Wednesday, 19 December 2012
Stereotypical representations of race
10 most racist moments in TV - how many racial slurs can you spot?
50 racial stereoypes
The Arab
White Anglo Saxon male
Indian
Black American
British African
50 racial stereoypes
The Arab
White Anglo Saxon male
Indian
Black American
British African
Monday, 17 December 2012
Case Study: Holiday homework
Watch at least one episode of either
The Wire
or
NYPD Blue
or
Midsomer Murders (full episode)
or
The Red Riding Trilogy (second one is here but you should watch the first episode first.)
When you come back, you will need to prepare a case study on one of them.
Here are two excellent case studies that yours should look like:
http://media.edusites.co.uk/article/csi-case-study/
http://media.edusites.co.uk/article/lewis-case-study/
Cover all sections thoroughly (except for the marketing section, which is optional.
There will be a good prize for the winning group. (The winning group will be the ones who convince the English department that theirs was created by a teacher, not by a student.)
The Wire
or
NYPD Blue
or
Midsomer Murders (full episode)
or
The Red Riding Trilogy (second one is here but you should watch the first episode first.)
When you come back, you will need to prepare a case study on one of them.
Here are two excellent case studies that yours should look like:
http://media.edusites.co.uk/article/csi-case-study/
http://media.edusites.co.uk/article/lewis-case-study/
Cover all sections thoroughly (except for the marketing section, which is optional.
There will be a good prize for the winning group. (The winning group will be the ones who convince the English department that theirs was created by a teacher, not by a student.)
Tuesday, 11 December 2012
Gems on TV this Christmas
Almost all of these are badass films you have to watch. And they're on TV this Christmas.
Check the times, make a date.
http://www.tvguide.co.uk/topratedfilm.asp
Unmissable ones on the list:
TERMINATOR 1 AND 2 (ACTION/THRILLER - the scene I showed you with the spike coming out of the finger of the man coming out of the floor was from Terminator 2)
BLADERUNNER (SCI-FI - one of the greats)
ANGEL HEART (MESSED UP.)
GOODFELLAS (GANGSTER/THRILLER/DRAMA)
CASABLANCA (CLASSIC)
SLEEPY HOLLOW (HORROR/PARODY)
OLDBOY (MESSED UP. That fight scene in the corridor I showed you.)
THE BIRDS (Hitchcock. Creepy.)
YOUNG FRANKENSTEIN (Comedy. Genius.)
ALIEN (THRILLER/SCI FI/HORROR. If you haven't seen it you haven't lived.)
GREMLINS (BONKERS.)
SPARTACUS (EPIC)
ENTER THE DRAGON (KICKASS)
ZULU (HAUNTING TRUE STORY)
DIE HARD (THRILLER)
LAWRENCE OF ARABIA (EPIC)
PREDATOR (Arnie kicking alien arse in a jungle. What more could you want?)
The Ones Miss Missed
You can't go wrong with those films. Here's a few Miss Steventon missed...
ANYTHING BY STANLEY KUBRICK.
Plus:
Thriller/ action
Hard-boiled
Heat
Don't Look Now
The Wages of Fear (French; finest exercise in suspense, ever. The first half hour is boring but worth the wait).
Rope (Hitchcock)
The Godfather I, II, and III
The Beat that my Heart Skipped (French)
Chinatown
LA Confidential
Horror
Psycho
Halloween
Texas Chainsaw Massacre (1974, NOT the new one)
Rosemary's Baby (wow)
The Shining
A Nightmare on Elm Street
Alien
An American Werewolf in London
The Wicker Man (original with Christopher Lee, NOT the new one)
Messed up
Seconds (1969, John Frankenheimer)
Lost Highway (David Lynch)
Mulholland Drive (David Lynch)
Performance (Nicolas Roeg)
Synecdoche, New York
Romance
When Harry Met Sally (hilarious)
Eternal Sunshine of the Spotless Mind (stunning)
Comedy
Trading Places
South Park: Bigger, Longer, Uncut
Team America: World Police
Anchorman
Rushmore
Napoleon Dynamite
The Naked Gun
Classics
Sunset Boulevard
The Big Chill
Casablanca
ANYTHING BY STANLEY KUBRICK.
