A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Fm4 spectatorship emotional response A-Level A2 Film StudiesIan Moreno-Melgar
An overview of approaches to emotional response in Film & Cinema Studies. Contains a range of theories, approaches and examples including Barthes, Hypodermic Needle Theory, Censorship & Reception Theory. Includes work on Kill Bill, V for Vendetta, Hitchcock's Psycho, the Lumiere Brothers and George Melies.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Basic intro to using Film sound in media product. Some examples of music effects contrapuntal sound and the power of sound in reinforcing meaning in product
Eduqas New GCSE Film Studies: An approach to Component 2, Global Film. Ian Moreno-Melgar
A PowerPoint presentation I've presented at various Eduqas (WJEC) CPD sessions in January/February 2017 that looks at possible approaches to Component 2 of the new Film Studies GCSE. This presentation focuses on the use of Let the Right One in, Attack the Block and District 9 as well as how to incorporate elements of Film Language and context. There are several resources included here, many of which can be found on the WJEC/Eduqas Facebook group. Please get in touch if I can help in any way.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Fm4 spectatorship emotional response A-Level A2 Film StudiesIan Moreno-Melgar
An overview of approaches to emotional response in Film & Cinema Studies. Contains a range of theories, approaches and examples including Barthes, Hypodermic Needle Theory, Censorship & Reception Theory. Includes work on Kill Bill, V for Vendetta, Hitchcock's Psycho, the Lumiere Brothers and George Melies.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Basic intro to using Film sound in media product. Some examples of music effects contrapuntal sound and the power of sound in reinforcing meaning in product
Eduqas New GCSE Film Studies: An approach to Component 2, Global Film. Ian Moreno-Melgar
A PowerPoint presentation I've presented at various Eduqas (WJEC) CPD sessions in January/February 2017 that looks at possible approaches to Component 2 of the new Film Studies GCSE. This presentation focuses on the use of Let the Right One in, Attack the Block and District 9 as well as how to incorporate elements of Film Language and context. There are several resources included here, many of which can be found on the WJEC/Eduqas Facebook group. Please get in touch if I can help in any way.
Week 5 Instructor GuidanceOne of the topics we’ve been talki.docxcockekeshia
Week 5 Instructor Guidance
One of the topics we’ve been talking about throughout this course is how we can track both the personal and societal impact of film. In fact, your Week One Introduction post asked you to consider this issue and, as we progressed through the class and learned new terminology--new ways of looking at film, we were able to reconsider and develop our perspectives on this.
Both of your discussion posts this week touch on this issue, and it comes up in relation to your final written assignment as well.
While everything we’ve learned has helped us develop a critical capacity for talking about film, deepening our appreciation of the medium itself, ultimately our understanding of the (sometimes very personal) way film intersects with society is the key to unlocking another layer to the material from this course.
Students sometimes wonder about this course, asking how the material directly impacts their study of a chosen major. Students may even go a step beyond that and ask about how the material they've been studying has bearing on their anticipated career field at all!
That's why it's important to take a step back, away from the camera, away from the specifications of shots or the varying aspects of cinematography. It's time to pull our eyes away from the screen and look around at the world that surrounds us. We should be able to identify and consider the many ways film can impact society . . . as well as how society may impact film! In this way, we can start to consider how we can apply what we've learned in this class!
A recent study conducted by the University of Rochester (NY) finds that watching and discussing movies about relationships is as effective in lowering divorce rates as other, more intensive, early marriage counseling programs! Watch this video presentation.
Follow this link for more information about the study, and to download information about the films the couples watched, as well as the different questions the researchers asked the couples to reflect on after they watched specific movies.
As you reflect on your own journey in this class--how you watch movies and the kinds of impacts that films can have on people--try to think deeply about the many ways we engage with film and what it can really mean to us in our majors, in our careers, and in our lives!
Many of the movies we respond to are made for mostly for entertainment. No matter their artistic value, or how intelligent the plot may be, the main goal is to find an audience and get them to pay money to watch what unfolds onscreen. Individual members of the creative team--the director, the writer, specific actors--might have other more lofty aims, but at the root there is a basic economic principle at work.
Therefore, it would be easy to write these films off and focus more exclusively on documentaries or smaller budget movies made by guerilla filmmakers who aren't tied to the money making Hollywood scheme of things. We could focus on films that try.
An activity booklet and guide to to film history, mise-en-scene, cinematography, and editing, designed for GCSE Film Studies.
