G325 section a revision methods and essay structures

1. What to Revise
How to organise Revision
Converting your revision into essay plans
SECTION A
1A – SKILLS & 1B - CONCEPTS

2. SKILLS
Section 1A

3. What to revise…
• Divide up your revision into SKILL
AREA
• For each SKILL, think of 3 or 4
elements/software that you have
used over the course of the AS
and A2 productions
• For each skill ‘element’ list 1 or 2
examples of the ways in which you
used it
• For each example:
– List 1 example from your AS Thriller
– List 1 or 2 examples from your A2
Music Video / Ancillary
– For each example you give you
MUST reflect on:
• What it allowed you to do with your
work
• When & how you used it in your
work
• What you can do now as a result of
that skill, that you couldn’t do
before.
POST PRODUCTION
FCPro STPro LiveT PShop
cuts
Special
effects
Non-
diagetic
sound
titles
Image
manipulat
ion
Special
effects
AS EG1
MATCH
CUTS
AS EG2
DESAT-
URATION
AS EG3 AS EG4
A2 EG1.1
BASE
TRACKS/
JUMP CUTS
A2 EG1.2
Lip Synch
A2 EG2.1
COLOUR
GRADING
A2 EG5
cropping
A2
EG6
layers
A2 EG2.2
GREEN
SCREEN

4. The need for triangulation

5. How to organise your revision
Grids and Mindmaps…
or anything that can be
easily converted to an
essay paragraph plan

6. How to organise your revision…A suggestion
POST PRODUCTION
FCPro cuts AS EG1
MATCHCUTS
A2 EG1.1
BASE TRACKS/
JUMP CUTS
A2 EG1.2
Lip Synch
Skill element & Feature AS Example 1 A2 Example 1 A2 Example 2
Special effectsFCPro
AS EG2
DESAT-
URATION A2 EG2.1
COLOUR GRADING
A2 EG2.2
GREEN SCREEN
STPro Non-diagetic
sound AS EG3
LiveT titles AS EG4
PShop
Image
manipulation
Special effects
A2 EG5 cropping
A2 EG6
layers
PShop

7. How to organise your revision…some detail
SKILL ‘ELEMENT’ / FEATURE OF SKILL AS EXAMPLE A2 EXAMPLE 1 A2 EXAMPLE 2
Final Cut Pro cutting
AS EG1
• MATCHCUTS create
continuity; quicken pace;
heighten tension.
• when protagonist is
chased by the Villain after
leaves house.
• I cut when actor ran out
of the door in long shot. I
used a long shot from the
pavement to see him
running away from the
house
• Helps heighten action by
making it feel natural and
continuous
A2 EG1.1
• BASE TRACKS/ JUMP
CUTS
• create disconnection;
get from one shot,
verse, location to
another
• Filmed 10 base tracks,
lay them down on top of
each other on timeline,
marked every 4th beat,
cut with razor tool
• Intro it helps us
establish artist in 4
different locations and
jump cuts to the beat to
take us from one
location to next
• Creative way to
introduce our artist and
helped us to follow
conventions.
A2 EG1.2
• Lip Synching
• Matches image and
artist singing with
lyrics
• Marked the audio
at the beginning of
verse & did same
with base tracks
• Lined them up, cut
between them
• Need to be very
precise - out of
synch in 2nd chorus
look less
professional as a
result as you can
tell the artist is
miming
Special
effects
AS EG2
DESATURATION
• Indicates change in
time; the past;
flashback
• Selected footage,
clicked on effects etc…
• When protagonist
looks at the B&W
picture of the child,
after the cross
dissolve we see child
playing in the park in
b&W
• makes us feel it was
his memory of the
past so it helped us
tell the audience
about our character’s
history
A2 EG2.1
COLOUR GRADING
Why did we use it –
what effect can it
create?
When did we use it in
our video?
What was the overall
effect of using it? How
did it improve our
video?
A2 EG2.2
GREEN SCREEN
Why did we use it?
What effect can it
create / help us to
achieve?
When did we use it in
our video?
What was the overall
effect of using it?
How did it improve
our video?
Final Cut Pro

8. From revision to Exam…converting grid to plan
POST PRODUCTION
FCPro cuts
AS EG1
MATCHC
UTS
A2 EG1.1
BASE
TRACKS/
JUMP CUTS
A2 EG1.2
Lip Synch
Skill element & Feature of Skill AS Example 1 A2 Example 1 A2 Example 2
Special
effects
FCPro
AS EG2
DESAT-
URATION
A2 EG2.1
COLOUR
GRADING
A2 EG2.2
GREEN
SCREEN
STPro
Non-
diagetic
sound
AS EG3
LiveT titles AS EG4
PShop Image
manipulati
on
Special
effects
A2 EG5
cropping
A2
EG6
layers
PShop
Paragraph 1
Paragraph 2
Paragraph 3
Paragraph 4
Paragraph 5
Paragraph 6
Paragraph 7
Paragraph 8

