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Action Adventure GCSE AQA Revision Unit1

Action Adventure GCSE AQA Revision Unit1

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    Aa revision ppt Aa revision ppt Presentation Transcript

    • Action Adventure Film
      Revision Checklist
    • The Exam
      1 hr 30mins
      4 Questions to answer
      2 Questions on the theory behind Action Adventure Films. 2 Questions based on your own Pitch.
    • The Brief
      4 weeks before your exam you will get a brief from the exam board and this will hint at the content of the exam
      For those 4 weeks we will only be able to give you guidance and not teach you from then on.
    • 2 Questions on Theory?
      These are hinted at through the Brief. It could be something based on the issues of:
      Film Classification
      Why Action Adventure appeals to people
      Attracting a Female audience
      Racism in Action Adventure
      Sexism in Action Adventure
      Cost of Action Adventure
    • 2 Questions on My Pitch?
      These questions will ask you to do two very clear things:
      Describe your Action Adventure film
      Outline a marketing tool for your Film (you will have a choice of two tasks) This may include:
    • Possible Marketing Tasks
      Storyboard a Trailer
      DVD Cover
      Film Poster
      Bus Poster
      Website
      Opening Sequence
      Radio Advert
      Interview with a Director
      Microsite
      Podcast
      All of these things you will have the opportunity to practise in class.
    • Let’s Revise...
      Before you turn this page, test yourself to write down as many of the codes and conventions of Action Adventure Films that you can remember.
      Hint: There are 15!
    • Extended Chase Scenes
      Main Character on a Quest
      High Energy stunts
      Romance between the Hero and the Heroine
      Hero on the side of Good
    • Loveable sidekick
      Computer Generated Images
      Dramatic discoveries of Treasure
      Explosions
    • Exotic Locations
      Sword/Fist fights
      Spectacular Crashes
      Daring saves at the last minute
    • Overcoming Adversity
      Villain who has to be defeated by the hero.
    • So... What does that matter to me?
      You will need to form your idea around these codes and conventions.
      Your idea for a film will need to have all of these elements covered in there somewhere.
      These are what we will base our work on!
    • Main Character on a Quest
      With this in mind it is VITAL that you need to think about your characters before you plan your idea.
      Characters make or break a film
      If you don’t like the characters you won’t watch the film
      With this in mind...think Propp!!!
    • Propp’s Characters
      the villain, who struggles with the hero
      the donor, who prepares and/or provides hero with magical agent
      the helper, who assists, rescues, solves and/or transfigures the hero
      the Princess, a sought-for person (and/or her father), who exists as a goal and often recognizes and marries hero and/or punishes villain
      the dispatcher, who sends the hero off
      the hero, who departs on a search (seeker-hero), reacts to the donor and weds at end
      the false hero (or antihero or usurper), who claims to be the hero, often seeking and reacting like a real hero (ie by trying to marry the princess)
    • What makes a good hero?
    • Characteristics of the Hero
    • Now Design your own
      The reason for designing your character first ensures that they are flexible.
      Last year the exam board gave the class a title for their project which changed all of their ideas. If you have a stable idea of characters you can put them in any situation.
    • What Makes a good Villain?
    • Characteristics of the Villain
    • Now for the Theory bit!
      When looking at the hero and villain it is clear that there are opposites.
      This is called:
      Binary Opposition
      In media texts the narrative and characters are based on this e.g Good/Evil, Male/Female
    • What about the Girls?
      When we first look at some of the titles for Action Adventure we immediately think of men fighting over treasure or women and the woman in question being very weak.
      So what can we do to change this?
    • Females in AA
      Allowed to be tough, but still wear revealing
      clothes and are, for the most part, controlled
      by or need rescuing by men.
    • Think Keira
      Throughout the franchise of Pirates of the Caribbean Elizabeth Swann has become a strong female.
    • Charlie’s Angels
      marketing
    • So, Women are sexy and Men are...
    • Men!
      80s super macho men
      Arnold Schwarzenegger in Conan the Barbarian and Commando
      Sylvester Stallone in Rambo
    • More ‘metrosexual’ heroes
      Jack Sparrow – slightly camp and very goofy
      Spiderman – he cries
      Legolas (Orlando Bloom in Lord of the Rings) Bromance with Aragorn?