Featuring over 170 pages of information, analysis, tasks, assessments, insights and examples, this guide is the definitive introduction to the basics of film studies, designed to introduce students at GCSE to key concepts that they need for their whole film education.
Lady From Shanghai booklet for A-Level Film StudiesIan Moreno-Melgar
A 55 page guide to the film The Lady From Shanghai for the A-Level Film Studies course for Eduqas. This highly detailed guide to the film is available to buy as an editable Word doc and PDF from here:
This workbook and guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Orson Wells, film noir, auteur cinema, Classical Hollywood, a thorough exploration of ideology, plus analytical work and tasks , work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download.
Thanks for taking a look at my resource. This resource is a 53 page, 18,000 word guide to the A-Level Film Studies section on Silent Cinema and Buster Keaton as part of the Component 2 aspect of the course. This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include a variety of contextual information and tasks, from work on American silent cinema, the life of Keaton, a look at Soviet montage theory, German expressionism, a detailed analysis of the 4 short films Cops, One Week, The High Sign and The Scarecrow, plus explorations of critical debates and an introduction to expressionism, work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
GCSE Film History booklet updated for new spec from 2022_watermark.pdfIan Moreno-Melgar
Fully updated to take advantage of the updated 2022 GCSE Film Studies specification, this booklet is designed to cover the Technology of Film aspect of the course. Featuring nearly 25 pages, this in depth guide expands the timeline provided by the exam board by offering more detail, facts, anecdotes, information and a wide range of tasks. There is also a suggested viewing task at the end to ties things together. This version contains the Word AND PDF versions of the booklet. The PDF version can be instantly printed and distributed to students to be used as a workbook. It's also great for revision, for digital distribution or hosting for students or just for your own reference. The Word version is perfect for editing and adapting to you and your students needs.
You can buy this from here:
https://ko-fi.com/s/e7f83fdf7d or here:
https://www.tes.com/teaching-resource/resource-12414478
Thanks for taking a look at my resource. This resource is a 69 page, 24,000+ word guide to the A-Level Film studies film BLADE RUNNER.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Ridley Scott, sci-fi, auteur cinema, American New Wave cinema, a thorough exploration of ideology, details on the aesthetics of the Cyber Punk movement, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high-quality PDF, ready for printing or sharing immediately.
MOON booklet - a guide, workbook and text book for A-Level film studies for E...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 48 page, 12,000+ word guide to the A-Level Film studies film MOON.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Pan's Labyrinth A-Level Film Studies student booklet e-book workbook study guideIan Moreno-Melgar
A detailed guide and workbook for Pan's Labyrinth as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Spanish Cinema, Civil War, as well as work on representation and aesthetics as well as the aesthetic influences of Director Guillermo Del Toro.
City of God A-Level Film Studies student booklet e-book workbook study guide Ian Moreno-Melgar
A detailed guide and workbook for City of God as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Third Cinema and Cinema Novo as well as work on representation and aesthetics.
The idea behind this booklet is essentially to cover a broad range of topics and ideas related to both GCSE Film Studies exams but in a way that is very much revision: this booklet works best when you already have studied the individual films and topics needed and just need to revise those key ideas in a practical manner.
If you'd like to buy a copy please find here: https://iandoublem.sellfy.store/p/armbcq/
or here: https://www.tes.com/teaching-resource/-12649950
Throughout you will see references to ’30 Days of Film Revision’: the original plan was to include 30 different tasks that could be completed one day at a time leading up to the day of the Component 1 exam. There are actually 31 activities in total now, in part because I added an extra day to relax, but also to include additional material that focuses on each exam in specific focus; these are the final “exam on a page’ resources you will find on pages 31 and 32.
When designing this booklet, I have done so with the methodology of recalling more generic, broad ideas at the beginning and then eventually becoming more focused and nuanced on specific films and possible exam questions. I also incorporated techniques related to spaced learning, interleaving and dual encoding and for this reason it may seem as though the tasks and ideas are being repeated or are revised once and then pop up again later on.
Finally, I find this booklet works best when printed and photocopied to A3 size allowing for more space to write, but it was designed and therefore works well, at A4 size, ideally as one complete booklet with a page completed each day.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This is a comprehensive guide to cinematography. With nearly 60 pages and over 17,000 words of content, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
The booklet is separated into the generally regarded aspects of cinematography including shot size, camera angle, camera movement, light and colour but also includes detailed explorations of other aspects.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT and assessments.
