Bullet point your response - or use powerpoint - it's up to you.
All answers need to be brief.
1/ What's the rationale behind Amber Films, a small, independent film company based in Dean Street in Newcastle?
2/ How is the company funded?
3/ How was a film like Shootong Mapgies made?
4/ What's the impact of digital technology on the production, marketing, distribution and exhibition?
5/ How is the comopany trying to raise money for their new film?
Look at the websites for Amber Films and the Side Gallery and search this blog for various posts to help you.
Wednesday, 12 December 2012
Monday, 10 December 2012
Tuesday, 4 December 2012
Textual Analysis tips
Textual Analysis –
The Next Steps
It is very important for everyone to review their progress
in textual analysis. You are about to embark on an Assessment for Learning unit
where you will:
a)
Find out more about how your work will be
assessed
b)
Identify both good practice and become more
critical in identifying how work can be improved
c)
Critically reflect upon your own work and make
changes in your approach to boost your attainment.
You need to:
1)
Watch the exam text again
2)
Read through the assessment criteria (blue
sheets) and identify what skills /
standards are required (you should all be aiming for Levels 3 and 4)
3)
Make sure you understand the three different
assessment objects and understand what they actually mean by these terms a)
Explanation, analysis and argument b)Use of example c) Use of terminology
4)
Using the stimulus material provided by SO
analyse the strengths and areas for improvement in both essays
5)
Award marks and be prepared to justify your
judgements making specific references to the mark scheme
Following this discussion, and following further analysis of
good practice you will:
a)
Be expected to redraft your orginal attempt in
order to put into practice “good practice”
b)
Sit another mock exam on textual analysis AND
film institution the week before the Christmas hols.
Please note – you will be receiving your marked scripts
early next week as we are currently identifying anyone who needs to attend
booster classes in advance of the exam.
VERY IMPORTANT – our departmental blog – www.heworth.mediastudies.blogspot.com
is packed with very useful revision materials and this is regularly updated so
make sure you use it!!!!!!
Please remember – this is a very large class but teaching
staff in Media Studies are very keen to support you in the run up to the exam
and with your coursework. Always ask
questions and seek out feedback if you are unsure how to make progress.
Many thanks
EH, GW, SO
State of Play textual analysis model
Model Essay: State of
Play
The extract immediately positions the audience as close
observers of the chase. The medium close ups intercut between two different
sets of feet, stylised in highly contrasting footwear – (trainers and polished
black shoes), and combine with tracking shots to keep pace with the characters’
movements. The overlaying of diegetic sound in the form of tribal drums makes
sense as soon as the handheld close up reveals the character on the run to be
black. The music is effective in reinforcing his black identity, particularly
through the use of bongo drums, arguably showing disregard for political
correctness. The quick pace of the editing allows the director to establish a
city location – very probably London – through establishing shots featuring
crowds of people, contrasting in their behaviour compared to the black youth.
At this point in the first narrative, the director offers a conventional
representation as the black character is clearly experiencing disequilibrium
(Todorov) and the audience is encouraged to believe this character is in
danger. Arguably this supports the cultural view that black youths are both the
protagonists of crime but can also be the victims. The director uses mise en
scene in the actor’s gesture of looking behind him, with highly anxious facial
expression filling the frame, to confirm disorder and vulnerability.
The editing performs a complex role in threading together
three disparate narratives that by the end of the opening sequence seem to tie
together. Throughout each sequence, representations of class and status are
significant. In contrast to the very first narrative the audience are instantly
cut to a radically contrasting character – a middle aged, middle class, white
male. The director uses every aspect of mise-en-scene, clothing, (his suit,
shirt, tie and expensive overcoat), his gestures (confident, strident walking)
his props (the Financial Times) to communicate a man of high class and social
standing. Mid shots dominate as a means to help communicate body language. He
mirrors the first narrative in that he too is on his way somewhere, however his
representation is so different to the black boy that the audience is intrigued
as to how these two characters could be connected, if at all. To further complicate
the sequence, a third narrative is intercut featuring a young girl, who again,
through mise en scene is represented as lower class. The setting of the café
connotates a working class environment, matched by her clothing and gestures
(multiple consumption of cans of coke) indicating that she has been waiting for
someone for some time, very probably the black youth. They are linked together
through a shared social class. The other man is still at this point
disconnected, primarily due to the major contrast in social class.The camera
movement is highly significant in the café sequence as the camera steadily pans
in on the girl from behind to establish the idea that she is vulnerable and
quite literally “needs to watch her back”. Her significance is magnified by the
camera tilting downwards to slowly reveal a briefcase, barely concealed by a
bin-bag. The length of the edit on the briefcase as a key prop helps the
audience to anticipate what is coming to the black youth.