    • AVOID STEREOTYPES!!!!
      The exam board want you to be original and POLITICALLY CORRECT!
      Action Adventure is unfortunately renowned for being unfair to certain demographics when designing their villains.
    • Ability/Disability
      Villains are often disfigured or depicted as insane.
      Heroes are beautiful, graceful and gallant.
      ‘Jaws/ZbigniewKrycsiwiki’ in the Bond films The Spy Who Loved Me (1977) and Moonraker (1979) : YouTube - James Bond vs Jaws (Round 2) Jaws is meant to be Polish.
      BloefeldYouTube - Bond Villian Ernst StavroBlofeld
      Nick Nack in The Man with the Golden Gun
      Rotten Tomatoes: Top 5 Bond Villains
    • Albinos
      The Twins in Matrix Re-loaded
      Silas in The Da Vinci Code
    • Bald
      Bond - Bloefeld
      Robin Hood - Sir Godfrey
      Damodar in Dungeons and Dragons
      Pirates of the Caribbean – At World’s End – Sao Feng (with facial scar also)
      The Mummy Returns - High Priest Imhotep
    • Race
      Villains are often non-white or ‘foreigners’ in Hollywood Action Adventures.
      The Mummy - Egyptians
      The Goonies – the Fratellis (Italian)
      Indiana Jones and the Temple of Doom – Indians and Raiders of the Lost Ark - Germans
    • Race
      Asian (Chinese, Japanese etc) characters are often wise or skilled in
      martial arts (Karate Kid,
      Jackie Chan/Jet Li/
      Bruce Lee films).
    • The cowardly/incompetent black side kick
      Chris Tucker as Ruby Rap in The Fifth Element
      • Snails in Dungeons and Dragons (Marlon Wayans)
    • More recent improvements
      Samual L Jackson
      Denzel Washington
      Wesley Snipes
      Will Smith
    • LOCATION, LOCATION, LOCATION
    • Location is Key
      The setting for your AA film is very important, if we think of the ones that we have looked at the location isn’t just a pretty background...it is also a character in itself.
      E.G. Egypt’s Valley of the Kings in Indiana Jones
    • Significance of The Valley of the Kings
      The Egyptian desert is full of Mystery and Death.
      There are tales of cursed tombs and powerful kings who were buried with their wealth. It is also very hot and abandoned. Perfect for putting your hero in danger and of course plenty of natural enemies such as snakes and scorpions.
    • Deserted Islands/Jungles
    • What is the appeal of these places
      Exotic
      Unknown
      Dangerous Animals
      Unpredictable Weather
      Easy to get lost in
    • Historical Settings
    • Why in the Past?
      Unknown to the audience
      Past is always full of folk tales and rumours which a film producer can play on
      Think Sherlock Holmes
      Can recreate famous events to make them more dramatic by adding fictional characters.
      Makes Evil Kings/Queens more believable
    • Sci-Fi/Fantasy
    • Why Sci-Fi/Fantasy?
      Possibilities are endless in these locations. As long as your reasons for being there are plausible you can do pretty much anything
      Weapons can be anything
      Death can be cheated
      Violence is restricted and cannot be copied by young children and so it can be given a lower classification.
    • Ordinary Places made extraordinary
      This may seem strange but your Location doesn’t necessarily need to be very unusual at first sight.
      Films that have done this include:
      North By Northwest
      The Towering Inferno
      28 Days Later
    • Choose your Location
      Think very carefully about the location you will choose.
      How will your Hero cope there?
      How will the Villain occupy the area?
      What will the setting add to your characters?
      What will be the importance of the setting?
    • Hybrid Genres
    • Car Genres??
      A hybrid is when two different genres meet to form a genre of it’s own.
      Now looking at the settings what different forms of Action Adventure can you think of?
    • Swashbuckler Action Adventure
    • Conventions of The Swashbuckler
      Historical Setting
      Sword Fights
      Villain is in a position of power (King etc...)