9. A Chronological Essay
FCPro
cuts
AS EG1
MATC
HCUTS
FCPro
Special
effects
AS EG2
DESAT-
URATION
STPro
Non-diagetic
sound
AS EG3
LiveT
Titles
AS EG4
FCPro
Cuts
A2 EG1.1
BASE
TRACKS/
JUMP CUTS
A2 EG1.2
Lip Synch
FCPro
Special
Effects
A2 EG2.1
COLOUR
GRADING
A2 EG2.2
GREEN
SCREEN
Paragraph1
Paragraph2
Paragraph3
Paragraph4
Paragraph5
Paragraph6
Paragraph7
Paragraph8
Paragraph9
Paragraph10
Pshop
Image
Manipulation
A2 EG5
cropping
Intro–defineterm/establishskills
beforeMediacourse/stateproductions
A2 EG6
layers
Pshop
Special
Effects
Conclusion–reflectonthemainskills
youhavedevelopedfromAStoA2
AS A2

10. AComparativeEssay
Paragraph 1 Intro – define term / establish skills before Media course / state productions you have produced for AS and A2
Paragraph 2
FCPro
Cuts
AS EG1 - THRILLER
MATCH CUTS
Paragraph 3
FCPro
Cuts
A2 EG1.1 MV
BASE TRACKS/ JUMP
CUTS
A2 EG1.2 MV
Lip Synch
Paragraph 4
FCPro
Special
effects
AS EG2 THRILLER
DESAT-URATION
Paragraph 7 LiveT
titles
AS EG4 - THRILLER
Paragraph 6
STPro
Non-diagetic
sound
AS EG3 - THRILLER
Paragraph 8 Pshop
Image
manipulation
A2 EG5 – DP/AD
cropping
Paragraph 9 A2 EG6 AP / AD
layers
Pshop
Special
effects
Paragraph 10 Conclusion – reflect on the main skills you have developed from AS to A2 and evaluate how important developing the
skill has been to your work at AS and A2
Paragraph 5
A2 EG2.1 MV
COLOUR GRADING
A2 EG2.2 MV
GREEN SCREEN
FCPro
Special
effects

11. CONCEPTS
Section 1B

12. What to revise…
• Divide up your revision into
CONCEPT AREA
• For each CONCEPT, list each
of the theorists AND each of
the theories that you have
studied for that concept
• For each theorist / theory,
identify 1 or 2 examples
from your Music video
• For each example:
– Analyse how you used the
use of camera, editing and
mise-en-scene
– Explain how this supports
or challenges the theory
REPRESENTATION
Mulvey Goodwin
Railton
&
Watson
Tujillo
Male
Gaze
Active
Female
Artists
Masculine
Power
Masculinity
& the
outdoors
Masculini
ty as
Physical
Power
A2 EG1.1
Camera –
shot type &
movement
A2 EG1.2
Mise-en-
scene
COSTUME
A2 EG2.1
Camera –
shot type
A2 EG 3.1
Mise-en-
scene
costume
A2 EG2.1
Editing –
jump cuts
A2 EG 3.2
Camera –
camera
angle
A2 EG 4.1
Mise-en-
scene -
location
A2 EG 4.2
Camera –
shot distance
A2 EG 5.1
Camera –
shot-type &
angle
A2 EG 5.2
Editing –
cuts and
screen time

13. The need for TRIANGULATION

14. How to organise your revision
Grids and Mindmaps…
or anything that can be
easily converted to an
essay paragraph plan

15. How to organise your revision…A suggestion
REPRESENTATION
THEORIST THEORY MV example 1 MV example 2
MULVEY MALE GAZE
A2 EG1.1
Camera – shot type &
movement
A2 EG1.2
Mise-en-scene COSTUME
DIRECT ADDRESS –
ACTIVE FEMALE
ARTISTS
GOODWIN A2 EG2.1
Camera – shot type
A2 EG2.1
Editing – jump cuts
RIALTO &
WATSON
MASCULINE
POWER THROUGH
DESEXUALISATION
A2 EG 3.1
Mise-en-scene
costume
A2 EG 4.1
Mise-en-scene - location
TRUJILLO
MASCULINITY AS
STRONG AND
PHYSICALLY
POWERFUL
A2 EG 3.2
Camera – camera angle
A2 EG 4.2
Camera – shot distance
TRUJILLO
MASCULINITY AS
BEING OUTDOORS &
IN PUBLIC SPACES
A2 EG 5.1
Camera – shot-type &
angle
A2 EG 5.2
Editing – cuts and screen
time

