. (6) 25% deducted for not referencing sources 3.3.1 Name and discuss four different kinds of signs. (8) 25% deducted for not referencing sources 3.3.2 An example of each kind of sign from media text. (4) No marks awarded for 3.3.2 if example is not physically attached to assignment. /20 COM3703/101/3/2017 53 4 NARRATIVE ANALYSIS (20) 4.1 Choose a soap opera. 4.1.1 Name of soap opera. (½) 4.1.2 Main characters featured in episode. (½) 4.1.3 Plot of episode. (1) 4.2.1 Name and define the four phases of narrative progression. (4) 25% deducted for not referencing sources 4.2.2 Identify the four narrative phases in chosen example. (2) 4.3.1 Define each of the four categories of Propp’s dramatis personae. 25% deducted for not referencing sources 4.3.2 Complete the table provided by  identifying the above four dramatis personae categories in a film of your choice (4 x ½ marks)  explaining the sphere of reference of each of the four characters in the chosen film (4 x ½ marks) 4.4.1 Discuss the role of binary oppositions. (2) 25% deducted for not referencing sources 4.4.2 Provide two examples of binary oppositions. (2) /20 5 MEDIA LANGUAGE AND DISCOURSE (20) 5.1 Define language. (2) 25% deducted for not referencing sources 5.2 Explain discursive practice. (4) 25% deducted for not referencing sources 5.3 Name and discuss Jakobson’s six functions of language. (9) 25% deducted for not referencing sources 5.4.1 Is the article presented in inverted pyramid format? Why? (2) 5.4.2 Provide three examples of Jakobson’s functions of language. (3) /20 6 CONCLUSION (5) /5 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) /5 TECHNICAL PRESENTATION (5) /5 TOTAL (100) /100 54 SELF-ASSESSMENT AND SELF-REFLECTION (5) You were required to complete the self-assessment and self-reflection questions which were provided to you in Tutorial Letter COM3703/101. The questions which you were required to answer for this section are as follows: 1 What have you learnt (what knowledge have you gained) by doing the assignment/portfolio task? 2 What skills, abilities and orientations (attitudes and values) have you accomplished? 3 Which strengths could you apply in your future life and work environment? 4 Which shortcomings do you need to address in future? 5 To what extent have you achieved the learning outcomes formulated for each study unit? (List the learning outcomes which you have achieved for the selected assignment/portfolio examination. No marks are awarded if these are not listed.) TOTAL /5 TECHNICAL PRESENTATION (5) The criteria applicable to the evaluation of your performance are as follows:  The assignment/portfolio examination contains a personal declaration of own work.  The table of contents corresponds with the numbering, headings and subheadings in the theme. The correct numbering system is used (as in the study guide) — not the alphabet, nor I, II, III, IV, nor (i), (ii), (iii).  All sources consulted are cited in the list of sources consulted, including newspapers, magazines, policy documents, tutorial letters, study guide(s), prescribed book(s) and people consulted.  The correct referencing techniques are used in the assignment/portfolio examination and in the list of sources consulted and the sources are not numbered in the list.  Any other aspects related to the presentation of the assignment/portfolio examination will be assessed (e.g. appropriate research terminology is used and presentation does not contain language, spelling or typing errors, or personal types of address). COM3703/101/3/2017 55 COM3703: MARK SCHEME FOR PORTFOLIO EXAMINATION (ASSIGNMENT 03) SEMESTER 01, 2017 TOTAL 1 INTRODUCTION (5) /5 2 QUESTIONNAIRE SURVEYS IN MEDIA RESEARCH 2.1 Name two characteristics of survey research. (2) 25% deducted for not referencing sources 2.2 Name two reasons for suitability of questionnaire research to scenario.  Theoretical discussion. (2) 25% deducted for not referencing sources  Justification related to scenario. (2) 2.3.1 Explain the difference between target and accessible population. (2) 25% deducted for not referencing sources 2.3.2 Identify the target population and accessible population in scenario provided. (2) 2.3.3 Select a suitable sampling method.  Identify and define chosen sampling method. (2) 25% deducted for not referencing sources  Explain justification. (2) 2.4 Choose a suitable questionnaire survey technique.  Identify and define chosen technique. (2) 25% deducted for not referencing sources  Explain justification. (2) 2.5 Formulate questions:  Two open-ended questions. (2)  Two closed-ended questions (2) with correct reasonable response options (2). 