critical investigation

Bianas critical investigation 



A fluent and analytical investigation which explores the chosen topic from a clear, autonomous 
and critical perspective, making use of extensive and wide-ranging research which has clearly 
been employed in the investigation and detailed in the bibliography, making use of a wide range 
of academic, media and contextual sources. The investigation demonstrates sophisticated 
research and engagement with the primary text(s) and a range of secondary texts. It is well 
presented with a very detailed bibliography/source list (AO4).
The investigation demonstrates sophisticated knowledge and understanding of media 
concepts, contexts and critical debates relevant to the chosen area of investigation. The work 
contextualises the study and the linked production piece effectively within the contemporary 
media landscape (AO1).
At the top of this level candidates demonstrate very good understanding of the chosen area 
of investigation, very good, independent research skills and very good application of media 
concepts, contexts and critical debates. The link between the investigation and the production 
is cogent, clear and evident.



Reality shows aim to reflect reality by using real people in real situations, however Supernanny and Wife Swap have a more constructed nature to them. Cinema verité was a movement that inspired filmmakers to explore realism in film; no use of narrative and little ideology was imposed in the text. This is seen in Titicut Follies (Frederick Wiseman, 1967), a documentary about “the horrid conditions at a Massachusetts asylum” showing the “raw, hellish reality of living” there. The cinema verité style is also seen in Police (Roger Graef, UK, 1982), a popular “fly-on-the-wall documentary” . These documentaries showed real people in real situations, and this concept of “reality” is what programmes like Supernanny and Wife Swap aim to achieve. For example, Supernanny’s voice over provides specific information about the family, representing them as real people with real situations. We are given their names, “the Collins family”, we see them in their house and back garden. However, some may argue this is hyper-reality, "the simulation of something which never really existed" , and that audiences are unable to distinguish reality and constructed reality.


- use of theorys and name of theorist given
- specific case study


"Reality TV couldn't be the success story it is if it didn’t appeal to lots of different kinds of audiences” . Wife Swap is targeted at 16-45 year olds with a wider audience of 14-60 year olds. Interestingly, the documentary has the capability to appeal to all of Young and Rubican’s 4Cs as the documentary represents these people through their lifestyle and values, which audiences can identify and support. For example the Ahmed’s are a Resigned family as they stick to historical and cultural traditions as the father says “it is Islamic tradition when we touch food to wash hands”, while the Escotts are Reformers, independent with their individual values as “the one thing they are united on is drama student Beck’s sexuality”. Not only does it appeal to a wide range of 4Cs but a wide range of ethnicities as they want to see how they are represented in the documentary showing its wide appeal.
- Good knowledge of topic and who it apply to
- links back to critical investigation