This is also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This booklet provide an in-depth insight into key aspects of Eduqas GCSE Film Studies with a detailed overview of the history of film technology. Providing key context about the nature of film as a technology from Nicéphore Niépce's first photo the rise of CGI, this booklet covers it all. With dozens of images, photos and links to various clips, videos and bespoke examinations, this booklet will provide students with a thorough examination of how film technology has changed and developed over the last 200 years.
A core focus of this booklet is on the technology timeline which is a key aspect of component 1 in the Film GCSE and this guide is a useful way of providing not only the core details but some extra context and history that helps to provide further insight and context to the technology and the development of it.
This textbook is perfect as a printable textbook for students to work straight onto, as a guide for teachers and staff as it's fully resourced and contains a huge range of tasks and links to YouTube videos, it also works brilliantly as cover work, work for remote learning such as those isolating at home, as a homework or for revision. You could even use this as an introduction, extension or home learning task for A-Level Film Studies.
To purchase, please go to selly.com/iandoublem
A compilation of the presentations from the zoom presentation and meeting on June 24th covering a range of aspects about planning a GCSE Film Studies course.
A study/revision guide that introduces film students to (or reminds them of) mise-en-scene. 33 pages of activities, commentary, analysis and screenshots, all designed by an experienced film studies teacher and senior examiner.
This guide, which is perfect as a unit of work, homework booklet or as a revision guide, can be purchased for just £2.50 at: https://www.tes.com/teaching-resource/-12009989 and can then be easily printed and handed out to students.
A discussion on Facebook about the dwindling numbers of students electing to study Film at GCSE / AS/A Level. Hopefully with the beginnings of a plan to tackle the issues.
If you like the look of this document, you can purchase it from here:
https://sellfy.com/p/4ALc/
Please note: the District 9 study guides are slightly more expensive due to the sheer size and detail of them.
This is a comprehensive scheme of work with 100 pages of detailed information and activities, designed to support in teaching District 9i for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on District 9, directed by Neil Blomkamp in 2009, provides a huge range of activities. Designed to be a digital textbook as well as study and revision guide, this resource features dozens of activities and hundreds of questions as well as information to support students and teachers appreciation of District 9 in relation to Component 2 of Eduqas GCSE Film Studies.
Some of the work includes:
+the context of South Africa, including details on apartheid,
+key facts and information on the making of the film,
+systems for keeping notes during watching with templates using the Cornell notes system,
+dozens of activities on narrative in film studies,
+information and activities on narrative theorists such as Vladimir Propp, Tzetvan Todorov and Claude Levi-Strauss,
+work on narrative techniques such as Chekov's Gun, cause and effect and many more,
in-depth details on key scenes,
+dozens of screenshots from the film as well as images from other relevant areas that have influenced the film,
+dozens of activities for students including hundreds of questions,
+guidance on how to analyse scenes from the film using hexagaonal learning, summary sheets to help with revision key scene analysis which includes links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete!
+many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
Tsotsi Scheme of Work / Viewing Guide / e-book / Revision BookletIan Moreno-Melgar
If you would like to download a copy of this without the watermark, please visit here: https://sellfy.com/iandoublem
A comprehensive scheme of work with over 60+ pages of detailed information and activities, designed to support in teaching Tsotsi for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on Tsotsi, directed by Gavin Hood in 2005, provides a huge range of activities. Some of the work includes: the context of South Africa, including details on apartheid, key facts and information on the making of the film, systems for keeping notes during watching with templates using the Cornell notes system. There are also in-depth details on key scenes, dozens of screenshots from the film as well as images from other relevant areas that have influenced the film. There are also dozens of activities for students including mock exam questions, comprehension questions on location, characters and more. PLUS: guidance on how to analyse scenes from the film using hexagaonal learning and summary sheets to help with revision. Key scene analysis include links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete! Many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
This guide / ebook is designed to help in the delivery of GCSE Film Studies, focusing on Component 2 Global Film. This guide focuses on the key aspects of Representation and film language, as per the Eduqas Specification.
GCSE Film Studies Captain America First Avenger: A Scheme of Work and Case StudyIan Moreno-Melgar
A mini-scheme of work for WJEC GCSE Film Studies Paper 1 on Hollywood genre study of superhero films. This case study is designed to support the Marvel film Captain America The First Avenger (2011). There are 3 YouTube videos embedded to aid certain tasks.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
2. FM4: VARIETIES OF FILM EXPERIENCE
– ISSUES AND DEBATES
Focus of the unit
This unit contributes to synoptic assessment. Understanding will be
fostered through:
Studying complex films from different contexts, extending knowledge
of the
Diversity of film and its effects
Exploring spectatorship issues in relation to a particular type of film
Applying key concepts and critical approaches gained throughout the
course to explore one film in a synoptic manner.