2.6.1 Define sampling error. (1) 25% deducted for not referencing sources How will you avoid this? (1) 2.6.2 Define interviewer bias. (1) 25% deducted for not referencing sources How will you avoid this? (1) 2.6.3 Define nonresponse error. (1) 25% deducted for not referencing sources How will you avoid this? (1) 2.7 Define external validity. (1) 25% deducted for not referencing sources How will you improve this? (1) /35 56 3 COMMUNICATION AND MEDIA SEMIOTICS 3.1 Choose a television programme: 3.1.1 Title of series (1) 3.1.2 Title of episode (1) 3.1.3 Main characters (1) 3.1.4 Basic plotline (1) 3.2.1 Name and discuss Jakobson’s six sign functions. (18) 25% deducted for not referencing sources 3.2.2 Provide an example of each of the six functions from chosen episode. (6) 3.3 Provide an example of four different kinds of signs in chosen episode. (4) 3.4.1 Explain codes of behaviour. (2) 25% deducted for not referencing sources 3.4.2 Provide an example of code of behaviour from chosen episode. (1) /35 4 NARRATIVE ANALYSIS (35) 4.1 Discuss the three main assumptions regarding messages in the media. (6) 25% deducted for not referencing sources 4.2 Write an essay that includes:  name of chosen television programme (1), main characters in episode (1) and brief description of the storyline of the episode (1) (3)  a discussion of the three elements that make up the chain of a narrative (3) 25% deducted for not referencing sources  an analysis of the chosen episode based on the above three elements (3)  a discussion of the four phases that form part of narrative progression (4) 25% deducted for not referencing sources  an analysis of the chosen episode based on the above four phases  (4)  a discussion of any four codes that work towards meaning production in a narrative (8) 25% deducted for not referencing sources  an example of the four codes discussed in chosen episode (4) /35 5 MEDIA AUDIENCE THEORY (35) 5.1 Significant words, concepts and jargon  Theoretical discussion (2½) 25% deducted for not referencing sources  Examples from article (2½) 5.2 Grammatical structures  Theoretical discussion (2½) 25% deducted for not referencing sources  Examples from article (2½) 5.3 Metaphors  Theoretical discussion (2½) 25% deducted for not referencing sources  Examples from article (2½) 5.4 Discursive practice  Theoretical discussion (2½) 25% deducted for not referencing sources  Examples from article (2½) /35 COM3703/101/3/2017 57 5.5 Rhetorical device  Theoretical discussion (2½) 25% deducted for not referencing sources  Examples from article (2½) 5.6 Three functions of language  Theoretical discussion (3) 25% deducted for not referencing sources  Examples from article (3) 5.7 Ideology  Theoretical discussion (2) 25% deducted for not referencing sources  Examples from article (2) 6 CONCLUSION (5) /5 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) /5 TECHNICAL PRESENTATION (5) /5 TOTAL (160) /160 58 SELF-ASSESSMENT AND SELF-REFLECTION (5) You were required to complete the self-assessment and self-reflection questions which were provided to you in Tutorial Letter COM3703/101. The questions which you were required to answer for this section are as follows: 1 What have you learnt (what knowledge have you gained) by doing the assignment/portfolio task? 2 What skills, abilities and orientations (attitudes and values) have you accomplished? 3 Which strengths could you apply in your future life and work environment? 4 Which shortcomings do you need to address in future? 5 To what extent have you achieved the learning outcomes formulated for each study unit? (List the learning outcomes which you have achieved for the selected assignment/portfolio examination. No marks are awarded if these are not listed.) TOTAL (5) /5 TECHNICAL PRESENTATION (5) The criteria applicable to the evaluation of your performance are as follows:  The assignment/portfolio examination contains a personal declaration of own work.  The table of contents corresponds with the numbering, headings and subheadings in the theme. The correct numbering system is used (as in the study guide) — not the alphabet, nor I, II, III, IV, nor (i), (ii), (iii).  All sources consulted are cited in the list of sources consulted, including newspapers, magazines, policy documents, tutorial letters, study guide(s), prescribed book(s) and people consulted.  The correct referencing techniques are used in the assignment/portfolio examination and in the list of sources consulted and the sources are not numbered in the list.  Any other aspects related to the presentation of the assignment/portfolio examination will be assessed (e.g. appropriate research terminology is used and presentation does not contain language, spelling or typing errors, or personal types of address). COM3703/101/3/2017 59 COM3703: MARK SCHEME FOR ASSIGNMENT 01 SEMESTER 02, 2017 TOTAL 1 INTRODUCTION (5) /5 2 QUANTITATIVE CONTENT ANALYSIS (20) 2.1 Explain the difference between quantitative and qualitative content analysis. (2) 25% deducted for not referencing sources 2.2 Explain suitability of quantitative content analysis to scenario. (1) 2.3.1 Discuss Wigston’s three criteria for formulating a research problem. (3) 25% deducted for not referencing sources 2.3.2 Formulate a research problem that meets the three criteria:  