1. (Q1)
IN WHAT WAYS DOES YOUR MEDIA PRODUCT
USE, DEVELOP OR CHALLENGE FORMS AND
CONVENTIONS OF REAL MEDIA PRODUCTS?

2. We have used natural camera movements, often in the style of a handheld
camera movement, which is a common feature within comedy films such as
„The Hangover‟. Using the natural camera movement allows the film to flow
better, allowing the audience to focus on the comedy rather than keeping up
with the camera work of the film.

3. We have also used medium shots or close up‟s within the film to show the
characters expressions, an example of this is in the Train Station scene,
however we have used it in this scene in particular in order to connect with
the audience. The direct mode of address when Beth looks into the camera,
adds to the comedy element of her character, which is portrayed to be the
“silly” one.

4. I believe this is done effectively due to my audience response to the film. The
shot itself is seen in certain comedy programmes such as „Miranda‟ and this
has been identified by the audience therefore I believe this to have been a
successful idea.
Direct Mode of Address in „Miranda‟ Direct Mode of Address in my film

5. I have added Foley sounds during the editing process of the film, this was
what I found to be a very key feature in many comedy films, dating right back
to the 1930‟s. Foley sounds are used in every genre of film however in comedy
films, this tends to be music to the scenes or little noises such as a slap or a
kick.

6. Within my film I have added music over the top of the scenes in order to
create a comedic element that is so commonly found, however I believe that I
could have done this more effectively and in a more comedic way by adding
more „slapstick‟ comedy moments and sounds within the film.

7. There is a lot of high-key lighting within the film and all scenes minus the first
party scene are set in the daytime, another common element of many recent
comedy films. The high-key lighting usually comes from a natural light source
within a comedy film, as many films are set outside and our film follows this
common characteristic, as we filmed during a nice summers day.
An example of the high-key lighting within my film.

8. I believe this was done well as everything appears very bright within the film,
adding to the overall happy nature of a typical comedy film. During our film
we used very few props, this was because we believed that we should focus
purely on the dialogue comedy rather than the props element of comedy
however many comedy films do use props, especially „slapstick‟ comedy films.
By not using props as much as some comedy films we have challenged this
comedy convention however I believe this works well within the film, due to
the dialogue comedic language used.
This is one example of a
prop that we used within our
film.

9. We have also used the three stereotypical comedy characters that we
discovered when researching comedy films, in particular Jon Lucus‟ film, „The
Hangover‟. We discovered there were usually three types of characters within
comedy films; a silly character, a serious/smart characters and just a regular
person character.
The three main characters in my film. The three main characters in „The Hangover‟.

10. We decided to incorporate these three characters and as you can see clearly;
Sarah is the serious/smart character who tends to take control of the
situation, Imaan is the regular character however we did adapt her to have
elements of a lazy, careless character and Beth is the silly one, who is the
cause for the party which resulted in losing Steph, along with wearing a
Giraffe onesie and making silly comments.
Imaan BethSarah

11. I think that this works well within the film because it allows the characters to
show their true colours however despite their differences we see that they can
work together to put the pieces together in order to find Steph. I also believe
it states a message that no matter your differences, whether your personality,
differences or preferences, you can work with others to achieve something, in
this case finding somebody.