Arguably the most interesting contrast in representation is
focussed on the differences between the black youth and his assassin. The
director uses close ups to reveal an arguably stereotypical representation of
the black youth : gold earring, hoody, trainers , and in contrast the more middle
class status of the assassin is more gradually revealed. Costume emerges as a
vital aspect of mise en scene in establishing higher status through polished
shoes and an expensive woollen overcoat. As his identity is revealed, his calm
and controlled gestures illuminate his
experience in killing in cold blood. The medium close up of the assassin,
aiming the gun from the point of view of the victim, reinforces his clinical,
organised approach. The director uses deliberately complex camera work to build
tension for the audience. At the point when the black youth is successfully
hiding from the assassin the editing slows down and he fills the frame with the
use of a low angle, however this misleads the audience as we see in medium shot
the impact of the shooting as he slides down the frame and the camera remains
static. In terms of status, the black youth is now defined as a victim,
although the audience are compelled to wonder if his own actions have
facilitated his violent downfall.
Sound plays an important role in establishing meaning,
particularly through non diegetic sound to set the tone and pace of this
action-packed sequence. Interestingly the director has chosen to completely
avoid diegetic script. Arguably the lack of discourse between the characters
forces the audience to rely heavily on visual codes – particularly mise-en-
scene and editing – to piece together what promises to be a highly complex and
absorbing narrative. The director has been highly successful in establishing
representation of class and status as a major source of intrigue, leaving the
audience perplexed at how such disparate characters could be interconnected.
Potential Tasks
·
Highlight all media-specific language
·
Consider the introduction – is the question
repeated or is a point made
·
To what extent is analysis balanced across the
technical codes
·
The section with the motor-cycle courier has
been missed out – is this a problem?
·
The LACK of diegetic script has been discussed –
is it useful to sometimes discuss what is NOT THERE
·
Please note – this is NOT A PERFECT TEXTUAL
ANALYSIS – what are a) the strengths b) the limitations
·
Think about everything you’ve learned about
textual analysis so far – can you come up with the ultimate top ten
tips!!!!!!!!!!
Monday, 26 November 2012
Tuesday, 20 November 2012
AS January Exam - Revision Guide
AS Media Studies
Timeline
Section A: Textual
Analysis: Our Work Plan
1.
Attempt 2009 Dr Who question in timed conditions
2.
Reflect upon feedback and redraft
3.
Textual analysis OCR sample scripts- research of
Examiner’s Reports
4.
Attempt State of Play – representation of
status/ ethnicity (mark and students redraft)
5.
Attempt Sugar Rush - representation of Sugar Rush (mark and
redraft)
6.
Attempt period drama e.g. Dowton Abbey or good
text for age
7.
Also cover other representational issues – (age,
regional/ national identity, youth culture, disability which was covered last
year. PLEASE NOTE AGE HAS NOT BEEN CROPPED UP SINCE JAN2009, ETHNICITY SINCE
JAN 2010 AND GENDER SINCE JUNE 2010!!!)
·
By January exam should have completed a minimum
of 4 textual analyses in timed conditions AND redrafts with teacher’s comments/
SA
Section B – Film and
Institutions
You will be covering a lot of material as this topic is
challenging. It is VITAL that you use some time in the exam to work out the
most relevant material and you should spend five minutes PLANNING your response
to ensure you answer the question.
It is advised that you regularly respond to the long answer
questions set by EH and GW on this topic so that you can draw upon this work in
the exam. You should be familiar with at least one example of a Hollywood film
that has been able to market a film at great cost and be confident to compare
this to British examples (Independent Film companies) and understand the
concepts of co-production, horizontal and vertical integration, synergy USING
MEDIA SPECIFIC LANGUAGE AT ALL TIMES TO CONVEY YOUR UNDERSTANDING OF THIS
TOPIC. You should also understand the role of the British Film Council (linked
to the British cultural Test) which can offer governmental funding) and Film
Four as a major British production company, often working in co-production
(increasingly with Danish/Swedish and global counterparts). Also think about
using Michael Winterbottom (Everyday) as an example of a British filmmaker who
does not use contemporary methods exhaustively and can be categorised as a
traditional British filmmaker who is still making movies, without the intention
of making massive profits BUT still successful in serving niche film audiences.
Regularly look at the past questions listed below and
practise planning your response WITH DETAILED EXAMPLES, writing a highly
effective intro (making a POINT in the opening statement) and ending with a
thoughtful quotation. This is the best way to revise:
Jan 2009
·
Extract Monarch of the Glen AGE
·
Discuss the ways in which media products are
produced and distributed to audiences in the film industry
June 2009
·
Extract Dr Who Gender
·
How important is technological convergence for
institutions and audiences within a media area which you have studied?
Jan 2010
·
Extract Hotel Babylon Ethnicity
·
“Media production is dominated by global institution
which sells their products and services to national audiences.” To what extent
do you agree with this statement?”
