Film, Radio and Video Games | OCR A-Level Media Studies (H409)
Film, Radio and Video Games
- 209 questions
- 15 subtopics
- Component 02: Evolving media
- Component 02
Film, Radio and Video Games is examined in Component 02, Evolving media.
It covers disney from Snow White to global conglomerate, vertical integration and the structure of the film industry, financing, risk and the franchise model in film, technological change in film production and exhibition, distribution, release windows and home entertainment, marketing a global blockbuster, film certification and regulation, public service broadcasting and the Radio 1 Breakfast Show, funding, ownership and competition in the radio industry, radio technology, platforms and convergent distribution, reaching and constructing the Radio 1 Breakfast Show audience, nintendo, ownership and the global games industry, producing and distributing Animal Crossing: New Horizons, the Animal Crossing audience: targeting, play and participation and regulation and the social context of video games.
Sample questions from Film, Radio and Video Games
Answer each one closed book first, then open the answer.
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Disney from Snow White to global conglomerate
How did buying Marvel Entertainment strengthen Disney's position in the film industry?
Show the answer
It gave Disney outright ownership of a library of characters that could be turned into a linked series of films, together with all the merchandising and licensing rights attached to them. -
Vertical integration and the structure of the film industry
Why do independent films often struggle to reach a wide cinema audience?
Show the answer
They cannot match the marketing spend that fills auditoriums, and the majors' releases occupy most available screens during the weeks that matter. -
Technological change in film production and exhibition
How have digital effects changed where a film can be shot?
Show the answer
Environments can be built in a computer or projected on a studio stage, so a production can create locations it could never afford or physically reach. -
Distribution, release windows and home entertainment
Why does the opening weekend matter so much to a modern blockbuster?
Show the answer
Cinemas reallocate screens quickly according to performance, so a weak opening loses those screens within days and the marketing spend cannot be recovered. -
Film certification and regulation
Which law made classification of films released on video legally compulsory in the UK?
Show the answer
The Video Recordings Act 1984. -
Public service broadcasting and the Radio 1 Breakfast Show
Why is the breakfast slot the most important part of a radio schedule?
Show the answer
It draws the largest audience of the day as people get ready and travel, so it defines the station's identity and carries listeners into later programmes. -
Radio technology, platforms and convergent distribution
Why does the BBC film its radio shows for online video?
Show the answer
Younger audiences find content through video platforms, so filming the studio turns radio into something shareable that reaches people who never tune in. -
Reaching and constructing the Radio 1 Breakfast Show audience
Why might a young listener choose a live show over a personalised playlist?
Show the answer
The show supplies company, humour and a sense of a shared moment that listening alone to chosen tracks cannot.
The 15 subtopics
One subtopic is one session. Work down the list.
| Subtopic | What it covers | Questions |
|---|---|---|
| Disney from Snow White to global conglomerate | Recall questions on Snow White and the Seven Dwarfs as Disney's first feature and gamble, its financing and National Film Registry status, Disney's purchases of Pixar, Marvel and Lucasfilm, conglomerates, diversification and synergy, franchises, streaming, and concentration of ownership. | 15 |
| Vertical integration and the structure of the film industry | Recall questions on vertical and horizontal integration, RKO's distribution of Snow White and Disney's creation of Buena Vista, the 1930s studio system, block booking and the 1948 Paramount ruling, owning a streaming platform, independent film, and specialised, institutionalised, high-risk production. | 14 |
| Financing, risk and the franchise model in film | Recall questions on film slates and tentpoles, shared universes and franchise stars, above-the-line and below-the-line costs, blockbuster marketing spend, co-productions and tax reliefs, why Shang-Chi and the Legend of the Ten Rings was shot in Australia, break-even, box office shares and greenlighting. | 14 |
| Technological change in film production and exhibition | Recall questions on the multiplane camera, rotoscoping, colour and sound in early Disney, computer-generated imagery and performance capture, digital projection, cheaper equipment, streaming finance, anti-piracy technology, convergence and home viewing, and remastering an old film. | 13 |
