Friday 20 July 2012
Monday 16 July 2012
Useful terminology
Granite?? Terminology for you to remember
Once you begin your media course and have been introduced to some common terminology, exploration of media forms and given insight into the structure of your GCSE or A-level, you will begin to explore the key concepts in media. Any media text is made up of GRANITE. Confused?
Once you begin your media course and have been introduced to some common terminology, exploration of media forms and given insight into the structure of your GCSE or A-level, you will begin to explore the key concepts in media. Any media text is made up of GRANITE. Confused?
- Every media text belongs to a Genre or group (a horror film, dance track, teen magazine)
- Within that text, a person, place or object is being Represented in some way, shape or form.
- The Audience for that media text will make sense of it using their personal and shared experiences.
- The text also contains a Narrative, be it a photograph of war or some bad gangsta lyrics about pimping your uncle
- The text didn't evolve from bacteria, it was constructed by a media Institution for financial purposes and has elements of their Ideology embedded within the text.
- It was produced using some Technology, be it DTP (Desk Top Publishing software) or hardware
- The Evidence is the product itself which you can then reference against other Experiences you've had with similar Media. Evaluate the work you have produced to show your understanding and to make improvements.
- Got it?!
Preliminary exerciseContinuity task
Main task: the titles and opening of a new fiction film, to last a maximum of two minutes.
All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source
match on action
Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action
shot/reverse shot
Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left, in the other framing, right. Over-the-shoulder framings are common in shot/reverse-shot editing
http://classes.yale.edu/film-analysis/htmfiles/editing.htm
http://www.youtube.com/watch?v=HdyyuqmCW14
. Both preliminary and main tasks may be done individually or as a group. Maximum four members to a group. involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
Main task: the titles and opening of a new fiction film, to last a maximum of two minutes.
All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source
match on action
Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action
shot/reverse shot
Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left, in the other framing, right. Over-the-shoulder framings are common in shot/reverse-shot editing
http://classes.yale.edu/film-analysis/htmfiles/editing.htm
http://www.youtube.com/watch?v=HdyyuqmCW14
. Both preliminary and main tasks may be done individually or as a group. Maximum four members to a group. involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
Objectives/Superobjectives
http://www.youtube.com/watch?v=qa9dttNx1S8
Watch this expert 'gulling'.'All good drama is about someone getting
something from someone else.'
(Simon Stephens)How does this scene satisfy that definition?
How does the scene use the techniques we have studied?
http://www.youtube.com/watch?v=Xv2siftGYUI
Why do you think the film is called 'Heat'?
How does the director create a heightened
sense of tension?
What are the 2 most important lines? Character AList 5 characteristics
Choose
List 5 characteristics
A meets BA must get something out of B, obeying
an OBJECTIVE and a SUPEROBJECTIVE
DefinitionsOBJECTIVE
in the immediate scene (a letter, a kiss...) - what a character tangibly needsSUPEROBJECTIVE
needs over the whole story (love, revenge...)
Eg. - what a character ultimatelyOBJECTIVE - I need to get her phone numberSUPEROBJECTIVE
Or- I want to fall in loveOBJECTIVE - I need to give him this leafletSUPEROBJECTIVE
Jehovah's Witnesses - I want to convert him to the
Character Bera
Finding your own story....
Watch this expert 'gulling'.'All good drama is about someone getting
something from someone else.'
(Simon Stephens)How does this scene satisfy that definition?
How does the scene use the techniques we have studied?
http://www.youtube.com/watch?v=Xv2siftGYUI
Why do you think the film is called 'Heat'?
How does the director create a heightened
sense of tension?
What are the 2 most important lines? Character AList 5 characteristics
Choose
List 5 characteristics
A meets BA must get something out of B, obeying
an OBJECTIVE and a SUPEROBJECTIVE
DefinitionsOBJECTIVE
in the immediate scene (a letter, a kiss...) - what a character tangibly needsSUPEROBJECTIVE
needs over the whole story (love, revenge...)