Plus:
Thriller/ action
Hard-boiled
Heat
Don't Look Now
The Wages of Fear (French; finest exercise in suspense, ever. The first half hour is boring but worth the wait).
Rope (Hitchcock)
The Godfather I, II, and III
The Beat that my Heart Skipped (French)
Chinatown
LA Confidential
Horror
Psycho
Halloween
Texas Chainsaw Massacre (1974, NOT the new one)
Rosemary's Baby (wow)
The Shining
A Nightmare on Elm Street
Alien
An American Werewolf in London
The Wicker Man (original with Christopher Lee, NOT the new one)
Messed up
Seconds (1969, John Frankenheimer)
Lost Highway (David Lynch)
Mulholland Drive (David Lynch)
Performance (Nicolas Roeg)
Synecdoche, New York
Romance
When Harry Met Sally (hilarious)
Eternal Sunshine of the Spotless Mind (stunning)
Comedy
Trading Places
South Park: Bigger, Longer, Uncut
Team America: World Police
Anchorman
Rushmore
Napoleon Dynamite
The Naked Gun
Classics
Sunset Boulevard
The Big Chill
Casablanca
Thursday, 15 November 2012
Monday, 12 November 2012
Wednesday, 7 November 2012
Monday, 5 November 2012
Wednesday, 24 October 2012
Homework - half term
http://beauchampcollegemedia.com/2011/11/28/two-new-extracts-for-representation-class-shameless-and-gender-holby-city/
How is the representation of gender handled in this clip?
Cover:
mis en scene
camera work
optional: sound
- Tackle the targets I gave you as feedback.
- Use key terminology from the lesson
- Argue about whether gender representation conforms to, or challenges, convention.
How is the representation of gender handled in this clip?
Cover:
mis en scene
camera work
optional: sound
- Tackle the targets I gave you as feedback.
- Use key terminology from the lesson
- Argue about whether gender representation conforms to, or challenges, convention.
Feminist and post-feminist theory
http://www.slideshare.net/wmorris/gender-representation
Please read through this, then use youtube to do the Britney Spears task at the end.
Please read through this, then use youtube to do the Britney Spears task at the end.
Monday, 22 October 2012
Archetypes and stereotypes
Find an archetypal male or female character from this website.
http://tvtropes.org/pmwiki/pmwiki.php/Main/AlwaysFemale
or this one
http://tvtropes.org/pmwiki/pmwiki.php/Main/Alwaysmale
Find a short clip on youtube/TV to illustrate this character.
Stereotype: A conventional, formulaic, and oversimplified conception, opinion, or image.
eg: 50 Cent conforms to the hip-hop stereotype of being a chauvinist gangster.
eg: The blonde women in Ken Russell films are stereotypically playful.
Archetype: An original model or type after which other similar things are patterned; a prototype:
eg 1 Frankenstein has inspired many similar monsters; he is the ARCHETYPAL zombie.
eg 2: Dracula, ‘Dr. Jekyll and Mr. Hyde’ - the ARCHETYPES of split personalities that have influenced all subsequent horror stories.
http://tvtropes.org/pmwiki/pmwiki.php/Main/AlwaysFemale
or this one
http://tvtropes.org/pmwiki/pmwiki.php/Main/Alwaysmale
Find a short clip on youtube/TV to illustrate this character.
Stereotype: A conventional, formulaic, and oversimplified conception, opinion, or image.
eg: 50 Cent conforms to the hip-hop stereotype of being a chauvinist gangster.
eg: The blonde women in Ken Russell films are stereotypically playful.