Jan 2011
·
Extract Hustle GENDER
·
Discuss the issues raised by media ownership in
the production and exchange of media texts in film
June 2011
·
Extract Merlin CLASS AND STATUS
·
“Successful media products depend as much upon
marketing and distribution to a specific audience as they do upon good
production practices.” To what extent would you agree with this statement,
within the media area you have studied?
Jan 2012
·
Extract Fingersmith SEXUALITY
·
To what extent does digital distribution affect
the marketing and consumption of media products in the media area you have studied?
Tuesday, 16 October 2012
Top Tips for A2 Production Work
Key Points to Remember and Apply
1.Irregular
blog entries are a dead giveaway that you’re not fully engaged with this
project.
2. Entries
do not have to be epic e.g. you can offer production schedules / a review
3. Entries
shouldn’t be long but feature multi-media platforms
4. A clear
project outline is VITAL, making intentions and responsibilities explicit.
5.
Inevitably you will have similar entries at the beginning when you’re
developing your concept BUT very soon your blog should emerge as distinct – a
personal journey
6. Be
reflective – discuss problems / how to overcome set backs – EVIDENCE THE
LEARNING CURVE
7.Aim for 60
blog entries – you have until end of April so this averages at about 3 entries
per week.
8. Integrate
AUDIENCE RESEARCH through the stages of production – gain feedback on RUSHES
(the filming) and the ROUGH CUT (first edit ) as well as final product.
Audience Research could influence the direction of your construct
9. When
filming make sure you can evidence you’ve been organised by producing
production schedules / props lists /costumes / location detail – easy to
produce but great for your blog
10. Could
produce video diaries as reflective
11. When
filming always start the camera ROLLING 10 SECONDS BEFORE YOU BEGIN THE SCENE
and ALWAYS ANNOUNCE THE CUT AND KEEP THE CAMERA ROLLING.
12. Where
possible frame the shot accurately
13. Try to
film a range of shots from different angles
14.
Experiment with different camera movements / position and continuously think
about AUDIENCE POSITIONING
15. Build
into your filming consideration of ALL ASPECTS OF MISE EN SCENE – excellent for
analysis during evaluation
16. Don’t
leave too much head space but remember you can crop and resize frames during
post-production
17. Use
generic conventions BUT try to challenge them too – GENRES ARE FLUID AND
CONSTANTLY EVOLVING
18. Film
Trailers – a) don’t have to make absolute sense but must establish genre and
appeal to their target audience b) must be mindful that a range of locations /
actors is vital c) sound is a VITAL technical code and should be thought about
from the very outset
19. Music
Videos – a)Film performance vide early doors from range of camera angles so you
have library bank of footage b) evidence you’ve tried to ask for permission to
use the song c) identify through textual analysis that even with slow songs you
need a massive number of shots and costume changes
20. Short
Films – Stingers are only five minutes and tend to be quite abstract but whole
narratives can be communicated (v ambitious but when they come off they are
highly rewarded as challenging and few will attempt them!) You MUST research
the genre of short films – loads on web!
21
Documentaries – as above you must research stylistics of different types of
docs before identifying and justifying chosen style. Must have a good concept
and access to interesting subjects / topics – (Alex you have very promising
material)
22.Don’t be
a doooooooooooooooooooooooooooooooooooooooooooooooofus and neglect your ancillary
work – both pieces combined are worth 50% of your moving image work
23. Every
aspect of your production should be interconnected – RP + Main + Ancilliaries +
Evaluations – generic conventions / house-styles/target audience
24. Original
photography – and having a range of original images – is just as vital for A2.
25. Pace
yourself – we appreciate Meeeeeeeeeeeeeeeeeeeeeeja Studies is not the centre of
your universe and although it may not be your best subject (Isla – we forgive you and understand you
are an English Lang genius but if you don’t get an A in your Jan resit you will
have to pay for all of us to go the pics!!!!!!!!! I’M JOKING!!!) and
you MUST spread your attention across all subjects. WE UNDERSTAND THIS !!!!!!
26. Remember
to keep your diaries up to date so your skills and concepts can be matched to
the stages of production. This will help make preparation and revision for the
A2 exam much easier.
27. Don’t
hogg the equipment – we’re all in this together so play fair
28. Enjoy –
use us / talk to us / listen to us (we’re old and have been doing this for
ages).
29. Use last
year’s work as guidance – we’ll give you a copy of the marks. Ignore this at
your peril!!!!
There’s bound to be
more ….. but this will do for now.
EH GW
Top Tips for A1 Production Work
Key Points to Remember and (most importantly) Apply
1.Irregular
blog entries are a dead giveaway that you’re not fully engaged with this
project.
2. Entries
do not have to be epic e.g. you can offer production schedules / a review
3. Entries
shouldn’t be long but feature multi-media platforms (including moving image)
4. A clear
project outline is VITAL, making intentions and responsibilities explicit.