3. FM4
Varieties of Film Experience: Issues and Debates
Three questions, one from each section:
Section A: World Cinema topics (35)
Section B: Spectatorship topics (35)
Section C: Single Film - Critical Study (30)
4. FM4
Section B: Spectatorship topics (35)
Exam is 2 hours 45 mins.
Total of 100 marks available.
Spectatorship (Section B) is worth of 35 marks.
5. FM4
Section B: Spectatorship topics (35)
This section is broken down to a further 4 areas:
A Spectatorship and Early Cinema before 1917 or
B Spectatorship and Documentary or
C Spectatorship: Experimental and Expanded Film/Video or
D Spectatorship: Popular Film and Emotional Response
6. FM4
Section B: Spectatorship topics (35)
This section is broken down to a further 4 areas:
A Spectatorship and Early Cinema before 1917 or
B Spectatorship and Documentary or
C Spectatorship: Experimental and Expanded Film/Video or
D Spectatorship: Popular Film and Emotional
Response
7. FM4 Section B // Sub-section
D
This study is concerned with the ways in which popular film (whether
deriving from Hollywood or elsewhere) produces powerful sensory and
emotional responses in the spectator. It is possible to focus on a
particular genre – such as horror and consider shock effects – or the
melodrama as 'weepie'. Alternatively, the focus may be on spectacle,
whether relating to the body of the star or to the staging/choreography of
action. This topic is not concerned specifically with either issues of
representation or value judgements but rather with developing
understanding about how films create the emotional responses they do. It
is expected that a minimum of two feature-length films will be studied for
this topic.
8. Lesson 1: What is emotion?
TASK:
Compile a list of the various types of emotional
response a film might elicit
9. Lesson 1: What is emotion?
TASK:
How would you define emotion, or an emotional
response?
10. Lesson 1: What is emotion?
Write this down:
What exactly is emotion, or emotional response?
A moving of the mind or soul; excitement of the
feelings, whether pleasing or painful; disturbance or
agitation of mind caused by specific exciting cause
and manifested by some sensible effect on the body
11. Lesson 1: What is emotion?
Can we control our emotions?
To what extent should emotions be seen to be
linked to thought? To what extent should
emotions be seen to be linked to thought?
12. As we watch films we can each experience fear, and pleasure, and desire, and surprise, and shock
and a whole array of possible emotions, but we will not all experience these emotions equally at the
same moments in a film
TASK:
What is that determines our individual predisposition to respond in particular
emotional ways at certain points in certain films?
Think carefully about this but don’t worry about a right answer, this is the debate.
Your job is to recognise that there is an intense interaction with the sounds and images occurring as
we watch films, and that film makers are deliberately setting out to create emotional responses.
Lesson 1: What is emotion?
13. As we watch films we can each experience fear, and pleasure, and desire, and surprise, and shock
and a whole array of possible emotions, but we will not all experience these emotions equally at the
same moments in a film
TASK:
What technical elements can a film maker use to create and
develop the reaction in an audience?
Extension: Think back to a scene that you had an emotional reaction to.
What was the scene? What was your reaction? Why do you think you acted in that way?
Lesson 1: What is emotion?
14. TASK:
What technical elements can a film maker use to create and
develop the reaction in an audience?
Lesson 1: What is emotion?
15. How does a (film) camera
work?
• Can you explain how a traditional film camera works?
16. How does a (film) camera
work?• The chemical component in a traditional camera is film. Essentially, when you
expose film to a real image, it makes a chemical record of the pattern of light. It
does this with a collection of tiny light-sensitive grains, spread out in a chemical
suspension on a strip of plastic. When exposed to light, the grains undergo a
chemical reaction. Once the roll is finished, the film is developed -- it is exposed to
other chemicals, which react with the light-sensitive grains. In black and white film,
the developer chemicals darken the grains that were exposed to light. This
produces a negative, where lighter areas appear darker and darker areas appear
lighter, which is then converted into a positive image in printing. Color film has
three different layers of light-sensitive materials, which respond, in turn, to red,
green and blue. When the film is developed, these layers are exposed to chemicals
that dye the layers of film. When you overlay the color information from all three
layers, you get a full-color negative.