Archetype: An original model or type after which other similar things are patterned; a prototype:
eg 1 Frankenstein has inspired many similar monsters; he is the ARCHETYPAL zombie.
eg 2: Dracula, ‘Dr. Jekyll and Mr. Hyde’ - the ARCHETYPES of split personalities that have influenced all subsequent horror stories.
Tuesday, 16 October 2012
Wednesday, 3 October 2012
Tuesday, 25 September 2012
Wednesday, 19 September 2012
Plot devices that feminists don't like
Plot Devices that Make You Roll Your Eyes
- a woman character is raped or is in danger of being raped -- the eternal rapability of female characters
- a female character dies in childbirth
- "convenient" circumstances prevent a female character from going through with her decision to have an abortion (cf. Robin in V, whose alien hybrid fetus's invasive vascularisation made it impossible to remove without killing her; spontaneous miscarriages and so forth) -- therefore rendering women's reproductive choices inconsequent when that oh-so-controversial subject is broached
- using female characters to voice misogynistic and/or patriarchal ideas because it would be "too obvious" to use male characters — victim-blaming, in short
- using evolutionary biology or the selfish gene theory as the primary reason a male and female character are drawn together sexually (Darwin's Radio by Bear), or why a female character cannot possibly resist the man's man that will make the best sire of her children (Lucifer's Hammer by Niven)
- the competent female needs rescuing by the man
- damsel in distress / perils of Pauline - women set up merely to be rescued
- Women in refrigerators (see http://violetcorona.blogspot.com/2006/10/women-in-refrigerators.html ) — female characters of whatever level of characterization depicted as more apt to be rescued, more in need of rescuing, more often in physical danger, deaths or physical assaults more horrible or graphically described
- innocent and universally loveable female characters that do not develop a sex drive or sex appeal until they turn evil (Doppleganger Willow from earlier in Buffy the Vampire Slayer, Fred from Angel (TV series)) — where the sex drive is correlated with the amount of cleavage/leg shown.
- alien women of ANY species will inevitably be irresistibly attracted to the only mid-30s male on a particular starship (Star Trek, I'm looking at YOU) — even if it causes an interstellar incident
- related: females of alien species always have extremely large breasts, located in the exact same location as those of human females (i.e. they look exactly like human women except for a charming set of pointy ears, forehead ridges or swirly haircut that serves only to make them more exotic to the male characters)
- a man's casual slap (or threatened slap) of a woman that is scarcely worth mentioning again in the story and apparently does not actually bother the woman; or maybe she likes it because he has now shown himself to be a real man. Seen in Frank Miller's "Sin City" (she liked it); Rob Reiner's "The Princess Bride" (He raises the back of his hand threateningly; she flinches. "That was a warning, Highness. The next time, my hand flies on its own, for where I come from, there are penalties when a woman lies."). This is entirely distinguishable from a man and a woman involved in a physical fight, as in Joss Whedon's "Firefly" between Mal and Saffron, or Buffy and Spike, or any slayer and various villains. "The Slap" is often stated plainly as a representation of patriarchy, as when the woman has crossed a boundary; the man may say he doesn't like to hit women but he'll make an exception, or she's crossed a line, etc. An obvious use of gendered violence to police patriarchal rules, present in both representations of the protagonists and villains.
