Free AQA GCSE Media Studies (8572) Exam Questions and Answers
AQA GCSE Media Studies (8572) is AQA's GCSE Media Studies qualification, specification 8572, taken in England. The questions here come from AQA's published question papers from November 2020 to June 2025, plus its specimen papers, with answers and marking guidance taken from AQA's own mark schemes. Written-answer questions let you work out your answer and then reveal what the mark scheme accepts; diagrams, graphs and source material appear with the questions that use them.
If you searched for AQA GCSE Media Studies (8572) dumps, an ExamTopics discussion or a free PDF, this is the question bank for it: practice questions with verified answers and explanations, a timed practice test and updates whenever AQA changes the exam.
Last updated: October 14, 2026
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Question #1
The main image in Figure 1 is an example of what type of camera shot? Shade one circle only.
Correct answer: B
Explanation
One mark for B only.
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Question #2
Analyse the representation of masculinity on the front cover of FourFourTwo magazine (Figure 1).
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Correct answer: Level-marked response analysing how masculinity is represented using media language and representation: design/layout (unfussy, few short direct cover lines; Van Dijk dominates frame as aspirational masculine figure: tall, muscular, tattooed); typography (mostly upper case, same bold font incl. masthead = assertive, masculine); verbal/non-verbal codes (sell line 'I just love being hated' = men less emotional, don't care what others think; conflict language 'destroy'; crossed-arm pose showing tattoos and strength; head tilted, downward gaze = power, pride, dominance, confidence, hero figure; contrasted by Herrera covering his mouth, showing control/listening, less masculine); colour (red = masculinity/danger/power, yellow/white draw attention to red; yellow a less typically male colour; primary colours unfussy and direct); photographic codes (low angle, looking down at audience = strength and power; lit from above drawing attention to torso/arm; medium shot showing bulging bicep = 'muscle men' stereotype). Other valid readings credited.
Explanation
12 marks, AO2 1a. Level 4 (10–12): excellent, detailed analysis critically engaging with nuanced aspects of representation; thorough, effective discussion of masculinity; consistently appropriate subject terminology. Level 3 (7–9): good, clear analysis beginning to engage with nuance; mostly effective discussion of masculinity, lacking clarity in places; mostly appropriate terminology. Level 2 (4–6): some satisfactory analysis of obvious aspects; inconsistent discussion of masculinity; occasional terminology. Level 1 (1–3): basic, descriptive; discussion of masculinity largely absent; little terminology. 0: nothing creditworthy. Depth and breadth are rewarded equally. Answers not covering several components (language, typography, colour as well as the Van Dijk image) are unlikely to get above mid-Level 3. Answers not referring to masculinity should not normally exceed low Level 2, though examiners may use discretion if understanding of representation is particularly good. The indicative content is not exhaustive; any valid references are credited.
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Question #3
State two conventions of television advertising. Convention 1 Convention 2
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Correct answer: Any two different conventions, e.g. name of product; celebrity/celebrity endorsement; product as solution to a problem; voice over; slogan; persuasive narrative; music supporting the advertising message; direct mode of address; pack shot.
Explanation
One mark for each valid convention, up to 2. Accept any other valid response. No marks for vague answers such as 'the Galaxy advert', 'it sells something' or 'words'. Only 1 mark if the two conventions are very similar or one is merely an example of the other.
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Question #4
Analyse the Galaxy advertisement (Close Study Product) to show how the main female character is represented.
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Correct answer: The female character is represented as supremely confident, independent and self-reliant (travelling alone). A 'damsel in distress' scenario is suggested (driver 'saving' her from the bus stuck in traffic in his classic convertible), but this is subverted: she takes the cap from the bus driver, sits in the back seat rather than next to the driver, so power shifts and the man becomes her 'servant' chauffeur. She is relaxed and in control, enjoying her chocolate. As well as glamour, beauty and elegance, she is powerful, in control and the heroine of the scene.