Eg. - what a character ultimatelyOBJECTIVE - I need to get her phone numberSUPEROBJECTIVE
Or- I want to fall in loveOBJECTIVE - I need to give him this leafletSUPEROBJECTIVE
Jehovah's Witnesses - I want to convert him to the
Character Bera
Finding your own story....
Adapting a novel for the screen
http://www.youtube.com/watch?v=wCTgUq6hzUk
Children of Men
(2006)
FADE IN:
Middle-aged FACES looking up, in quiet shock, listening...
A WOMAN'S VOICE
(upper-class English
accent)
...the world was stunned today by
the death of Diego Ricardo, the
youngest person on the planet...
1 INT. CAFE - DAY 1
MORE SAD FACES, and now we see we're in a crowded cafe.
Standing room only. Everyone staring upward, O.S.,
listening...
WOMAN'S VOICE
Baby Diego was killed in a bar fight
in Buenos Aires after refusing to
sign an autograph...
A man enters he coffee shop, making his way through the
transfixed crowd: THEO FARON (55, American), wearing a worn
suit and tie, glasses. Theo is a veteran of hopelessness. He
gave up before the world did.
Theo wedges his way through the packed bodies to the counter.
He orders:
THEO
Coffee. Black.
Next to him, a 50-year-old woman stares upward, cradling a
small dog, a tear rolling down her face. Theo follows her
gaze: an old plasma TV is mounted above the counter. A
REPORTER delivering the breaking news. Theo watches with
little interest.
WOMAN REPORTER (TV)
...He struggled his entire life with
the celebrity status thrust upon him
as the world's youngest person.
ON TV: The face of "Baby" DIEGO (18), the most famous boy in
the world, a fair-haired teenager who never lacked anything,
smiling a practiced smile.
WOMAN REPORTER (CONT'D)
Witnesses say Diego spat in the face
of a fan who asked for an autograph.
(MORE)
-----------------
Screenplay-Children_of_Men p. 2
7-1-07
WOMAN REPORTER (CONT'D)
The incident escalated into the brawl
that ended with Diego's demise. The
fan was trampled to death by the
angry crowd shortly thereafter.
Theo's coffee arrives. He lays exact change on the counter
and makes his way back toward the door, weaving through the
crowd, past people crying.
WOMAN REPORTER (TV) (CONT'D)
(solemnly)
Diego Ricardo, the youngest person
on earth, was 18 years, 4 months, 2
days, 16 hours and 8 minutes old.
2 EXT. STREET - DAY 2
Theo walks outside with his coffee. All around him, people
have stopped, their faces turned upward, transfixed by the
news. Atop some buildings, old billboard style LED screens
display the coverage. Some of the pixels are burnt out.
On a nearby wall, a mural of the country's current leader,
known only as the "Warden." A stoic visage with steely,
watchful eyes.
SUPER: LONDON, NOVEMBER 17, 2026 A.D.
Theo continues past dusty storefronts. Homeless huddle in
doorways, bundled in threadbare blankets. Pedestrians hurry
by, on their Monday morning rush to work.
Theo sets his coffee cup atop a post box. A few cars roll
by. Mostly "older" vehicles -- 2008's, a couple of 18's.
Some motorized rickshaws, a double-decker bus with metal
mesh on the windows. Bicycles. He takes a flask from his
pocket, unscrews the top, about to pour into his coffee,
when behind him
-- BOOM! A BOMB EXPLODES inside the cafe, blowing out the
windows, shaking the ground. Theo's knocked off his feet.
Smoke pours through the shattered facade of the cafe. The
counter where Theo stood moments before, simply gone. WAILS
of pain as people stagger out of the blackened wreckage,
bleeding, covered in debris. A woman splattered in blood,
holding her own severed hand.
Theo gets up, shell-shocked, hands pressed against his ears.
SHRIEKING ALARMS from nearby buildings blending with the
"Eeeeeeeee" of his ringing ears...
-----------------------------------------------------------------------------------------------------
------------------------------------------------------------------------------------
Writing a Film Adaptation From a BookWriting for film and for books requires two different sets of skills. Their main differences are:
1. Novels provide the reader with a window into the protagonists’ minds and emotions. The screen can only reveal this visually through the characters’ behaviour and their facial expressions.