- The female member of the team whose skill or superpower is (by comparison) passive, defensive, weak, or underutilized; her real role is as token or love interest to the leading male characters. (See TvTropes' Faux Action Girl)
- The trade-in granddaughter or descendant: A long-lived or immortal male starts a relationship with the hot young descendant of his former lover (or occasionally his own hot young descendant)
- Simply grabbing the upper arm or shoulder of a superheroine or female fighter renders her helpless. (See TvTropes' Standard Female Grab Area)
Tuesday, 11 September 2012
Cultivation Theory
USES AND GRATIFICATIONS THEORY
Explanation of Theory: Blumler and Katz’s uses and gratification theory suggests that media users play an active role in choosing and using the media. Users take an active part in the communication process and are goal oriented in their media use. The theorist say that a media user seeks out a media source that best fulfills the needs of the user. Uses and gratifications assume that the user has alternate choices to satisfy their need. Theorists: Blumler and Katz Date: 1974
Agenda Setting Theory
Explanation of Theory:
The Agenda-Setting Theory says the media (mainly the news media) aren’t always successful at telling us what to think, but they are quite successful at telling us what to think about. Theorist: Maxwell McCombs and Donald L. Shaw Date: 1972/1973
Tuesday, 4 September 2012
Friday, 20 July 2012
Monday, 16 July 2012
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
Wednesday, 23 May 2012
Friday, 11 May 2012
Thursday, 10 May 2012
Good revision presentation
Check out slide 13 in particular...
http://www.slideshare.net/tessiemedia/ocr-media-g322-section-b-revision-guide-ppt
http://www.slideshare.net/tessiemedia/ocr-media-g322-section-b-revision-guide-ppt
Globalisation and Media Ownership
Globalisation describes the spread of ideas and culture around the world. This is not an even process. The media companies who own and distribute 'culture' around the world are in charge, and they are, mostly, American.
The dominance of US-based media companies has some pretty obvious effects - with some counter-arguments, of course.
Firstly, on culture. "Everyone must come to look a little bit like an American, or to love a little bit like an American, or two walk a little bit like an American. That's why television and cultural industries are so critical, because you don't know quite how to qalk and think in American until you look at enough television." (Hall, 2007)
This is a little bit exaggerated. Perhaps you're into Far Eastern culture, or Taoism, or French films. But to a large extent our behaviour, speech patterns (using the word 'like', for example), and definitions of 'cool' all stem from America's dominance over media as the world has gone global.
Secondly, other countries have copied American media strategies for success:
- using branding and advertising to fund expensive production
- copying American-style filming and plot devices
- changing film titles and posters to fit different audiences (going 'glocal')
- buying franchise like Big Brother and making a local version of them.
Everyone wants to be Hollywood: Bollywood; Nollywood. The result is that a lot of the world's culture has become homogenised. The same. Diversity, it seems, is disappearing.
Thirdly, truly 'local' films struggle to compete with the giant juggernauts of US media companies, who have far more money pumped into production, distribution and marketing. Their passage is made even easier by their horizontal ownership of distribution companies that give them a virtual monopoly.
The locals strike back
However, this view is simplistic, for several reasons:
- Local English films now have easier access to the US market. And if the world is getting more fluent in English, that's good for British film (if not world cinema). So in some ways, UK cinema is surfing the wave of US global domination
- The US is a declining force. Sony (Japanese) bought Columbia and TriStar picture in 1989; Rupert Murdoch (Australian) owns 20th Century Fox; Indian company Reliance BIG pictures own a big stake in Dreamworks (2008)
- Local companies will always be able to draw on better knowledge of their audience's tastes, culture and language to make films that are more relevant than those of giant international companies
- While the expensive side of new technology plays into the big companies' hands, the 'user-generated content' aspect will make it possible for smaller companies to drum up support for their product without spending too much money, allowing them to compete.
And Nollywood and Bollywood have their own very distinct stylistic conventions.
Tuesday, 8 May 2012
Revising Section b
TOP TIP: Consider the issues for the studios and audiences at every stage.
When writing the exam essay - you should look for modern examples in the industry and be able to write a paragraph about:
• the processes of production – how the product is created
• the methods of distribution – how does the product reach its audience marketing
• methods, and processes of marketing as they relate to the institutions
• the way audiences consume the product
• the relationships between audiences and institutions
• issues raised by media ownership within your topic
• convergence and new technologies in production, distribution and marketing and its importance for institutions and audiences
• issues raised by global institutions targeting British audiences
Revision Task 1
1.