Explanation
Credit analysis of how the representation is constructed, with reference to the Galaxy advert and the points above.
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Question #5
Explain how advertisements use cultural contexts to appeal to audiences. Answer with reference to the Galaxy advertisement (Close Study Product).
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Correct answer: Indicative content: advertisers use cultural contexts and nostalgia ('the way we were') to suggest shared values and beliefs and build emotional connections. Galaxy examples: Audrey Hepburn (1950s/60s Hollywood icon) represents heritage, class and elegance, fitting 'silk, not cotton' branding and creating positive brand association; CGI Hepburn from Roman Holiday (1953) is intertextual, creating nostalgia, and the idyllic Italian coast taps into beliefs about a simpler, less stressful time; narrative, mise-en-scène and dialogue allude to old-fashioned values (authenticity, politeness, innocence, simplicity); sunny cloudless setting and vintage convertible evoke calm and happiness; soundtrack 'Moon River' (Breakfast at Tiffany's, 1961) is relaxing, linking to luxury and cultural values of self-care and treating yourself; old-fashioned market and bustling street evoke a bygone era and nostalgia; cutting-edge CGI conveys quality of the brand.
Explanation
Credit knowledge and understanding of how cultural contexts are used to appeal to audiences, with appropriate reference to the Galaxy advert and specialist terminology. Answers not referring to the Galaxy advert should not normally get above low Level 2 (discretion if the contextual understanding is particularly good). Level 1 (1–3 marks): basic knowledge, little appropriate explanation, little reference to Galaxy, terminology absent or misused.
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Question #6
What is meant by the term ‘active audience’?
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Correct answer: An audience that engages with or participates in media products, or creates their own meanings in relation to media.
Explanation
1 mark for an answer such as: an audience that engages with media products; participates in media products, including a live audience; creates their own meanings in relation to media. Any other valid response is accepted. No mark for vague answers such as 'large audience' or 'an audience that is always on the go'.
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Question #7
Give one example of an active audience.
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Correct answer: For example: people who vote on reality TV shows.
Explanation
1 mark for an example showing audience engagement, such as: people who vote on reality TV shows; people who tweet along to shows; people who rate films on IMDB; people who talk to friends about a magazine article they read; people who listen to the radio and actively think about it. Any other valid response is accepted. No mark for answers that do not refer to engagement, e.g. just watching television, reading newspapers or listening to the radio. Vague, generalised or incomplete answers are not rewarded.
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Question #8
How can video games be made commercially successful by their producers? Answer with reference to Lara Croft Go (Close Study Product).
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Correct answer: Producers can maximise commercial success through: paid-for pricing (£5.99 app, £7.99 PlayStation); multi-platform release (mobile, PS4, Vita, Steam) and cloud support; in-app purchases giving hints as ongoing revenue; a PEGI 7 rating for a wide audience; building on the Tomb Raider franchise (58 million sales, films, merchandise) and Hitman Go as a ready-made audience with intertextual references; accessible turn-based puzzle gameplay; and favourable reviews and awards (Apple Design Award, 2015 iPhone game of the year, The Game Awards).
Explanation
Extended response (9 marks); the page gives indicative content only, with no level descriptors. Responses should show knowledge and understanding of the theoretical framework (media industries) and use Lara Croft Go as an example. Credit points such as: paid-for app and console pricing; multi-platform release and accessibility; optional in-app purchases as ongoing revenue; cloud support encouraging play and reviews; PEGI 7 rating widening the audience; the Hitman Go predecessor and Square Enix Montreal development; designing for the iPhone's smaller screen; Tomb Raider franchise ready-made audience and intertextual references; hybrid-genre turn-based puzzle gameplay with no tutorial and fewer puzzle elements; favourable reviews and awards. Any other valid response should be credited.
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Question #9
Explain how music videos give audiences a sense of identity. Answer with reference to the Arctic Monkeys’ I Bet You Look Good On The Dancefloor music video (Close Study Product).
