Nikki Blackborow Activities


Published on

Published in: Education, Technology
1 Like
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Nikki Blackborow Activities

  1. 1.   Can you read the signs? 1 2 3 4 5 6 7 8 9 10 11 12 H2 0 13 14 15 16 17 18 19 20 21 22 23 24   1. Identify each sign. What does it stand for? 2. Does it have more than one meaning? 3. Is it symbolic or indexical? 4. Which groups will be able to read it? 5. Which groups may NOT be able to read it? 6. Which groups will have the deepest understanding of the sign? Discuss your thoughts on this briefly in your answer. 7. Has it been affected by time? If so, in what way? If not, why not Extension: Are any of these metonyms or contiguous?
  2. 2. Denotation & Connotation Denotation The ‘literal’ meaning of something, an image or idea. It is, in a way, the “dictionary” definition. Connotation The extra added meanings that we attach to images, objects and ideas that are not ‘literal’ but based on our experience, culture, age, gender etc. They are often shared within groups e.g. people of a similar age, people from a particular religion or country. Examples These pairs roughly denote the same thing but have different connotations Cat/Moggy Prostitute/Whore Nanny/Au Pair Connotation are usually  Shared  Similar  Influenced by each other, the media and personal experience They are often understood and shared by groups. These groups can be based on many things, including; Race Age Geography/Where we live Gender Occupation Sometimes when reading a text, a person may read the text differently than was perhaps expected by the text’s producers – this is sometimes a partial acceptance of the ‘intended’ meaning and sometimes a complete rejection of it. These are called negotiated and aberrant readings respectively.
  3. 3. READING A FILM STILL Some initial questions… 1. What type of film is this from? How do you know? 2. Who do you think this film is aimed at? Why do you think that? 3. Is this a real or fictional text? How do you know? 4. What do you think has happened immediately before this moment? Why? 5. What do you think is going to happen next? Why? 6. What is the relationship between the characters? Why do you think this? 7. Are there any relevant props or other elements in focus in the frame that are important? Why? In Media Studies you must get used to going beyond just describing what you see. Everything in a frame is there for a reason: someone purposefully put it there and so we must try to deduce why. This action of placing things in a frame (for example on a film set) for a reason makes them what we call MOTIVATED. When writing about any still or extract of a text, you must always say WHAT the effect is and WHY you think it is there. You should always give alternatives if possible (or plausible) e.g. “it could mean…” “it could have the effect…
  4. 4.           Not static but    constantly    renegotiated    A set of  between industry    characteristics/  and audience – a    Meeting  formula  combination of the  audience  recognised by  familiar and the  expectations  audiences over  unexpected  equals  time e.g.  pleasure  iconography,  narrative, Mise‐ en‐scene and    representation      WHAT    Films function  DOES  like language –  GENRE  At an ideological  offering a set of  level, genres  rules and a  MEAN?  offer comforting  vocabulary with  reassurance and  which to  a closing down of  organise  the complexities  meaning  of life                Genre films work  Provide a    through important  relationship    cultural myths and  between audiences    fears by repetition,  and producers    innovation and  which minimises    resolution  the risk of financial    failure      The Beano & Narrative
  5. 5. Using the A3 sheet story of the Bash Street Kids, do the following; 1. Read through the story 2. Plot out how the story is told 3. Re-write the story in three different ways, one using a different point of view, one using montage and one using a flashback 4. Thinking about Levi-Strauss – what oppositions are there in the story? 5. In what ways is ellipsis used in TWO of the story versions you created in number 3? How is it different? 6. Look at the following theories – what do you think are the advantages and disadvantages of each? What bits are ‘good’ or useful from each and which ‘bad’ or not useful? NARRATIVE THEORY -Is it any use? COPY THIS ONTO A4 PAPER and complete   THEORIST Advantages/strengths Disdvantages/weaknesses PROPP BARTHES LEVI- STRAUSS VOGLER                
  6. 6. SHOT SEQUENCE ANALYSIS (2) NOTES….   From “Pretty Woman”        From “Pretty Woman”          From “Pretty Woman” Make notes about each image. ALSO, think about how the images work as a sequence. How do we read the images? What are the key differences? What is being indicated?
  7. 7. Reflections on shots 1. How similar were your actual photos for the thriller shoot in comparison to your planned drawings? 2. What did you actually do to achieve your shot? 3. Identify what works really well in your chosen still 4. Identify what could be improved upon, or what didn’t work in the shots you rejected 5. Write up a short analysis of your shot, focussing on camera, character, and mise-en-scene 6. When you go out shooting again, what techniques or tips would you like to practice or improve on? 7. What have you learnt from these sessions? Extra question: Has your work in Photoshop enhanced your shot? If so, what did you do and what effect has this had?  
  8. 8. Shot types activity Group Names:  Shot Shot Type Director Actor(s) PA Success?! No: 1 ECU 2 BCU 3 CU 4 MCU 5 MS 6 MLS 7 LS 8 VLS/Wide 9 2 SHOT 10 OTS 11 HIGH ANGLE 12 LOW ANGLE 13 TILTED FRAME
  9. 9. Camera movement activity Group: Shot Camera Does it work? Why/ why not? No: movement   1 Forward track   2 Reverse track   3 Pan   4 Whip pan   5 Tilt   6 Canted angle/ Dutch tilt   7 Crab   8 Arc   Hand held   9       Steadicam   10    
  10. 10. Opening Sequences  Narrative functions To introduce character • Establish narrative structure • Captivate audience/interest • Establish core themes • Introduce core iconography • Establishes audience expectation through use of • generic conventions • Establish sense of enigma Narrative conventions: Predominance of action codes • Significance of soundtrack – establishing mood • Use of titles as credits/ event signifiers • Pace •