In small groups, or as an individual take one of the above bullet points.
2. Give yourself 3-5 minutes to discuss this.
3. Try to reference as much as you can.
4. Share your ideas. Your audience is to make notes on this.
5. Ask your audience to add anything you have missed out. You make a note of this!
Revision Task 2
Read the extract below:
1. Advice from the exam board (OCR) Section B of the exam: Institutions and Audiences:
“Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions.
In addition, candidates should be familiar with:
• the issues raised by media ownership in contemporary media practice;
• the importance of cross media convergence and synergy in production, distribution and marketing;
• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
• the significance of proliferation in hardware and content for institutions and audiences (i.e. digital technology);
• the importance of technological convergence for institutions and audiences: the internet, digital downloads, DVDs, High Definition, CGI, etc.;
• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
This unit should be approached through contemporary examples in the form of case studies based upon one of the specified media areas”.
This can be done as a group or as a longer revision activity. You could even use the new social network on MediaEdu called ‘Wire’.
1. For each of the bullet points above, write the point in the middle of the piece of paper - or type as a header in a Powerpoint / Word or Pages document.
2. Give yourself 3 minutes on each point. Write down everything you know - don’t worry about sentences or spelling.
3. Go back over them, one by one. Highlight key ideas, and add anything you have forgotten.
4. Write these up as neat notes for your revision closer to the exam - or create a powerpoint for next year’s candidates.
Monday, 7 May 2012
What question next?
For section A, the recent questions have been about: gender, ethnicity, gender, gender and class.
At a guess, gender won't come up this year. Anyway, this is an area you know well. Make sure you're able to talk with insight and sensitivity about the representation of youth, disability and regional location.
For section B, the questions have been about:
effect of technological convergence on institutions and audiences
whether production is dominated by global institutions who distribute to audiences
the significance of digital technology on audiences
media ownership's role in production and distribution of films
marketing and distribution vs production of films
The recent examiner's report says that people are stronger on the institutions than they are on audiences.
Revise audience behaviour, trends, habits, categories, demographics; niche and cult followings
Section B - latest examiner's report
General Comments on Question 2
The question provided suitable differentiation of candidate responses. The majority of candidates addressed the issue of digital distribution and marketing more than that of production or audience. The question provoked a range of responses from candidates, many of whom were able to discuss the relationship between production, distribution and marketing in ensuring the success of media products. The most able candidates were clear about the changes that digital
distribution and consumption were having upon the products that were produced.
The best answers were able to create a debate around the relative strengths of distribution practices and marketing strategies by institutions in engaging appropriate audiences through online media and incorporated technologies. Frequently, strong candidates were also able to draw contrasts between mainstream and independent producers, and/or mass audience/niche audience targeting. More candidates are able to show awareness of the trends and strategies that categorise the contemporary media landscape, which included the use of online technologies and distribution platforms. In this session, very few candidates attempted to answer the question without any kind of institutional knowledge or focussing exclusively on texts produced.
Strongest responses came from those candidates who had a wide range of relevant and
contemporary examples of marketing and distribution strategies in their chosen area and could discuss them with confidence. Those candidates that fared less well used a ‘saturation approach’, writing all they could remember, rather than addressing the set question.
On the whole the terminology used for question 2 was good, including candidates’ discussion of convergence, synergy, horizontal and vertical integration as key media concepts. It is advised that centres ensure the appropriate preparation for this section by covering audience in the
same depth as institutions.
Film Industry
The most common approach remains a comparison between major US studios with UK
production companies, often focusing on digital distribution and marketing strategies. There was often an assumption that UK cinema is failing because of low cinema attendance, which obviously underestimates the importance of home exhibition windows in making UK film viable.