criteria 1 (1)  criteria 2 (1)  criteria 3 (1) 2.4.1 Explain the necessity of research questions/hypotheses. (1) 25% deducted for not referencing sources 2.5.2 Formulate one research question/hypothesis relevant to scenario. (1) 2.5.1 Explain the function of units of analysis. (2) 25% deducted for not referencing sources 2.5.2 Provide two units of analysis and explain how each one will be used (½ mark for each correct unit of analysis and ½ mark for the correct explanation of each one’s use). (2) 2.6.1 Describe three criteria that categories must comply with. (3) 25% deducted for not referencing sources 2.6.2 Select two categories to allocate to the units of analysis. (2) 2.7 Define one method to present findings. (1) 25 % deducted for not referencing sources Why is this method suitable to provided scenario? (1) /20 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (20) 3.1 In a paragraph:  identify six similarities between dreaming and watching a film (6) 25% deducted for not referencing sources  identify two differences between dreaming and watching a film (2) 3.2.1 Explain the four processes referred to by Freud as “dream work”. (4) 25% deducted for not referencing sources 3.2.2 Select any two of the above processes and provide an example of each of their functions from chosen television programme or film. (4) 3.3 Explain the four elements that make up the concept of television apparatus. (4) 25% deducted for not referencing sources /20 60 4 TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT (20) 4.1 Critically discuss discourse. (5) 25% deducted for not referencing sources 4.2 Critically discuss ideology. (5) 25% deducted for not referencing sources 4.3 Critically discuss rhetoric in terms of media texts. (5) 25% deducted for not referencing sources 4.4 Provide two examples of rhetoric from a printed text. (5) No marks awarded for 4.4 if printed text is not attached to assignment. /20 5 MEDIA AUDIENCE THEORY (20) In an essay discuss the following:  theoretical assumption of uses and gratification theory (3) 25% deducted for not referencing sources  three categories of need (6) 25% deducted for not referencing sources  three assumptions of reception theory (6) 25% deducted for not referencing sources  two archetypical characters found in soap operas (2) 25% deducted for not referencing sources  two examples from chosen soap opera o name of soap opera (1) o two characters (2) /20 6 CONCLUSION (5) /5 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) /5 TECHNICAL PRESENTATION (5) /5 TOTAL (100) /100 SELF-ASSESSMENT AND SELF-REFLECTION (5) You were required to complete the self-assessment and self-reflection questions which were provided to you in Tutorial Letter COM3703/101. The questions which you were required to answer for this section are as follows: 1 What have you learnt (what knowledge have you gained) by doing the assignment/portfolio task? 2 What skills, abilities and orientations (attitudes and values) have you accomplished? 3 Which strengths could you apply in your future life and work environment? 4 Which shortcomings do you need to address in future? 5 To what extent have you achieved the learning outcomes formulated for each study unit? (List the learning outcomes which you have achieved for the selected assignment/portfolio examination. No marks are awarded if these are not listed.) TOTAL (5 marks) /5 COM3703/101/3/2017 61 TECHNICAL PRESENTATION (5) The criteria applicable to the evaluation of your performance are as follows:  The assignment/portfolio examination contains a personal declaration of own work.  The table of contents corresponds with the numbering, headings and subheadings in the theme. The correct numbering system is used (as in the study guide) — not the alphabet, nor I, II, III, IV, nor (i), (ii), (iii).  All sources consulted are cited in the list of sources consulted, including newspapers, magazines, policy documents, tutorial letters, study guide(s), prescribed book(s) and people consulted.  The correct referencing techniques are used in the assignment/portfolio examination and in the list of sources consulted and the sources are not numbered in the list.  Any other aspects related to the presentation of the assignment/portfolio examination will be assessed (e.g. appropriate research terminology is used and presentation does not contain language, spelling or typing errors, or personal types of address). 