18. Birth of Cinema
Cinema is made possible by the camera. Cameras, traditionally, let light into a
darkened box which then captured a ‘picture’ of what the camera lens saw by
imprinting this on film.
Moving cameras used the same idea, but captured many frames a second that,
when played back quickly, showed that the images were “moving”.
Imagine a flip book.
Cinema is concerned almost exclusively with spectacle and reaction. By using
moving images, an audience can be ‘made’ to feel all sorts of reactions.
If we are not concerned with moving the audience in some way, all that we seek
to do is tell the truth, to show what is real.
What genre or style of film making is concerned with showing “truth”?
19. Documentary
Documentary is an art form that has developed and changed dramactically
since the birth of cinema.
Films, to begin with, were concerned almost exclusively with capturing a
version of ‘real life’ on film, of showing moving images as reality.
This is most clearly the case for the Lumiere brothers who pioneered the idea of
a video camera and who documented Parisian life through the lens of cameras.
21. Arrival of a Train at La Ciotat
(The Lumière Brothers, 1895)
22. Arrival of a Train at La Ciotat
(The Lumière Brothers, 1895)
Even this film footage, presented as real life through a camera lens, provoked
reactions from the audience.
What could those reactions have been? How might the spectators of the time
reacted to this film? Why?
What kind of reaction
do we have watching?
Why?
What kind of reaction
might have audiences
then have had? Why?
Here are some of
the Lumière
Brothers’ other
early works.
26. The Great Train Robbery
(1903)
The Great Train Robbery is a 1903 American Western film written, produced, and directed by
Edwin S. Porter. 12 minutes long, it is considered a milestone in film making, expanding on
Porter's previous work Life of an American Fireman. The film used a number of innovative
techniques including cross cutting, double exposure composite editing, camera movement
and on location shooting. Cross-cuts were a new, sophisticated editing technique. Some
prints were also hand colored in certain scenes.
• The film was directed and photographed by Edwin S. Porter, a former Edison Studios
cameraman. Actors in the movie included Alfred C. Abadie, Broncho Billy Anderson and
Justus D. Barnes, although there were no credits. Though a Western, it was filmed in
Milltown, New Jersey. The film has been selected for preservation in the United States
National Film Registry.
27.
28. The emotional response
that some audiences would
have had to The Great Train
Robbery are drastically
different to ours. Why is
that?
Compile a list of reasons why that is.Compile a list of reasons why that is.
Emotional
response
29. Emotion response
What do you define emotion as now?
For the most part we’ll be dealing with cognitive responses.
Can our emotional response be different to someone else’s if
we watch the same film film? Why?
The mental process of knowing, including aspects
such as awareness, perception, reasoning, and
judgement, that which comes to be known as through
perception, reasoning or intuition; knowledge.
The mental process of knowing, including aspects
such as awareness, perception, reasoning, and
judgement, that which comes to be known as through
perception, reasoning or intuition; knowledge.
30. Why people share emotional
responses
Film Studies and Cultural Studies Film Studies, influenced by Cultural
Studies is increasingly likely to centre on local, small scale and precise
groups of people who share, perhaps, some social or political
‘Formation’. Their behaviour both as individuated spectators and as a
collective of people forming an audience is likely to be understood if we
respect and try to understand the importance of particular life
experiences and social; attitudes they bring with them to the viewing
situation.
What does this mean?!
In your own words, try to explain how we can be sure that people share
emotional responses.
31. Why people share emotional
responses
Groups of people may share a social or political group/formation.
You can be an individual with a specific and unique response, but you
can still ‘belong’ to a group of similar people as an audience.
We need to be able to understand and appreciate both.
You = cry at people who don’t win on quiz shows.
Audience = doesn’t cry.
Still aligned as an
audience because of
your appreciation
for that quiz show.
32. Hypodermic Needle Theory
This Theory is a suggestion that the Media (in this case, Film) has a
direct and powerful affect on its audience.
The HNT states that the Media can invoke change on those who
are exposed to it.
The use of advertising suggests that this theory is true-that by
using the Media to tell someone something, they will go along with
it. An example of this would be Hitler’s use of the Media in
promoting Nazi propaganda.
The title, Hypodermic Needle Theory, refers to the idea of directly
injecting the audience with an idea to create a response.
33. Hypodermic Needle
Theory
Here you can see how we,
as individuals, are treated
as one audience. The film (mass media
product) treats us as one
person, directly trying to
influence us at once.
34. Creating a ‘message’ for the
audience.