There were some excellent answers that referred to the Working Title was the most frequently used case study, along with Warners, Fox and Paramount as American examples; Warp, Vertigo and Film Four were used a number of times as case studies. Newer UK productions such as Shifty, Monsters, Four Lions and Attack The Block were
used by candidates as contemporary case studies to good effect, with some candidates attempting to address specifically the use of You Tube as a potential distribution platform for the future media in discussion of Life In A Day.
Excellent answers engaged thoroughly with new media forms such as social networking sites, You Tube and blogging and how these relate to their chosen case studies. Other strong areas for discussion were in the consideration of audience consumption and distribution through digital technology such as iPhones, BluRay, downloading, iPads, and Sony PSP’s. Candidate discussion of this technology would be better supported with examples. Sometimes these technologies tend to be mentioned without reference to specific examples of products to exemplify how films are distributed and/or marketed using such technologies, which limits
access to higher mark bands.
The advantages of digital distribution and exhibition were discussed, but with varying effectiveness at times, in part because candidates see film as being freely available as a digital format online, which is often not the case. Many candidates accurately argued that digital distribution, marketing and digital practices were important for the frontloading of film marketing campaigns, for example, The Dark Knight, Avatar, Paul and The Kings Speech. Most candidates
are able to show awareness of the trends and strategies that categorise the contemporary media landscape.
There still remains a number of centres that are preparing candidates with inappropriate material. Potted histories of media companies or textual studies are unlikely to be useful for the kind of questions which this paper poses. Candidates should be encouraged to take a selective approach to their case study material, concentrating on what is most relevant to the question rather than trying to get their entire case studies down. Quite a few centres are relying on case
study material which is rapidly dating and there needs to be more emphasis on contemporary examples. Far too many candidates using Working Title as a case study institution are still writing about films which are at least 15 years out of date.
Regional stereotypes
International stereotypes...
Here's a little one I've put together for UK stereotypes. Try your own.
Who are the bigger tanorexics?
An article in the Daily Mail on the difference between northern girls and southern girls...
Further reading:
A good collection of links, with songs, videos, and articles on regional differences...
Friday, 4 May 2012
Wednesday, 2 May 2012
Editing and representation
Really good overview- thanks to whoever wrote this
Continuity editing
Elliptical editing
More elliptical editing
Montage 1
How many other editing techniques can you spot in this?
Montage 2 - A montage about montages
- What rules of Montages are laid out in the lyrics?
Transitions
Jump cuts
Breaking the 180 rule
Parallel cutting
Long takes
Compare this long take(start 59 seconds in) to this fast cutting (start 2 mins in).
What are the advantages and disadvantages of each approach?
Now use your knowledge to analyse how editing constructs gender in these clips:
Primeval
Rome
Continuity editing
Elliptical editing
More elliptical editing
Montage 1
How many other editing techniques can you spot in this?
Montage 2 - A montage about montages
- What rules of Montages are laid out in the lyrics?
Transitions
Jump cuts
Breaking the 180 rule
Parallel cutting
Long takes
Compare this long take(start 59 seconds in) to this fast cutting (start 2 mins in).
What are the advantages and disadvantages of each approach?
Now use your knowledge to analyse how editing constructs gender in these clips:
Primeval
Rome
Past papers
Past Papers:
Merlin Series 1 Episode 1
Discuss the ways in which the extract constructs the representation of class and status using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise en scene
The Street
Discuss the ways in which the extract constructs the representation of disablity using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise en scene
Whole bunch of clips and ideas on this website - thanks beauchamp college!
Merlin Series 1 Episode 1
Discuss the ways in which the extract constructs the representation of class and status using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise en scene
The Street
Discuss the ways in which the extract constructs the representation of disablity using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise en scene
Whole bunch of clips and ideas on this website - thanks beauchamp college!
Friday, 27 April 2012
Convergence
A good little publicity stunt for a new channel in Belgium.
Arguably, this is a type of media convergence: one medium (TV) blurring into another (reality) with inspiration from flash mobs (social networking); it's then advertised and spreads virally (on the internet).