      Injustice to paupers
      The Hero’s actions are sometimes questionable but always for the greater good
    • Disaster Action Adventure
    • Conventions of The Disaster AA
      Villain is uncontrollable as it is often Nature
      The blame for the disaster lies with the incompetent human leader
      The hero is an average person who seeks to help others
      Sometimes based on true stories
      Somebody important dies to show the danger
    • Fantasy Action Adventure
    • Conventions of the Fantasy AA
      Villain sets out to destroy ALL opposed to them (Star Wars/Harry Potter)
      Villain is the idea itself (B2TF Time Travel and Jurassic Park the idea of recreating dinosaurs)
      Not a very likely situation
      Hero is generally very young
      Has a group of helpers to aid the quest
      Violence suits the world i.e spells/lasers
    • Quest Action Adventure
    • Conventions of Quest AA
      Older Hero
      Mythical element including curses and problems to solve
      Female character holds the key to the clues
      Search for Treasure is central
      Villain is out to use the treasure to cause havoc on the world whilst the hero wants it for a good cause i.e. Education.
    • Thriller/Suspense Action Adventure
    • Conventions of Thriller/Suspense
      Lone Hero out to seek revenge for wrong doing (generally)
      Mystery or puzzle to solve
      Villain is not always clear straight away
      Either very on the side of the law or dead against it.
      If hero is against the law then the law in the film world is corrupt.
    • Choose your own Hybrid
      Now that you have your own characters and location, what hybrid do you fit into?
      You need to now think about the narrative and how this fits in to what you wish to happen in your film.
    • Narrative Theory
      Todorov’s Equilibrium
    • Remind me...
      Todorov breaks up Narratives into 5 aspects.
      Equilibrium
      Disruption
      Recognition of disruption
      Attempt to repair disruption
      Reinstatement of equilibrium
    • Now Draw it!
      Label the diagram below with the 5 stages:
    • Equilibrium
      Disruption
      Attempt to repair
      Recognition of Disruption
      Reinstatement
    • Classifications
    • Classification
      Suitable for all
      A U film should be suitable for audiences aged 4 years and over
      Positive moral framework
      Offer reassuring counterbalances to any violence, threat or horror
      No potentially dangerous behaviour which young children could copy
      No emphasis on weapons
      Scary sequences mild, brief and unlikely to cause undue anxiety to young children
    • Classification
      General Viewing
      Some scenes may be unsuitable for young children
      Unaccompanied children of any age may watch
      A PG film should not disturb children aged 8 or older
      Parents should consider whether the film could upset younger or more sensitive children
      Frightening sequences should not be prolonged or intense
      No detail of potentially dangerous behaviour which young children are likely to copy
      No glamorisation of weapons
      Moderate violence without detail may be allowed if justified by its content.
    • Suitable for 12 years and over
      May upset children under 12, or parents might feel they are unsuitable for under 12s
      Children under 12 can see 12A films at the cinema if accompanied by an adult
      Responsibility for allowing the child to view the film likes with the adult
      Moderate physical and psychological threat, not frequent or sustained
      Dangerous behaviour should not dwell on detail or appear pain or harm free.
      Moderate violence, should not dwell on detail. No emphasis on injuries or blood.
    • Suitable only for 15 years and over
      No one younger than 15 may see a 15 film at the cinema or rent or buy a 15 video
      Strong threat and menace permitted unless sadistic or sexualised
      Dangerous behaviour should not dwell on detail that could be copied
      Easily accessible weapons should not be glamorised
      Violence may be strong but should not dwell on the infliction of pain or injury.
    • Suitable for adults
      No one younger than 18 may see an 18 film at the cinema or rent or buy an 18 video
      Overriding principle is that adults should be free to choose their own entertainment, but with exceptions:
      Material in breach of criminal law, or created through a criminal offence
      Material that risks harm to groups or individuals
      Explicit sexual activity not justified by the context
    • The fact of the matter
      There are more 12 certificate films in the Action Adventure genre than any other certificate.
      Why is this?
    • Why 12?
      Wider Audiences
      More appealing to adults
      Youngish children can go with their parents to see the film encouraging both demographics to see the film
    • Think Audience
      If an AA had a PG certificate, outline the type of audience you think it would be targeted at?
      Who would you suggest in the casting for a film that the producers intend to be a 12a?
      What types of action sequences would be appropriate for a 12A film compared to a PG?
    • Budgets and Costs
    • Film Budgeting
      Refers to the process by which a line producer, unit production manager or filmmaker prepares a budget for a film production. This document, which could be over 150 pages long, is used to secure financing for the film and lead to pre-production and production of the film. Multiple drafts of the budget may be required to whittle down costs.
