G325 section a revision methods and essay structures

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  • 1. What to ReviseHow to organise RevisionConverting your revision into essay plansSECTION A1A – SKILLS & 1B - CONCEPTS
  • 2. SKILLSSection 1A
  • 3. What to revise…• Divide up your revision into SKILLAREA• For each SKILL, think of 3 or 4elements/software that you haveused over the course of the ASand A2 productions• For each skill ‘element’ list 1 or 2examples of the ways in which youused it• For each example:– List 1 example from your AS Thriller– List 1 or 2 examples from your A2Music Video / Ancillary– For each example you give youMUST reflect on:• What it allowed you to do with yourwork• When & how you used it in yourwork• What you can do now as a result ofthat skill, that you couldn’t dobefore.POST PRODUCTIONFCPro STPro LiveT PShopcutsSpecialeffectsNon-diageticsoundtitlesImagemanipulationSpecialeffectsAS EG1MATCHCUTSAS EG2DESAT-URATIONAS EG3 AS EG4A2 EG1.1BASETRACKS/JUMP CUTSA2 EG1.2Lip SynchA2 EG2.1COLOURGRADINGA2 EG5croppingA2EG6layersA2 EG2.2GREENSCREEN
  • 4. The need for triangulation
  • 5. How to organise your revisionGrids and Mindmaps…or anything that can beeasily converted to anessay paragraph plan
  • 6. How to organise your revision…A suggestionPOST PRODUCTIONFCPro cuts AS EG1MATCHCUTSA2 EG1.1BASE TRACKS/JUMP CUTSA2 EG1.2Lip SynchSkill element & Feature AS Example 1 A2 Example 1 A2 Example 2Special effectsFCProAS EG2DESAT-URATION A2 EG2.1COLOUR GRADINGA2 EG2.2GREEN SCREENSTPro Non-diageticsound AS EG3LiveT titles AS EG4PShopImagemanipulationSpecial effectsA2 EG5 croppingA2 EG6layersPShop
  • 7. How to organise your revision…some detailSKILL ‘ELEMENT’ / FEATURE OF SKILL AS EXAMPLE A2 EXAMPLE 1 A2 EXAMPLE 2Final Cut Pro cuttingAS EG1• MATCHCUTS createcontinuity; quicken pace;heighten tension.• when protagonist ischased by the Villain afterleaves house.• I cut when actor ran outof the door in long shot. Iused a long shot from thepavement to see himrunning away from thehouse• Helps heighten action bymaking it feel natural andcontinuousA2 EG1.1• BASE TRACKS/ JUMPCUTS• create disconnection;get from oneshot, verse, location toanother• Filmed 10 basetracks, lay them downon top of each other ontimeline, marked every4th beat, cut with razortool• Intro it helps usestablish artist in 4different locations andjump cuts to the beat totake us from onelocation to next• Creative way tointroduce our artist andhelped us to followconventions.A2 EG1.2• Lip Synching• Matches image andartist singing withlyrics• Marked the audioat the beginning ofverse & did samewith base tracks• Lined them up, cutbetween them• Need to be veryprecise - out ofsynch in 2nd choruslook lessprofessional as aresult as you cantell the artist ismimingSpecialeffectsAS EG2DESATURATION• Indicates change intime; the past;flashback• Selectedfootage, clicked oneffects etc…• When protagonistlooks at the B&Wpicture of thechild, after the crossdissolve we see childplaying in the park inb&W• makes us feel it washis memory of thepast so it helped ustell the audienceabout our character’shistoryA2 EG2.1COLOUR GRADINGWhy did we use it –what effect can itcreate?When did we use it inour video?What was the overalleffect of using it? Howdid it improve ourvideo?A2 EG2.2GREEN SCREENWhy did we use it?What effect can itcreate / help us toachieve?When did we use it inour video?What was the overalleffect of using it?How did it improveour video?Final Cut Pro