2. Novels can illustrate intricate background detail and biographies of the characters leading through the main story. The screenplay’s average ninety minutes of storytelling is severely more restrictive and cannot allow for much of this.
3. The main body of the novel consists of narrative description and the inner thoughts of the characters with a smattering of dialogue and action. The screen contains mostly dialogue and action.
4. Novels average at 180 to 400 pages long. Screenplays average at 70 to 110 pages, with infinitely less words per page.
The Conversion from Book to a Film ScriptWith these differences in mind, much of the novel must be cut out. The following steps might help in deciding what to keep in. After reading the novel, make a note of for retention:
Making a Movie Adaptation from FictionBackground detail, lengthy descriptions, minor characters and incidentals must all go. Some screenwriters have been known to combine two characters of a novel into one within a screenplay in order to make it fit the tight format. The editing process can be quite brutal.
Making the Screenplay WorkFilm is a visual medium and therefore only the visual can be included. Description of the character and their actions must be pared down to a few words and sentences. Dialogue must be given the same treatment, without affecting the plot or losing its natural flow. Less is often more.
The Opening of the ScreenplayAs with any screenplay, the first ten pages are crucial. The opening need not begin at the opening of the book. Consider: Opening at the most dramatic scene of the novel.
Combining two or more key scenes of the novel or
Inventing a new beginning if it grabs the reader more effectively or injects more originality.
The dialogue that drives the plot.The key action scenes.The main seven characters or so.
Children of Men
(2006)
FADE IN:
Middle-aged FACES looking up, in quiet shock, listening...
A WOMAN'S VOICE
(upper-class English
accent)
...the world was stunned today by
the death of Diego Ricardo, the
youngest person on the planet...
1 INT. CAFE - DAY 1
MORE SAD FACES, and now we see we're in a crowded cafe.
Standing room only. Everyone staring upward, O.S.,
listening...
WOMAN'S VOICE
Baby Diego was killed in a bar fight
in Buenos Aires after refusing to
sign an autograph...
A man enters he coffee shop, making his way through the
transfixed crowd: THEO FARON (55, American), wearing a worn
suit and tie, glasses. Theo is a veteran of hopelessness. He
gave up before the world did.
Theo wedges his way through the packed bodies to the counter.
He orders:
THEO
Coffee. Black.
Next to him, a 50-year-old woman stares upward, cradling a
small dog, a tear rolling down her face. Theo follows her
gaze: an old plasma TV is mounted above the counter. A
REPORTER delivering the breaking news. Theo watches with
little interest.
WOMAN REPORTER (TV)
...He struggled his entire life with
the celebrity status thrust upon him
as the world's youngest person.
ON TV: The face of "Baby" DIEGO (18), the most famous boy in
the world, a fair-haired teenager who never lacked anything,
smiling a practiced smile.
WOMAN REPORTER (CONT'D)
Witnesses say Diego spat in the face
of a fan who asked for an autograph.
(MORE)
-----------------
Screenplay-Children_of_Men p. 2
7-1-07
WOMAN REPORTER (CONT'D)
The incident escalated into the brawl
that ended with Diego's demise. The
fan was trampled to death by the
angry crowd shortly thereafter.
Theo's coffee arrives. He lays exact change on the counter
and makes his way back toward the door, weaving through the
crowd, past people crying.
WOMAN REPORTER (TV) (CONT'D)
(solemnly)
Diego Ricardo, the youngest person
on earth, was 18 years, 4 months, 2
days, 16 hours and 8 minutes old.
2 EXT. STREET - DAY 2
Theo walks outside with his coffee. All around him, people
have stopped, their faces turned upward, transfixed by the
news. Atop some buildings, old billboard style LED screens
display the coverage. Some of the pixels are burnt out.
On a nearby wall, a mural of the country's current leader,
known only as the "Warden." A stoic visage with steely,
watchful eyes.
SUPER: LONDON, NOVEMBER 17, 2026 A.D.