The HNT suggests that this decoding is not
really needed. We are ‘forced’ the message.
35. Hypodermic Needle Theory
Case Study: War of the Worlds
• This classic example of The Hypodermic Needle Theory occurred on October
30th
1938 when Orson Welles broadcast a version of the H.G Wells novel War of
the Worlds.
• As a radio program with music started, it was then ‘interrupted’ by an
‘emergency broadcast’ by an apparent news bulletin. The bulletin told the
audience that Martians had begun an invasion of Earth in a place called
Grover’s Mill, New Jersey, America.
• This became known as the “Panic Broadcast” and changed broadcast history,
social psychology, civil defense and set a standard in provocative
entertainment. (Found footage?!) Around 1 million people in the US heard the
broadcast and approximately 1 million of those apparently believed that a
serious alien invasion was underway.
36. Hypodermic Needle Theory
Case Study: War of the Worlds
• A wave of mass hysteria and panic disrupted households, interrupted religious
services, caused traffic jams and clogged communication systems. People fled their
homes in the city to seek shelter in more rural areas, raided grocery stores and began
to ration food. In some ways, the nation was in chaos, caused by the broadcast.
• Media theorists have classified the War of the Worlds broadcast as the perfect
example of the Hypodermic Needle Theory: the broadcast ‘injected’ the message
directly into the audience and created the same thinking for the audience-that
aliens were invading.
Broadcast: http://www.youtube.com/watch?NR=1&feature=endscreen&v=xGUuUudv53k
Apology: http://www.youtube.com/watch?v=2awVqsoLAKI
37. Criticisms of the Hypodermic
Needle Theory
The War of the Worlds case study apparently showed that the
media could directly influence and manipulate a passive and
gullible audience.
However, it also assumes that audiences are the same, that
audiences are a whole group, taking away the influence on the
individual.
38. Criticisms of the Hypodermic
Needle Theory
• The theory was deterministic and this did not allow for freedom of
choice. The audience were ‘injected’ with a one way propaganda.
From this light, one can confidently say that the theory undermines
the right of individuals to freely choose what media material they
consume. The theory is also noted for its passitivity and evidenced
by the fact that audience were not allowed to contribute. This
undermines the core aim of media studies which is the audience.
From the latter, one can argue that the audience could not use their
experience, intelligence and opinion to analyse messages. It will be
very difficult to operate this theory in this new world where the
audience have become sophisticated.
http://www.youtube.com/watch?v=Qt5MjBlvGcY <-------- Handy video for revision!
40. Spectatorship
One of the reasons why the Hypodermic Needle theory was
discredited is because it undermines the role of the individual
spectator.
A spectator is an individual member of an audience. Spectatorship
is an important concept in film theory. Traditional models of
audience response tend to treat viewers, readers or listeners as
groups, spectatorship study suggests that the film builds a specific
relationship with every individual who experiences it. Rather than
being concerned with media effects, spectatorship study focuses
on understanding the ways films produce pleasure in their viewers.
41. Responses
Our response to a film draws on the whole of the self, a self that includes:
A social self who can make meaning in ways not very different from other with a
similar ideological formation
A cultural self who makes particular intertextual references (to other films, other
kinds of images and sound) based on the bank of material s/he possesses
A private self who carried the memories of his/her own experiences and who may
find person significance in a film in ways very different from others
A desiring self who brings conscious and unconscious energies and intensities to
the film event that have little to do with the film’s ‘surface’ content
42. Responses
A cultural self who makes particular intertextual references (to other films, other
kinds of images and sound) based on the bank of material s/he possesses
Use of celebrities and the jokes about them in Family Guy
http://www.youtube.com/watch?v=AlVUKQ96VxI
Shrek fighting using ‘Bullet Time’
http://moviesimpsons.tumblr.com/
http://www.totalfilm.com/features/100-greatest-simpsons-movie-
references/harry-potter-and-the-philosopher-s-stone
Tarantino references
http://www.collegehumor.com/video/6860507/every-pop-culture-reference-from-
tarantino-movies
A cultural self who makes particular intertextual references (to other films, other
kinds of images and sound) based on the bank of material s/he possesses
Use of celebrities and the jokes about them in Family Guy
http://www.youtube.com/watch?v=AlVUKQ96VxI
Shrek fighting using ‘Bullet Time’
http://moviesimpsons.tumblr.com/
http://www.totalfilm.com/features/100-greatest-simpsons-movie-
references/harry-potter-and-the-philosopher-s-stone
Tarantino references
http://www.collegehumor.com/video/6860507/every-pop-culture-reference-from-
tarantino-movies
43. Responses
Our response to a film draws on the whole of the self, a self that includes:
A social self who can make meaning in ways not very different from others with a
similar ideological formation.
http://cli.ps/sP6wn
http://cli.ps/uWp3L
http://cli.ps/MxCyj
http://cli.ps/KdPx
Write down your responses to these
clips.