  • 8. From revision to Exam…converting grid to planPOST PRODUCTIONFCPro cutsAS EG1MATCHCUTSA2 EG1.1BASETRACKS/JUMP CUTSA2 EG1.2Lip SynchSkill element & Feature of Skill AS Example 1 A2 Example 1 A2 Example 2SpecialeffectsFCProAS EG2DESAT-URATIONA2 EG2.1COLOURGRADINGA2 EG2.2GREENSCREENSTProNon-diageticsoundAS EG3LiveT titles AS EG4PShop ImagemanipulationSpecialeffectsA2 EG5croppingA2EG6layersPShopParagraph 1Paragraph 2Paragraph 3Paragraph 4Paragraph 5Paragraph 6Paragraph 7Paragraph 8
  • 9. A Chronological EssayFCProcutsAS EG1MATCHCUTSFCProSpecialeffectsAS EG2DESAT-URATIONSTProNon-diageticsoundAS EG3LiveTTitlesAS EG4FCProCutsA2 EG1.1BASETRACKS/JUMP CUTSA2 EG1.2Lip SynchFCProSpecialEffectsA2 EG2.1COLOURGRADINGA2 EG2.2GREENSCREENParagraph1Paragraph2Paragraph3Paragraph4Paragraph5Paragraph6Paragraph7Paragraph8Paragraph9Paragraph10PshopImageManipulationA2 EG5croppingIntro–defineterm/establishskillsbeforeMediacourse/stateproductionsA2 EG6layersPshopSpecialEffectsConclusion–reflectonthemainskillsyouhavedevelopedfromAStoA2AS A2
  • 10. AComparativeEssayParagraph 1 Intro – define term / establish skills before Media course / state productions you have produced for AS and A2Paragraph 2FCProCutsAS EG1 - THRILLERMATCH CUTSParagraph 3FCProCutsA2 EG1.1 MVBASE TRACKS/ JUMPCUTSA2 EG1.2 MVLip SynchParagraph 4FCProSpecialeffectsAS EG2 THRILLERDESAT-URATIONParagraph 7 LiveTtitlesAS EG4 - THRILLERParagraph 6STProNon-diageticsoundAS EG3 - THRILLERParagraph 8 PshopImagemanipulationA2 EG5 – DP/ADcroppingParagraph 9 A2 EG6 AP / ADlayersPshopSpecialeffectsParagraph 10 Conclusion – reflect on the main skills you have developed from AS to A2 and evaluate how important developing theskill has been to your work at AS and A2Paragraph 5A2 EG2.1 MVCOLOUR GRADINGA2 EG2.2 MVGREEN SCREENFCProSpecialeffects
  • 11. CONCEPTSSection 1B
  • 12. What to revise…• Divide up your revision intoCONCEPT AREA• For each CONCEPT, list eachof the theorists AND each ofthe theories that you havestudied for that concept• For each theorist /theory, identify 1 or 2examples from your Musicvideo• For each example:– Analyse how you used theuse of camera, editing andmise-en-scene– Explain how this supportsor challenges the theoryREPRESENTATIONMulvey GoodwinRailton&WatsonTujilloMaleGazeActiveFemaleArtistsMasculinePowerMasculinity& theoutdoorsMasculinity asPhysicalPowerA2 EG1.1Camera –shot type &movementA2 EG1.2Mise-en-sceneCOSTUMEA2 EG2.1Camera –shot typeA2 EG 3.1Mise-en-scenecostumeA2 EG2.1Editing –jump cutsA2 EG 3.2Camera –cameraangleA2 EG 4.1Mise-en-scene -locationA2 EG 4.2Camera –shot distanceA2 EG 5.1Camera –shot-type &angleA2 EG 5.2Editing –cuts andscreen time
  • 13. The need for TRIANGULATION
  • 14. How to organise your revisionGrids and Mindmaps…or anything that can beeasily converted to anessay paragraph plan
  • 15. How to organise your revision…A suggestionREPRESENTATIONTHEORIST THEORY MV example 1 MV example 2MULVEY MALE GAZEA2 EG1.1Camera – shot type &movementA2 EG1.2Mise-en-scene COSTUMEDIRECT ADDRESS –ACTIVE FEMALEARTISTSGOODWIN A2 EG2.1Camera – shot typeA2 EG2.1Editing – jump cutsRIALTO &WATSONMASCULINEPOWER THROUGHDESEXUALISATIONA2 EG 3.1Mise-en-scenecostumeA2 EG 4.1Mise-en-scene - locationTRUJILLOMASCULINITY ASSTRONG ANDPHYSICALLYPOWERFULA2 EG 3.2Camera – camera angleA2 EG 4.2Camera – shot distanceTRUJILLOMASCULINITY ASBEING OUTDOORS &IN PUBLIC SPACESA2 EG 5.1Camera – shot-type &angleA2 EG 5.2Editing – cuts and screentime