Theo continues past dusty storefronts. Homeless huddle in
doorways, bundled in threadbare blankets. Pedestrians hurry
by, on their Monday morning rush to work.
Theo sets his coffee cup atop a post box. A few cars roll
by. Mostly "older" vehicles -- 2008's, a couple of 18's.
Some motorized rickshaws, a double-decker bus with metal
mesh on the windows. Bicycles. He takes a flask from his
pocket, unscrews the top, about to pour into his coffee,
when behind him
-- BOOM! A BOMB EXPLODES inside the cafe, blowing out the
windows, shaking the ground. Theo's knocked off his feet.
Smoke pours through the shattered facade of the cafe. The
counter where Theo stood moments before, simply gone. WAILS
of pain as people stagger out of the blackened wreckage,
bleeding, covered in debris. A woman splattered in blood,
holding her own severed hand.
Theo gets up, shell-shocked, hands pressed against his ears.
SHRIEKING ALARMS from nearby buildings blending with the
"Eeeeeeeee" of his ringing ears...
-----------------------------------------------------------------------------------------------------
------------------------------------------------------------------------------------
Writing a Film Adaptation From a BookWriting for film and for books requires two different sets of skills. Their main differences are:
1. Novels provide the reader with a window into the protagonists’ minds and emotions. The screen can only reveal this visually through the characters’ behaviour and their facial expressions.
2. Novels can illustrate intricate background detail and biographies of the characters leading through the main story. The screenplay’s average ninety minutes of storytelling is severely more restrictive and cannot allow for much of this.
3. The main body of the novel consists of narrative description and the inner thoughts of the characters with a smattering of dialogue and action. The screen contains mostly dialogue and action.
4. Novels average at 180 to 400 pages long. Screenplays average at 70 to 110 pages, with infinitely less words per page.
The Conversion from Book to a Film ScriptWith these differences in mind, much of the novel must be cut out. The following steps might help in deciding what to keep in. After reading the novel, make a note of for retention:
Making a Movie Adaptation from FictionBackground detail, lengthy descriptions, minor characters and incidentals must all go. Some screenwriters have been known to combine two characters of a novel into one within a screenplay in order to make it fit the tight format. The editing process can be quite brutal.
Making the Screenplay WorkFilm is a visual medium and therefore only the visual can be included. Description of the character and their actions must be pared down to a few words and sentences. Dialogue must be given the same treatment, without affecting the plot or losing its natural flow. Less is often more.
The Opening of the ScreenplayAs with any screenplay, the first ten pages are crucial. The opening need not begin at the opening of the book. Consider: Opening at the most dramatic scene of the novel.
Combining two or more key scenes of the novel or
Inventing a new beginning if it grabs the reader more effectively or injects more originality.
The dialogue that drives the plot.The key action scenes.The main seven characters or so.
Storyboarding
http://www.youtube.com/watch?v=3Ijjl6t30Kc&feature=related
One of my favourite films - how is exposition used? How would you storyboard it?
http://www.youtube.com/watch?v=e-yeI83fN6s
Watch the following clip and answer these questions:
What season is it?
Why was the Tramp shoveling snow?
Did he want something in exchange for clearing the snow?
Did the Tramp get what he set out to get?
Was the man in the house angry or happy?
Was the scene funny or serious?
Are the two men friends?
Who is the stronger of the two men? The smarter?
How were the students able to follow the story?
http://www.youtube.com/watch?v=DOrju-kgoec
Task:
Create following story
It is a windy night in the Midwest of America. A tornado is blowing.
HANK, 15, wakes up at 5.30 in the morning and is scared.
He is desperate to know if his parents are alright.
STORYBOARD THIS STORY
NB: YOU CANNOT USE DIALOGUE.
ONLY VISUAL MARKERS....
One of my favourite films - how is exposition used? How would you storyboard it?
http://www.youtube.com/watch?v=e-yeI83fN6s
Watch the following clip and answer these questions:
What season is it?
Why was the Tramp shoveling snow?
Did he want something in exchange for clearing the snow?
Did the Tramp get what he set out to get?
Was the man in the house angry or happy?
Was the scene funny or serious?