5. Your blog
should read as a personal journey describing and evaluating the STAGES OF
PRODUCTION
6. Be
reflective – discuss problems / how to overcome set backs – EVIDENCE THE
LEARNING CURVE
7.Aim for 60
blog entries – you have until end of April so this averages at about 3 entries
per week.
8. Integrate
AUDIENCE RESEARCH through the stages of production – gain feedback early drafts
and different versions of each section of work. Audience Research could
influence the direction of your final construct.
9. When
filming, make sure you can evidence you’ve been organised by producing
production schedules / photoshoots / flat plans / deadlines for copy– easy to
produce but great for your blog
10. Could
produce video diaries as reflective
11. When
collecting your original images makes sure you evidence RANGE / VARIETY in
terms of angles, costume, props, setting – DON’T OVER-USE THE SAME SET OF SHOTS
12. Where
possible frame the shot accurately
13. Build
into your PHOTOGRAPHY consideration of ALL ASPECTS OF MISE EN SCENE – excellent
for analysis during evaluation
14. Use
generic conventions BUT try to challenge them too – GENRES ARE FLUID AND
CONSTANTLY EVOLVING
15. Evidence
textual analysis evenly across all aspects of production – don’t neglect the
CONTENTS PAGE – conceptually this is challenging. GREAT IDEA TO USE PREZI TO
MINDMAP THE IDEOLOGICAL VALUES OF YOUR PRODUCT and to show interconnectivity
across you fictional fully realised product.
16. Every
aspect of your production should be interconnected – RP + Main + Ancilliaries +
Evaluations – generic conventions / house-styles/target audience
17. Pace
yourself – we appreciate Meeeeeeeeeeeeeeeeeeeeeeja Studies is not the centre of
your universe and although it may not be your best subject you MUST spread your
attention across all subjects. WE UNDERSTAND THIS !!!!!!
26. Remember
to keep your diaries up to date so your skills and concepts can be matched to
the stages of production. This will help make preparation and revision for the
A2 exam much easier.(EH will make sense of this next lesson).
27. Don’t
hogg the equipment – we’re all in this together so play fair
28. Enjoy –
use us / talk to us / listen to us (we’re old and have been doing this for
ages).
29. Use last
year’s work as guidance – we’ll give you a copy of the marks. Ignore this at
your peril!!!!
Important Deadline:
By the end
of half term holidays all blogs will be checked to make sure you have included:
·
AFL style assessment of last year’s
work – approx. 3 projects
·
Evidence of analysis of AS marking
criteria
·
Research and planning linked to
School Magazine
·
Presentation of school magazine
·
Post-mortem of what you’ve learned
from this exercise – good practice and what can be improved
·
Presentation of brief for music
magazine – intentions etc. including identification of target audience and
genre / sub-genre
·
Evidence of beginning the process of
textual analysis of front cover / house-style, photography/tags / establishment
of ideological values through images and language
·
Remember to use MULTI-MEDIA platforms
to evidence research and planning – we don’t want to see screeds of text
·
Also remember in producing a blog you
are also producing a media product in its own biscuit tin
·
You should aim to feature between
eight and ten postings to cover all of the above.
Monday, 8 October 2012
Friday, 5 October 2012
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Wednesday, 3 October 2012
Horror Movie Poster Analysis...
... and a good one at that. I swiped this from slideshare and from this blog: http://paigesmediablog.blogspot.co.uk/
Yours need to be at least this good.
Yours need to be at least this good.
Friday, 14 September 2012
Homework!!!!!
Welcome back after yet another great set of results!
A2 Advanced Production: BRIEF'S NAME:
1. Which brief are you pursuing?
2. Identify if this is an individual or group project.
3. List roles and responsibilities if you are working in a group?
4. Write a brief summary of your CONCEPT for the main task.
5. List any ideas for LOCATIONS. (Mise en scene)
6. List any ideas for COSTUME and PROPS (Mise en scene)
7. Outline your ideas for each ancilliary task:
Task a) To be handed in by September 29th...
Task b) Add any further information which will give your subject teachers further insight into your CONCEPT (e.g. style models)
A2 Advanced Production: BRIEF'S NAME:
1. Which brief are you pursuing?
2. Identify if this is an individual or group project.
3. List roles and responsibilities if you are working in a group?
4. Write a brief summary of your CONCEPT for the main task.
5. List any ideas for LOCATIONS. (Mise en scene)
6. List any ideas for COSTUME and PROPS (Mise en scene)
7. Outline your ideas for each ancilliary task:
Task a) To be handed in by September 29th...
Task b) Add any further information which will give your subject teachers further insight into your CONCEPT (e.g. style models)
Thursday, 12 July 2012
AS Media Studies Print Production Work 2011 - 2012
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