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Action Adventure GCSE AQA Revision Unit1

Action Adventure GCSE AQA Revision Unit1

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  • 1. Action Adventure Film
    Revision Checklist
  • 2. 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.
  • 3. 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.
  • 4. 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
  • 5. 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:
  • 6. Possible Marketing Tasks
    Storyboard a Trailer
    DVD Cover
    Film Poster
    Bus Poster
    Opening Sequence
    Radio Advert
    Interview with a Director
    All of these things you will have the opportunity to practise in class.
  • 7. 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!
  • 8.
  • 9. Extended Chase Scenes
    Main Character on a Quest
    High Energy stunts
    Romance between the Hero and the Heroine
    Hero on the side of Good
  • 10. Loveable sidekick
    Computer Generated Images
    Dramatic discoveries of Treasure
  • 11. Exotic Locations
    Sword/Fist fights
    Spectacular Crashes
    Daring saves at the last minute
  • 12. Overcoming Adversity
    Villain who has to be defeated by the hero.
  • 13. 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!
  • 14. 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!!!
  • 15. 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)
  • 16. What makes a good hero?
  • 17. Characteristics of the Hero
  • 18. 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.
  • 19. What Makes a good Villain?
  • 20. Characteristics of the Villain
  • 21. 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
  • 22. 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?
  • 23. 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.
  • 24. Think Keira
    Throughout the franchise of Pirates of the Caribbean Elizabeth Swann has become a strong female.
  • 25. Charlie’s Angels
  • 26. So, Women are sexy and Men are...
  • 27. Men!
    80s super macho men
    Arnold Schwarzenegger in Conan the Barbarian and Commando
    Sylvester Stallone in Rambo
  • 28. More ‘metrosexual’ heroes
    Jack Sparrow – slightly camp and very goofy
    Spiderman – he cries
    Legolas (Orlando Bloom in Lord of the Rings) Bromance with Aragorn?
    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.
  • 30. 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
  • 31. Albinos
    The Twins in Matrix Re-loaded
    Silas in The Da Vinci Code
  • 32. 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
  • 33. 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
  • 34. Race
    Asian (Chinese, Japanese etc) characters are often wise or skilled in
    martial arts (Karate Kid,
    Jackie Chan/Jet Li/
    Bruce Lee films).
  • 35. 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
  • 37. 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 is also a character in itself.
    E.G. Egypt’s Valley of the Kings in Indiana Jones
  • 38. 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.
  • 39. Deserted Islands/Jungles
  • 40. What is the appeal of these places
    Dangerous Animals
    Unpredictable Weather
    Easy to get lost in
  • 41. Historical Settings
  • 42. 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
  • 43. Sci-Fi/Fantasy
  • 44. 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.
  • 45. 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
  • 46. 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?
  • 47. Hybrid Genres
  • 48. 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?
  • 49. Swashbuckler Action Adventure
  • 50. 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
  • 51. Disaster Action Adventure
  • 52. 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
  • 53. Fantasy Action Adventure
  • 54. 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
  • 55. Quest Action Adventure
  • 56. 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.
  • 57. Thriller/Suspense Action Adventure
  • 58. 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.
  • 59. 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.
  • 60. Narrative Theory
    Todorov’s Equilibrium
  • 61. Remind me...
    Todorov breaks up Narratives into 5 aspects.
    Recognition of disruption
    Attempt to repair disruption
    Reinstatement of equilibrium
  • 62. Now Draw it!
    Label the diagram below with the 5 stages:
  • 63. Equilibrium
    Attempt to repair
    Recognition of Disruption
  • 64. Classifications
  • 65. 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
  • 66. 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.
  • 67. 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.
  • 68. 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.
  • 69. 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
  • 70. The fact of the matter
    There are more 12 certificate films in the Action Adventure genre than any other certificate.
    Why is this?
  • 71. 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
  • 72. 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?
  • 73. Budgets and Costs
  • 74. 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.
  • 75. 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
  • 76. 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.
  • 77. 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
  • 78. Female Stars
    per film per film per film
    £3-4 million
    £5 million
    $9 million
  • 79. 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
  • 80. Male Stars
    $20 million
    $5 Million
    $4 million
    $38 Million
  • 81. Below the Line Costs
    This refers to the Direct Production costs which includes:
    Story Rights
    The cost of actually shooting the film including sets, wardrobe, location filming, hotels and transportation
  • 82. 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
  • 83. 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
  • 84. Your Practical Tasks
  • 85. 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
  • 86.
  • 87.
  • 88. 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.
  • 89. October 2009 Empire Magazine released exclusive images from the film
  • 90. 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 with 4 million views.
  • 91. 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 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
  • 92. 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)
  • 93. 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.
  • 94. Codes and Conventions
  • 95. 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
  • 96. Examples
    Harry Potter and The Deathly Hallows Part 2
    Pirates of the Caribbean
  • 97. Poster
    Name of the film
    Main Star or Logo
    Very careful choice of colour
    Date the film is released
    Billing Block
    Name of Studio