Arguably, this is a type of media convergence: one medium (TV) blurring into another (reality) with inspiration from flash mobs (social networking); it's then advertised and spreads virally (on the internet).
Wednesday, 25 April 2012
Section B: Exam Spec
Section B: Institutions and audiences
Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as, the nature of audience consumption and the relationship between audiences and institutions. In addition candidates should be familiar with:
the issues raised by media ownership in contemporary media practice;
the importance of cross media convergence and synergy, in production, distribution and marketing;
the technologies that have been introduced in recent years at the levels of production, marketing and exchange;
the significance of proliferation in hardware and content for institutions and audiences;
the importance of technological convergence for institutions and audiences;
the issues raised in the targeting of national and local audiences
(specifically, British) by international and global institutions;
the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
This unit should be approached through contemporary examples in the form of case studies based upon one of the specified media areas.
Section B: Past questions
Section B will test you on your knowledge of the film industry.
YOU SHOULD BE ABLE TO USE YOUR RECENT RESEARCH TO ANSWER ANY QUESTION.
Here is a list of past questions.
Discuss the impact of technology on a media industry you have studied.
Discuss the issues surrounding the need for Media Institutions to target specific audiences in a media industry you have studied.
Discuss the impact of cross-media convergence on a media industry you have studied.
“Technology has benefited media producers more than it has benefited media audiences.” Discuss this quote with reference to a media industry you have studied.
Explain how technology has helped media institutions target specific audiences within a media industry you have studied.
Discuss the ways in which media products are produced and distributed to audiences within a media industry you have studied.
“Audiences only want media products which have been produced by big companies. There are no opportunities for small institutions to thrive.” Discuss this view with regards to the media institution you have studied.
What will not change:
- In each question, you are asked about "the media industry you have studied."
This is, obviously, the film industry.
- The examples you will use should come directly from your research project.
What will change:
The question could be about:
production, distribution, convergence, synergy, new technology, social media, marketing, targeting audiences, changing audience behaviour, and any of the other topics you've studied this term. Here's what the exam board says they will test you on.
THAT'S WHY YOU'RE DOING THE RESEARCH!
How confident would you feel answering them?
Give each question a 'Confidence Score' out of 10. Be honest.
Now take a look at these exemplar answers. Can you guess the questions?
Then read through this:
This is an excellent revision document for the key issues in Section B.
Now revise your 'Confidence Score' for each question.
YOU SHOULD BE ABLE TO USE YOUR RECENT RESEARCH TO ANSWER ANY QUESTION.
Here is a list of past questions.
Discuss the impact of technology on a media industry you have studied.
Discuss the issues surrounding the need for Media Institutions to target specific audiences in a media industry you have studied.
Discuss the impact of cross-media convergence on a media industry you have studied.
“Technology has benefited media producers more than it has benefited media audiences.” Discuss this quote with reference to a media industry you have studied.
Explain how technology has helped media institutions target specific audiences within a media industry you have studied.
Discuss the ways in which media products are produced and distributed to audiences within a media industry you have studied.
“Audiences only want media products which have been produced by big companies. There are no opportunities for small institutions to thrive.” Discuss this view with regards to the media institution you have studied.
What will not change:
- In each question, you are asked about "the media industry you have studied."
This is, obviously, the film industry.
- The examples you will use should come directly from your research project.
What will change:
The question could be about:
production, distribution, convergence, synergy, new technology, social media, marketing, targeting audiences, changing audience behaviour, and any of the other topics you've studied this term. Here's what the exam board says they will test you on.
THAT'S WHY YOU'RE DOING THE RESEARCH!
How confident would you feel answering them?
Give each question a 'Confidence Score' out of 10. Be honest.
Now take a look at these exemplar answers. Can you guess the questions?
Then read through this:
This is an excellent revision document for the key issues in Section B.
Now revise your 'Confidence Score' for each question.
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