Emotions, reactions, thoughts, opinions.
Do we share any?
44. Responses
• A private self who carried the memories of his/her own experiences and who may
find person significance in a film in ways very different from others
• Films which are especially brash, obvious or shallow in theme are unlikely to
provoke a strong personal response. Action films, for example, are not usually
something which someone could find a significant response in. (By significant we
mean anything other than the ‘basic’ instant emotions of gratification.)
• Films which are more subtle, dealing in themes, often universal ones but on a
micro level, are more likely to provoke a personal response because they allow for
a degree of interpretation or interaction. A specific response may be triggered by
something specific in, or suggested by, the film, but this is entirely down to the
spectator.
Can you think of any specific personal examples that you’d care to share? If not, think of an example or
two and make a note to help you recall this idea at a later stage.
45. • A desiring self who brings conscious and unconscious energies and
intensities to the film event that have little to do with the film’s ‘surface’
content.
Responses
Your turn.
What do you think this means? Can you rephrase it?
Can you think of any examples in films that you’d be willing to share?
46. Responses
The opening scenes to V for Vendetta.The opening scenes to V for Vendetta.
How do we respond? Make a note of these whilst watching.How do we respond? Make a note of these whilst watching.
Then, can you explain what type of response it is?Then, can you explain what type of response it is?
What self/selves has(have) helped to create that response?What self/selves has(have) helped to create that response?
Feel free to not share any difficult personal responses, butFeel free to not share any difficult personal responses, but
certainly make a note of them.certainly make a note of them.
47. Responses
How are these responses created by the filmHow are these responses created by the film
makers?makers?
Combine your understanding of response withCombine your understanding of response with
that of film-making and criticism.that of film-making and criticism.
Prepare to answer an essay question on this…Prepare to answer an essay question on this…
48. Emotional response and
pleasure• Filmmakers have always attempted to gain some sort of emotional response
from spectators, and for their part spectators have always responded
emotionally to film.
• More than that, spectators have always attended the cinema in order to have
their emotions aroused and with the expectation that this will take place. This is,
after all, a basic function of storytelling.
• Stories gain emotional responses from listeners, readers or viewers. Effective
storytelling encourages us to feel human emotions by allowing us to sympathise,
empathise or even identify with characters and their narrative experiences.
• As spectators (and as readers) we presumably find this process to be
pleasurable or we would not return time after time to films (and stories), but in
what ways is it pleasurable?
49. In what ways is it
pleasurable?• In groups, think of ways in which a spectator could find
a film pleasurable.
• (You may want to think of different genres of films to
give you ideas here)
Happy
ending
Ambiguity
Nostalgia
Twists
True stories
Inspirational
Mystery
Emotional
challenge
Challenge your
intelligence
Laughter/escapism
Justice
Adrenaline
Intrigue
Desirability
Lust
51. The opening to
Psycho• Psycho would seem to encourage the notion of film as
voyeuristically pleasurable but what is the connection between
voyeurism and emotional response?
• What sorts of emotional response does voyeurism bring about?
• Are we being permitted to give rein to a type of human interest in
others that might more normally be considered socially
unacceptable?
• If so, what sorts of emotion do we experience at this point?
52. Responses
The opening scenes to Psycho
How do we respond? Make a note of these whilst
watching.
Then, can you explain what type of response it is?
What self/selves has(have) helped to create that
response?
In what ways is this a pleasurable opening for an
audience?
How?
53. What emotions are
engendered here?• Reservoir Dogs (1992)
(Please note: pretty grim!)
• Do these emotions involve pleasure of some sort?
• If so, what is the nature of this pleasure?
• If it is not pleasurable, why do spectators watch these sorts of
scenes, deliberately exposing themselves to a certain type of
emotional response?
54. Responses
The ear cutting scene in Reservoir Dogs
Why is this scene ‘pleasurable’?
How do we respond? Make a note of these whilst watching.
Then, can you explain what type of response it is?
What self/selves has(have) helped to create that response?
In what ways is this a pleasurable opening for an audience?
How?