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Correct answer: Music videos give a sense of identity by letting fans recognise or relate to the artists. In the Arctic Monkeys video the band wear ordinary teenage rock band clothes (plain t-shirts, jeans, trainers) that fans can copy. They look like achievable 'everyday lads' and role models. The garage rehearsal setting gives a 'behind the scenes' sense of exclusivity. Direct address (the drummer winking, mugging to camera) and the band's playfulness make them seem authentic and like their fans.
Explanation
Extended response (6 marks); the page gives indicative content only, with no level descriptors. Credit explanation of how music videos give audiences a sense of identity, supported by the Arctic Monkeys video. Points include: audiences recognise themselves in the group (standard teenage rock band clothes that fans can copy, a jam session like fans might do); artists as achievable role models (everyday lads, typical clothes, acne, eye contact and laughing); fans and artists interacting, with relaxed spectators; 'behind the scenes' feel from the garage and basic rehearsal space, which gives exclusivity and relates to amateur musicians and grungy venues; direct address through close-ups and breaking the fourth wall (drummer winking, band gurning), so the band seem real; and the stripped-back, playful style as a meta-commentary on the band-fan relationship, showing they don't take themselves too seriously. Any other valid response should be credited.
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Question #10
‘The use of music video as a marketing tool means that the image of the artist has become more important than the music.’ How far do you agree with this statement? Answer with reference to: • the influence of music video producers on the form and content of music videos • the cultural and historical context of music videos • One Direction’s History (Close Study Product).
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Correct answer: Open-ended judgement. For the statement: One Direction are a manufactured band, put together to be visually appealing, and the video shows personalities rather than musical ability. It is self-referential and works as a promotional tool for Syco, Simon Cowell and X Factor-type shows. Against: the visuals reinforce the lyrics ('a whole lot of history' with X Factor archive footage). The video is cheap compilation footage, so the music matters more. Many young people stream rather than watch videos, YouTube views can come from people listening while working, radio airplay and pluggers still matter, and the band are shown playing instruments. Answers should use the historical and cultural contexts (changing role of music video, technology and social media) and reach a supported conclusion.
Explanation
20 marks: 5 for understanding the theoretical framework, 5 for understanding contexts, 10 for judgements and conclusions. Level 4 (16–20): excellent understanding of the framework and contexts, with consistently effective discussion of whether the image is more important than the music; astute judgements well supported by relevant One Direction examples; consistent, effective subject terminology. Level 3 (11–15): good understanding, frequently effective discussion; good judgements frequently supported by examples; frequent appropriate terminology. Level 2 (6–10): satisfactory understanding, appropriate but not always convincing discussion; judgements sometimes supported by examples; occasional terminology. Level 1 (1–5): basic understanding, very little appropriate discussion; judgements generally unsupported; very little terminology. 0: nothing worthy of credit. Answers that discuss the framework and context but do not refer to the Close Study Product (One Direction's History) should not normally get above Level 2. Depth and breadth are rewarded equally. Answers need not be balanced; a clear one-sided argument can reach the top levels. Answers with no reference to either historical or cultural context are unlikely to reach Level 4. Higher levels need a sustained, coherent, logically structured line of reasoning. Points for the view that the music matters more than the artist's image: music videos generally reflect the content of the song, and without the song there would be no video. Record labels usually make less money from the video than from the song, so it is in their interest to keep the music influential. Many music videos are built around performance rather than visuals alone (e.g. Bohemian Rhapsody has a significant performance element), which puts the music ahead of the visuals. Some artists use single-shot videos that draw attention to the music (e.g. Scott Bradlee's Postmodern Jukebox), with links inviting viewers to buy or stream the song. The music is also packaged and manufactured. Judgements and conclusions: any approach is equally valid (agree, disagree, or the image and music are equally significant) as long as it is supported by evidence from the close study products and from the theoretical framework and contexts.
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