| Distribution, release windows and home entertainment | Recall questions on film distribution and release windows, the 45-day cinema run of Shang-Chi and the Legend of the Ten Rings and the row it caused, day-and-date release, the Disney Vault, home video, wide releases and opening weekends, and the film's absence from China. | 14 |
| Marketing a global blockbuster | Recall questions on film marketing campaigns, teaser trailers, conglomerate cross-promotion and merchandising, fan communities, how Shang-Chi and the Legend of the Ten Rings was marketed to neglected audiences, four-quadrant films, targeted advertising, certificates and audience-made promotion. | 13 |
| Film certification and regulation | Recall questions on the BBFC and its funding, local authority powers, the 12A certificate, the Video Recordings Act 1984, cutting for a lower rating, the American production code, regulating a global release, and the challenges streaming and digital technology pose to classification. | 14 |
| Public service broadcasting and the Radio 1 Breakfast Show | Recall questions on the BBC's three duties, the age group Radio 1 must serve, the requirement of distinctiveness, and the news strand supplying its bulletins. | 14 |
| Funding, ownership and competition in the radio industry | Recall questions on licence-fee funding of Radio 1 and its effect on content, commercial and not-for-profit radio, Global and Bauer Media, consolidation in commercial radio, RAJAR listening figures, Ofcom and the Royal Charter, arguments about the licence fee, and economic pressure on schedules. | 15 |
| Radio technology, platforms and convergent distribution | Recall questions on FM, DAB and BBC Sounds, on-demand listening, filmed radio, convergence, social media on air, podcasting and music streaming as competition, digital switchover and its obstacles, cheaper audio production, and listening data. | 14 |
| Reaching and constructing the Radio 1 Breakfast Show audience | Recall questions on the Radio 1 Breakfast Show's target audience, mode of address and parasocial interaction, participation features and regular slots, specialised audiences, listeners as producers, live shows against playlists, celebrity guests, and the cultural role of a youth station. | 14 |
| Nintendo, ownership and the global games industry | Recall questions on Nintendo's Kyoto base and origins as a playing card maker, first-party games and its internal studio, vertical integration and console exclusives, Sony and Microsoft, franchises, studio takeovers and regulators, indie developers, digital storefronts and the scale of the games industry. | 14 |
| Producing and distributing Animal Crossing: New Horizons | Recall questions on Animal Crossing: New Horizons on the Nintendo Switch, physical and digital sales, free updates and downloadable content, its monetisation, online subscriptions, scannable merchandise, Nintendo's direct presentations, streaming as marketing, localisation and its March 2020 release. | 14 |
| The Animal Crossing audience: targeting, play and participation | Recall questions on the PEGI 3 audience of Animal Crossing: New Horizons, a game players cannot lose, its pleasures and real-time play, social interaction and player-made content, casual audiences, how its players contradict gaming stereotypes, outside organisations, ownership and its role as a lockdown social space. | 14 |
| Regulation and the social context of video games | Recall questions on PEGI labels and their legal force, why games are harder to rate than films, loot boxes and in-game purchases, arguments for and against tighter regulation, the lockdown context of Animal Crossing: New Horizons, its ban on political campaigning, and online safety for children. | 13 |
How the guide is worked
Answering a question from memory stores it far better than reading the answer again. The guide runs that as a fixed procedure on one subtopic at a time, about twenty minutes a session.
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Step 1 · Closed book
Cover the answers. Work through one subtopic and write down what you can. Leave blanks where you have nothing.
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Step 2 · Open book
Go back to the top. Read each printed answer and write it out in full, including the ones you had right.
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Step 3 · Closed book again
Same questions, same order, from memory. The gap between pass one and pass three is the session result.
Read the full method, the return schedule and the research behind it.
Nearby topics
OCR A-Level Media Studies Active Recall Guide
Every topic, not just this one. 1,986 questions with their answers.