Are the two men friends?
Who is the stronger of the two men? The smarter?
How were the students able to follow the story?
http://www.youtube.com/watch?v=DOrju-kgoec
Task:
Create following story
It is a windy night in the Midwest of America. A tornado is blowing.
HANK, 15, wakes up at 5.30 in the morning and is scared.
He is desperate to know if his parents are alright.
STORYBOARD THIS STORY
NB: YOU CANNOT USE DIALOGUE.
ONLY VISUAL MARKERS....
Exposition
Glossary terms
The 3 main parts of a narrative structure are: (as defined by Todorov)Equilibrium (balanced normality of world of story)Disequlibrium
problem and climax) (unbalanced world between New Equilibrium
Marker
Markers provide information to audiences
quickly and economically.
They can provide information about the :Location (geographical marker)Time or era (temporal/historical marker)Genre (generic marker)Character
Imagine you are planning the opening
shot of a film.1. How would you show that the scene
was set in the early morning?
2. How would you show your film was set in London?
3. What methods could you use to make it clear the
film is set in the 1960s?
4. How could you make it clear one of the characters
is a married policeman?
5. What could you do to show the audience they
are watching a thriller?
Where are the markers in these clips?
http://www.youtube.com/watch?v=qFG6KAd2ITI
http://www.youtube.com/watch?v=0epB5Z6ijpk
http://www.youtube.com/watch?v=AiCrh9_XcFQ&feature=related(character marker) (return to balanced normality at end of story)
The films of Johnathan Glazer
http://www.youtube.com/watch?v=zff9hVH3ptY
http://www.youtube.com/watch?v=qY1T4YAzs14&feature=related
http://www.youtube.com/watch?v=rC-wPteyl6U
http://www.youtube.com/watch?v=IBH97ma9YiI
One of the best advert and music video directors in Britain, very unusual for his visual, kinetic style.
Early short films
http://www.youtube.com/watch?v=oYRemE9Oeso&ob=av1n
http://www.youtube.com/watch?v=aRBi08Z00Ec&feature=watch-now-button&wide=1
http://www.youtube.com/watch?v=tEcJF0EVT54
http://www.youtube.com/watch?v=CFLBvLxLJMI
Glossary KEY WORDS
Mise en scene
visual forms of storytelling- everything that appears before the camera;
Exposition
setting and theme - providing background to character, plot
http://www.youtube.com/watch?v=aRBi08Z00Ec&feature=watch-now-button&wide=1
http://www.youtube.com/watch?v=tEcJF0EVT54
http://www.youtube.com/watch?v=CFLBvLxLJMI
Glossary KEY WORDS
Mise en scene
visual forms of storytelling- everything that appears before the camera;
Exposition
setting and theme - providing background to character, plot
Evaluation Questions
Each candidate will
A podcast
DVD extras
A blog
A powerpoint
A website
or a combination of two or more of the above
In all cases, candidates should be encouraged to see the evaluation as
In the evaluation the following seven questions must be addressed: evaluate and reflect upon the creative process and their experience of it. Candidates will evaluate their work digitally, this evaluation being structured by the set of required questions below. This evaluation may be done collectively for a group production or individually. Examples of suitable formats for the evaluation are: a creative task and the potential of the format chosen should be exploited through the use of images, audio, video and links to online resources. Marks should be supported by teacher comments and may be supported by other forms such as audio or video presentations.
In what ways does your media product use, develop or challenge forms and conventions of real media products?
· How does your media product represent particular social groups?
· What kind of media institution might distribute your media product and why?
· Who would be the audience for your media product?
· How did you attract/address your audience?
What have you learnt about technologies from the process of constructing this product? · Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
A podcast
DVD extras
A blog
A powerpoint
A website
or a combination of two or more of the above
In all cases, candidates should be encouraged to see the evaluation as
In the evaluation the following seven questions must be addressed: evaluate and reflect upon the creative process and their experience of it. Candidates will evaluate their work digitally, this evaluation being structured by the set of required questions below. This evaluation may be done collectively for a group production or individually. Examples of suitable formats for the evaluation are: a creative task and the potential of the format chosen should be exploited through the use of images, audio, video and links to online resources. Marks should be supported by teacher comments and may be supported by other forms such as audio or video presentations.