    • Above and Below the Line Costs
      These two elements of production are the most crucial when looking at the marketing of the film
      Above the Line costs:
      Creative talent
      Below the Line costs:
      Direct production costs
    • Above the Line Costs
      An A-list actor can ask for anything from $10 million to $30 million, plus $3 million in perks (trailer, entourage, etc.) and 10-20% of the gross profits. The rest of the cast, by comparison, can often come out much worse with many being paid the Screen Actors Guild minimum (as low as $100/day on an Ultra-Low Budget film). Sometimes an actor will accept a minimal fee in exchange for a more lucrative share of the profits. Union extras are paid around $130 per day (plus extra for overtime or if they provide their own wardrobe) but on a low-budget film non-union extras are paid less, sometimes nothing at all.
    • Lara Croft Tomb Raider: The Cradle of Life
      Cast: $17.25 million
      Angelina Jolie: $12 million
      Extras: $250,000
      Other (inc. Angelina's perks): $5 million
    • Female Stars
      per film per film per film
      £3-4 million
      £5 million
      $9 million
    • Terminator 3: Rise of the Machines
      Cast: $35 million
      Arnold Schwarzenegger: $29.25 million + 20% gross profits
      Arnold's perks: $1.5 million
      Rest of principal cast: $3.85 million
      Extras: $450,000
    • Male Stars
      $20 million
      $5 Million
      $4 million
      $38 Million
    • Below the Line Costs
      This refers to the Direct Production costs which includes:
      Story Rights
      Screenplay
      Producers
      Director
      The cost of actually shooting the film including sets, wardrobe, location filming, hotels and transportation
    • Story rights and screenplay: $4 million
      Producers: $4 million
      Director (Jan de Bont): $5 million
      Production costs: $67 million
      Set design and construction: $17.8 million
      Visual Effects: $13 million
      Music: $3.3 million
      Editing: $3 million
      Post Production costs: $1.5 million
      Total: $118 million
    • Story rights (Carolco and Gale Anne Hurd): $19.5 million
      Screenplay: $5.2 million
      John D. Brancato & Michael Ferris: $1 million
      Director (Jonathan Mostow): $5 million
      Producers: $10 million
      Production costs: $58 million
      Post-production costs: $4 million
      Visual effects: $20 million
      Music: $2 million
      Other costs: $33.6 million
      Total: $187.3 million
    • Your Practical Tasks
    • Film Promotion
      Without Promotion a film will fail.
      It is becoming increasingly more important to be original in the way you advertise films.
      Let’s Look at Avatar’s advertising campaign
    • Avatar Day 21st August 2009.
      On this day the trailer for the film was released in all theatrical formats. The official game trailer and toy line of the film were also unveiled on this day.
    • October 2009 Empire Magazine released exclusive images from the film
    • The teaser trailer became one of the most viewed trailers in the history of film marketing, reaching the first place of all trailers viewed on apple.com with 4 million views.
    • The coca-cola company collaborated with Twentieth Century Fox to launch a worldwide marketing campaign to promote the film.
      The highlight of the campaign was the website avtr.com. Specially marked bottles and cans of Coke Zero, when held in front of a webcam, enabled users to interact with the website’s 3D features
    • McDonald’s produced a card to be used with an Avatar-branded website. When held in front of a webcam it enabled users to interact with a 3D animation.
      McDonalds offered online experiences such as ‘McD Vision’ (revealing scenes and characters from the movie) and ‘PandoraROV’ (take your first steps into Pandora)
    • Books, Toys and Games
      Books: Avatar: A Confidential Report on the Biological and Social History of Pandora, a 224 page book in the form of a field guide to the film’s fictional setting of the planer of Pandora.
      Video Game released on December 1st
      Toys: Mattel Toys announced in December 2009 that it would be introducing a line of action figures.
    • Codes and Conventions
    • Designing a Trailer
      You need to make sure that you think about the following things:
      Institution of your Film
      Length of your trailer
      Types of Edits
      Actors/characters you will include
      Elements of the narrative you will include
    • Examples
      Harry Potter and The Deathly Hallows Part 2
      Pirates of the Caribbean
    • Poster
      Name of the film
      Main Star or Logo
      Location
      Very careful choice of colour
      Date the film is released
      Billing Block
      Name of Studio