62 COM3703: MARK SCHEME FOR PORTFOLIO EXAMINATION (ASSIGNMENT 03) SEMESTER 02, 2017 TOTAL 1 INTRODUCTION (5) /5 2 QUANTITATIVE CONENT ANALYSIS 2.1 Define quantitative content analysis. (2) 25% deducted for not referencing sources Explain why quantitative content analysis is suitable to scenario. (1) 2.2 Formulate a research problem that meets the following three criteria:  single, grammatically correct sentence (1)  indication that interpretation of data will take place (1)  problem says exactly what is meant (1) 2.3 Formulate two research questions/hypotheses relevant to the research problem. (2) 2.4 Select two units of analysis and give reasons for your choice (1 mark for each correct unit of analysis and 1 mark for the correct reasons for the selection of each). (4) 2.5 Formulate two meaningful categories to allocate to the units of analysis. (2) 2.6.1 Explain the difference between manifest coding and latent coding. (2) 25% deducted for not referencing sources 2.6.2 Choose between manifest or latent coding for scenario and justify your choice. (2) 2.6.3 Code the newspapers using a coding/counting sheet. (2) 2.7 Present results drawn from coding in a table/chart/graph. (7)  title of table/graph/chart (1)  general presentation of table/graph/chart (1)  Y-axis (1 mark for label of axis, 1 mark for unit of measurement) OR pie chart categories (2)  X-axis (1 mark for label of axis, 1 mark for unit of measurement) OR presentation of pie chart categories (clearly definable, sizes correlate to allocated percentages) (2)  totals calculated correctly (1) 2.8 Analyse your findings: 2.8.1 brief narrative description of findings (2) 2.8.2 answering of research questions/hypotheses (4) 2.8.3 brief narrative description of how research problem was answered (2) /35 3 PSYCHOANALYSIS AND TELEVISION (AND FILM) (35) 3.1.1 Title of FailArmy clip (½) and URL (½). (1) 3.1.2 Explain concept of defined narrative storyline (25% deducted for not referencing sources) (1) Does the clip have a storyline (½)? Explain the answer. (½) 3.1.3 Identify the correct description of the clip. (1) 3.2.1 Title of series (1) 3.2.2 Title of episode (1) 3.2.3 Main characters in episode (1) 3.2.4 Basic plotline of episode (1) 3.3.1 Provide two reasons why provided statement is correct. (2) 3.3.2 Give an explanation of “dream state” and how it affects viewing. (3) 25% deducted for not referencing sources /35 COM3703/101/3/2017 63 3.3.3 Provide definitions of the following four concepts in terms of the psychoanalytic perspective and an explanation of their role in television viewing:  Pleasure (1½)  Catharsis (1½)  Voyeurism (1½)  Fantasy (1½) 25% deducted for not referencing sources 3.3.4 Provide examples of the following four concepts from the chosen media:  Pleasure (1)  Catharsis (1)  Voyeurism (1)  Fantasy (1) 3.3.5 Provide definitions of the following four concepts in terms of the psychoanalytic perspective:  Regression (1)  Disavowal (1)  Mirror identification (1)  Modes of enunciation (1) 25% deducted for not referencing sources 3.3.6 Explain how the following four concepts influence the interaction that occurs between the viewer and television programme:  Regression (1)  Disavowal (1)  Mirror identification (1)  Modes of enunciation (1) 25% deducted for not referencing sources 3.3.7 Provide examples of the following four concepts from the chosen media:  Regression (1)  Disavowal (1)  Mirror identification (1)  Modes of enunciation (1) 4 TEXTUAL ANALYSIS: NARRATIVE AND ARGUMENT (35) 4.1 Explain what is meant by genre. (1) 25% deducted for not referencing sources What is the article’s genre? (1) 4.2 Discuss the three characteristics of argumentation. (3) 25% deducted for not referencing sources 4.3.1 Name and define the three kinds of rhetorical practice. (9) 25% deducted for not referencing sources 4.3.2 Provide two examples of each rhetorical practice from the article. (6) 4.4.1 Name and define the three modes of persuasion. (9) 25% deducted for not referencing sources 4.4.2 Provide two examples of each mode of persuasion from article. (6) /35 64 5 MEDIA AUDIENCE THEORY (35) 5.1 Discuss and explain the structural model for analysis of the soap opera genre. (10) 25% deducted for not referencing sources 5.2.1 Discuss any five assumptions of reception theory. (10) 25% deducted for not referencing sources Provide an example of each chosen assumption from soap opera. (5) 5.2.2 Discuss the four categories that the social dimension of television viewing can be divided into. (6) 25% deducted for not referencing sources Provide one practical example from your viewing experience. (4) /35 6 CONCLUSION (5) /5 7 SELF-ASSESSMENT AND SELF-REFLECTION (5) /5 TECHNICAL PRESENTATION (5) /5 TOTAL (160) /160 SELF-ASSESSMENT AND SELF-REFLECTION (5) You were required to complete the self-assessment and self-reflection questions which were provided to you in Tutorial Letter COM3703/101. The questions which you were required to answer for this section are as follows: 1 What have you learnt (what knowledge have you gained) by doing the assignment/portfolio task? 2 What skills, abilities and orientations (attitudes and values) have you accomplished? 3 Which strengths could you apply in your future life and work environment? 4 Which shortcomings do you need to address in future? 