  • 16. How to organise your revision…some detailTHEORIST THEORY A2 EXAMPLE 1 A2 EXAMPLE 2MULVEYThe Male GazeRepresentation of womenhighlights imbalance inpatriarchal society. Womenas passive, sexual objects tosatisfy male pleasure - theyare ‘looked at’ and themale viewer is ‘active’ – theperson who ‘looks’.A2 EG1.1• Camera –movement & shottype• 1st verse – tilt up to introour female artist – use ofcamera to draw audience toher body before we introher face – conventional ofMV – repetition of this shotat the beginning of eachverse• Use of big close up on lips inchorus – dismembersmouth – becomes an objectA2 EG1.2• Mise-en-Scene - costume• 3 separate costumes – 1 per verse– helps to brand artist and connectwith target audience of men &women• 1st verse especially reinforces malegaze – short black dress – appealto male audienceThe ActiveFemale ArtistAlthough the femaleartist might be dressedprovocatively or use shottypes that indicate amale gaze, he arguesthat in looking directly atthe camera, breaking the4th wall, the female artisttakes control of herrepresentation and isactive not passiveA2 EG2.2• Camera – Shot type• Chorus – use of mid shotsand medium close ups helpus see the artist lookingdirectly at theviewer, breaking the 4thwall.• makes the artist look incontrol in the MV – sheknows we are watching herand she is watching usA2 EG2.2• Editing – jump cuts• The bridge – tempo of soundincreases – use of jump cutscreates repetition of CUs wherewe use a zoom in on the artistface one after another• reinforces she is singing directlyto us – the zoom in brings uscloser to her to remind us that issinging to us directlyGoodwin
  • 17. From revision to Exam…converting grid to planREPRESENTATIONTHEORIST THEORY MV example 1 MV example 2MULVEY MALE GAZEA2 EG1.1Camera – shot type &movementA2 EG1.2Mise-en-scene COSTUMEDIRECT ADDRESS –ACTIVE FEMALEARTISTSGOODWIN A2 EG2.1Camera – shot typeA2 EG2.1Editing – jump cutsRIALTO &WATSONMASCULINEPOWER THROUGHDESEXUALISATIONA2 EG 3.1Mise-en-scenecostumeA2 EG 4.1Mise-en-scene - locationTRUJILLOMASCULINITY ASSTRONG ANDPHYSICALLYPOWERFULA2 EG 3.2Camera – camera angleA2 EG 4.2Camera – shot distanceTRUJILLOMASCULINITY ASBEING OUTDOORS &IN PUBLIC SPACESA2 EG 5.1Camera – shot-type &angleA2 EG 5.2Editing – cuts and screentimeParagraph 1Paragraph 2Paragraph 3Paragraph 4Paragraph 5Paragraph 6Paragraph 7Paragraph 8
  • 18. Intro – define concept / say you will analyse your music video and give the name of your artist, the song andgenre you worked in / you could also mention some of the theorists you will look at1B-ExamQuestionParagraphPlanParagraph 1Paragraph 2Paragraph 3Paragraph 4Paragraph 5Paragraph 7Paragraph 6Conclusion – Summarise the main theories & ideas that your Music Video supports and those it challenges – reflecton the success of the music video in relation to the concept.MULVEY MALE GAZEA2 EG1.1Camera – shot type& movementA2 EG1.2Mise-en-sceneCOSTUMEDIRECT ADDRESS –ACTIVE FEMALEARTISTSGOODWIN A2 EG2.1Camera – shot typeA2 EG2.1Editing – jumpcutsRIALTO &WATSONMASCULINEPOWER THROUGHDESEXUALISATIONA2 EG 3.1Mise-en-scenecostumeA2 EG 4.1Mise-en-scene -locationTRUJILLOMASCULINITY ASSTRONG ANDPHYSICALLYPOWERFULA2 EG 3.2Camera – cameraangleA2 EG 4.2Camera – shotdistanceTRUJILLOMASCULINITY ASBEING OUTDOORS &IN PUBLIC SPACESA2 EG 5.1Camera – shot-type & angleA2 EG 5.2Editing – cutsand screen time
  • 19. GOODLUCK