In what ways does your media product use, develop or challenge forms and conventions of real media products?
· How does your media product represent particular social groups?
· What kind of media institution might distribute your media product and why?
· Who would be the audience for your media product?
· How did you attract/address your audience?
What have you learnt about technologies from the process of constructing this product? · Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Summary of Examiner's Report 2011
Summary of Examiners Report 2011
Below are some key nuggets of information that you should take notice of year 12 whilst working of your Foundation Portfolio:
- You must make an ongoing 'account of the journey', make at least one blog post each lesson, so at least 5 a week.
- Evidence all of the stages of the production and clearly discuss changes and ammendments made.
- Clearly and consistently title and label your work
- Take photos of paper based work and upload to your blog, use a variety of methods for recording your work (photos, videos, websites, PowerPoints, Prezi, Wordclouds, screen grabs, audio recording, written texts)
- Use of a variety of methods to research the audience (questionnaires, focus groups and interviews) which you have carefully analysed and have used to inform your production decisions. You should also consitent refer to film institution techniques and previous research/experience of into film and genre.
- Develop the narrative and enigma, so spend time on your screenplay, draft and re-draft! Explain your choices, even if they differ from your original ideas.
- Acknowledge when you make mistakes and reflect on how you improved and what you have learnt about the process of film production.
- Plan your time effectively, be aware of your individual contribution and allowing time for each task set.
- Pay attention to titles and sountracks and allow enough time to create them professionally (Livetype software helps with this)
- Use a variety of shot types, especially close-ups where appropriate
- Check you are framing your shots, consider the Mise-en-scene carefully (do you want that mop in the background? Is the character appropriately lit? Was that car in the same place in each shot?)
- When completing the 7 evaluation tasks, make links to your planning and where you evaluate as a group you msut introduce yourself each time to evidence your contribution...remember the examiner doesn't know you like we do!
Ok, so all of these points above you should consider regularly throughout the production of your foundation portfolio.
If you want to achieve Level 4 you must regularly record and reflect on your FP journey in detail, using a variety of media, and you need to produce a carefully researched film opening sequence that looks professional.
Below are some key nuggets of information that you should take notice of year 12 whilst working of your Foundation Portfolio:
- You must make an ongoing 'account of the journey', make at least one blog post each lesson, so at least 5 a week.
- Evidence all of the stages of the production and clearly discuss changes and ammendments made.
- Clearly and consistently title and label your work
- Take photos of paper based work and upload to your blog, use a variety of methods for recording your work (photos, videos, websites, PowerPoints, Prezi, Wordclouds, screen grabs, audio recording, written texts)
- Use of a variety of methods to research the audience (questionnaires, focus groups and interviews) which you have carefully analysed and have used to inform your production decisions. You should also consitent refer to film institution techniques and previous research/experience of into film and genre.
- Develop the narrative and enigma, so spend time on your screenplay, draft and re-draft! Explain your choices, even if they differ from your original ideas.
- Acknowledge when you make mistakes and reflect on how you improved and what you have learnt about the process of film production.
- Plan your time effectively, be aware of your individual contribution and allowing time for each task set.
- Pay attention to titles and sountracks and allow enough time to create them professionally (Livetype software helps with this)
- Use a variety of shot types, especially close-ups where appropriate
- Check you are framing your shots, consider the Mise-en-scene carefully (do you want that mop in the background? Is the character appropriately lit? Was that car in the same place in each shot?)
- When completing the 7 evaluation tasks, make links to your planning and where you evaluate as a group you msut introduce yourself each time to evidence your contribution...remember the examiner doesn't know you like we do!
Ok, so all of these points above you should consider regularly throughout the production of your foundation portfolio.
If you want to achieve Level 4 you must regularly record and reflect on your FP journey in detail, using a variety of media, and you need to produce a carefully researched film opening sequence that looks professional.
Sunday 15 July 2012
Thursday 5 July 2012
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