5 To what extent have you achieved the learning outcomes formulated for each study unit? (List the learning outcomes which you have achieved for the selected assignment/portfolio examination. No marks are awarded if these are not listed.) TOTAL (5 marks) /5 COM3703/101/3/2017 65 TECHNICAL PRESENTATION (5) The criteria applicable to the evaluation of your performance are as follows:  The assignment/portfolio examination contains a personal declaration of own work.  The table of contents corresponds with the numbering, headings and subheadings in the theme. The correct numbering system is used (as in the study guide) — not the alphabet, nor I, II, III, IV, nor (i), (ii), (iii).  All sources consulted are cited in the list of sources consulted, including newspapers, magazines, policy documents, tutorial letters, study guide(s), prescribed book(s) and people consulted.  The correct references techniques are used in the assignment/portfolio examination and in the list of sources consulted and the sources are not numbered in the list.  Any other aspects related to the presentation of the assignment/portfolio examination will be assessed (e.g. appropriate research terminology is used and presentation does not contain language, spelling or typing errors, or personal types of address). 8.6 Other assessment methods Not applicable to his module. 8.7 The examination There is no venue-based written examination for COM3703. The examination assessment for this module is in the form of a written portfolio. 9 FREQUENTLY ASKED QUESTIONS The brochure my Studies @ Unisa contains an A-Z guide of the most relevant study information. 10 SOURCES CONSULTED Bornman, E. 2009. Measuring media audiences, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:515-579. Bornman, E. 2009. Measuring media audiences, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:262-287. Bornman, E. 2009. Questionnaire surveys in media research, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:421-483. Bornman, E. 2009d. Questionnaire surveys in media research, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:230-249. Du Plooy, GM. 2009. Media and visual literacy, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:116-146. 66 Du Plooy, GM. 2009. Media and visual literacy, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:91-109. Du Plooy, GM. 2009. Visual text analysis, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:147-203. Du Plooy, GM. 2009. Visual text analysis, in Only study guide COM303A for COM3703. Media studies: content, audiences and production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:110-144. Fourie, PJ. 2009. Communication and media semiotics, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:39-82. Fourie, PJ. 2009. Film theory and criticism, in Media studies: Media content and media audiences, edited by PJ Fourie. Cape Town: Juta:312-386. Fourie, PJ (ed). 2009. Media studies: media content and media audiences. Cape Town: Juta. Fourie, PJ & Koenig-Visagie, L. 2009. Communication and media semiotics, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:45-77. Fourie, PJ & Marx, H. 2009. Film theory and criticism, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:199-217. Pillay, N. 2009. Field research in media studies, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:250-261. Pitout, M. 2009. Field research in media studies, in Media studies. Media content and media audiences, edited by PJ Fourie. Cape Town: Juta:484-514. Pitout, M. 2009. Media audience theory, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:389-420. Prinsloo, J. 2009. Textual analysis: narrative and argument, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:204-251. Reid, J. 2009. Media audience theory, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:218-229. Reid, J. 2009. Textual analysis: narrative and argument, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:145-155. Reid, J & Van Heerden, M (eds). 2009. Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production. Pretoria: University of South Africa. COM3703/101/3/2017 67 Sonderling, S. 2009. Media, language and discourse, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:83-115. Sonderling, S. 2009. Media, language and discourse, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:78-90. Sonderling, S. 2009. Psychoanalysis and television, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:580-599. Sonderling, S. 2009. Psychoanalysis and television, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:288-295. Wigston, D. 2009. Narrative analysis, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:254-311. Wigston, D. 2009. Narrative analysis, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:156-198. Wigston, D. 2009. Quantitative content analysis, in Media studies: media content and media audiences, edited by PJ Fourie. Cape Town: Juta:3-38. Wigston, D. 2009. Quantitative content analysis, in Only study guide COM303A for COM3703. Media Studies: Content, Audiences and Production, edited by J Reid & M van Heerden. Pretoria: University of South Africa:1-44. 11 CONCLUSION We wish you all the best with your studies. THE COM3703 TEAM