16. How to organise your revision…some detail
THEORIST THEORY A2 EXAMPLE 1 A2 EXAMPLE 2
MULVEY
The Male Gaze
Representation of women
highlights imbalance in
patriarchal society. Women
as passive, sexual objects to
satisfy male pleasure - they
are ‘looked at’ and the
male viewer is ‘active’ – the
person who ‘looks’.
A2 EG1.1
• Camera –movement & shot
type
• 1st verse – tilt up to intro
our female artist – use of
camera to draw audience to
her body before we intro
her face – conventional of
MV – repetition of this shot
at the beginning of each
verse
• Use of big close up on lips in
chorus – dismembers
mouth – becomes an object
A2 EG1.2
• Mise-en-Scene - costume
• 3 separate costumes – 1 per verse
– helps to brand artist and connect
with target audience of men &
women
• 1st verse especially reinforces male
gaze – short black dress – appeal
to male audience
The Active
Female Artist
Although the female
artist might be dressed
provocatively or use shot
types that indicate a
male gaze, he argues
that in looking directly at
the camera, breaking the
4th wall, the female artist
takes control of her
representation and is
active not passive
A2 EG2.2
• Camera – Shot type
• Chorus – use of mid shots
and medium close ups help
us see the artist looking
directly at the viewer,
breaking the 4th wall.
• makes the artist look in
control in the MV – she
knows we are watching her
and she is watching us
A2 EG2.2
• Editing – jump cuts
• The bridge – tempo of sound
increases – use of jump cuts
creates repetition of CUs where
we use a zoom in on the artist
face one after another
• reinforces she is singing directly
to us – the zoom in brings us
closer to her to remind us that is
singing to us directly
Goodwin

17. From revision to Exam…converting grid to plan
REPRESENTATION
THEORIST THEORY MV example 1 MV example 2
MULVEY MALE GAZE
A2 EG1.1
Camera – shot type &
movement
A2 EG1.2
Mise-en-scene COSTUME
DIRECT ADDRESS –
ACTIVE FEMALE
ARTISTS
GOODWIN A2 EG2.1
Camera – shot type
A2 EG2.1
Editing – jump cuts
RIALTO &
WATSON
MASCULINE
POWER THROUGH
DESEXUALISATION
A2 EG 3.1
Mise-en-scene
costume
A2 EG 4.1
Mise-en-scene - location
TRUJILLO
MASCULINITY AS
STRONG AND
PHYSICALLY
POWERFUL
A2 EG 3.2
Camera – camera angle
A2 EG 4.2
Camera – shot distance
TRUJILLO
MASCULINITY AS
BEING OUTDOORS &
IN PUBLIC SPACES
A2 EG 5.1
Camera – shot-type &
angle
A2 EG 5.2
Editing – cuts and screen
time
Paragraph 1
Paragraph 2
Paragraph 3
Paragraph 4
Paragraph 5
Paragraph 6
Paragraph 7
Paragraph 8

18. Intro – define concept / say you will analyse your music video and give the name of your artist, the song and
genre you worked in / you could also mention some of the theorists you will look at
1B-ExamQuestionParagraphPlan
Paragraph 1
Paragraph 2
Paragraph 3
Paragraph 4
Paragraph 5
Paragraph 7
Paragraph 6
Conclusion – Summarise the main theories & ideas that your Music Video supports and those it challenges – reflect
on the success of the music video in relation to the concept.
MULVEY MALE GAZE
A2 EG1.1
Camera – shot type
& movement
A2 EG1.2
Mise-en-scene
COSTUME
DIRECT ADDRESS –
ACTIVE FEMALE
ARTISTS
GOODWIN A2 EG2.1
Camera – shot type
A2 EG2.1
Editing – jump
cuts
RIALTO &
WATSON
MASCULINE
POWER THROUGH
DESEXUALISATION
A2 EG 3.1
Mise-en-scene
costume
A2 EG 4.1
Mise-en-scene -
location
TRUJILLO
MASCULINITY AS
STRONG AND
PHYSICALLY
POWERFUL
A2 EG 3.2
Camera – camera
angle
A2 EG 4.2
Camera – shot
distance
TRUJILLO
MASCULINITY AS
BEING OUTDOORS &
IN PUBLIC SPACES
A2 EG 5.1
Camera – shot-
type & angle
A2 EG 5.2
Editing – cuts
and screen time

19. GOOD
LUCK