Use these notes to write a mini-essay as an explanation.
Make sure that this is neat as others in the class will be
reading your work.
55. Kill Bill
• Homework 1:
• Research Tarantino, research the film.
• Make sure you are aware of his films and the controversy around some
of them.
• Make sure you know key production details off by heart, including the
main story and characters.
• Make sure that you can pick out a few key scenes from the film.
http://movieclips.com/S3dLR-kill-
bill-vol-1-movie-videos/#p=1
http://movieclips.com/S3dLR-kill-
bill-vol-1-movie-videos/#p=1
56.
57. What’s shocking to
you?
•List the range of ways in which you see film as being
potentially 'shocking', and try to give an example for each.
In order to comply with Film Studies good practice you
should try to refer to specific scenes within particular films.
58. What is shocking to
the viewer here?
• https://www.youtube.com/watch?v=4omQNqCMFb0
• What specifically is it here that is working to create shock?
• Refer specifically to micro features and then bring in a more detailed
response from the work we did before Easter.
59. Un Chien Andalou
(1929)•In carrying out the act of analysing this clip, you should now
be aware of the way in which 'shock’ in film can be talked
about in terms of either the content (or subject matter) and the
form (or style) of the film under discussion. Clearly the opening
eye-slitting subject matter of Un Chien Andalou is itself
shocking, but so too is the film construction in terms of the
way in which use is made of close-ups and an editing cut
from the blank face of the woman with her eye being held
open to the actual eyeball-cutting shot.
60. Un Chien Andalou vs. Reservoir
Dogs• Compare the way in which the scene from Un Chien Andalou is constructed with the slicing off
of the policemans ear in Reservoir Dogs (Tarantino, 1991) which is handled in an altogether
different way.
http://www.youtube.com/watch?v=LLTqecGbdCc
• Both scenes will draw a sense of shock from most spectators on a first viewing but perhaps the
nature of the shock is different in both instances.
Make notes on:
The use of mise-en-scene, performance, cinematography, editing and sound in both cases.
• For both scenes consider whether the nature of the shock changes on a second viewing, and if so in
what ways.
• Are there other emotional responses that you or other spectators have had to either of these scenes?
Could you imagine the possibility of further emotional responses that neither you nor anyone you have
spoken to has had but which might be possible for other spectators?
61. Homework
• Kill Bill
• 1. Note at least 3 scenes from the film that caused you to have a strong
emotional response? Describe the emotional response
• 2. How were these emotional responses caused by the construction of
film?
• 3. How were these emotional responses shaped by YOU, the
spectator?
• 4. How would different spectators react to this film?
62. Shock and the
‘shocking’
• As you discuss or think about films and scenes from films that create
an emotional shock, always make sure you are considering both
content and film form.
• Try to decide on the nature of the shock experienced and the intensity
of that shock. Is it a physical shock that affects your bodily response in
some way?
63. Shock and the
‘shocking’• ‘ Shock’ as sudden and unexpected, or long-drawn out.
• ‘ Shock’ in film usually occurs as something sudden and
unexpected so that the viewer is as it were caught unawares.
• But it is worth bearing in mind that this is not always the case;
sometimes the shock effect is achieved in a rather more long-
drawn-out fashion.
• Can you think of any examples of scenes that are shocking or that
create shock because something is more drawn-out or longer than a
sudden jump? Why are these examples shocking?
64. Shock and the
‘shocking’• 'Shock' suggests a state of being stunned by what you have felt to
be repulsive in its brutality, so that you (and probably all watching
with you) are startled, surprised by what you have witnessed,
knocked off balance, and probably very silent.
• But consider another form of possible emotional response, the
tearful response. Is this part of 'shock' or is it something different?
• Why do you think we are sometime brought to tears by film?
• Consider technical, micro elements of film making, and physiological, human
reasons for this type of response.
65. Projecting Illusion
• Projecting Illusion: Film spectatorship and the impression of reality
(Richard Allen)
• Contemporary film theorists argue that, for a number of reasons,
the cinematic image appears to spectators as if it were reality, but
this appearance is an illusion. In fact, the cinematic image provides
“an impression of reality…”
• “ Cinema is a form of signification that creates the appearance of a
knowable reality and hence confirms the self definition of the
human subject as someone capable of knowing that reality… the
reality are the “effects” of a process of signification”
66. Projecting Illusion
• Projecting Illusion: Film spectatorship and the impression of reality
(Richard Allen)
• Contemporary film theorists construe the film spectator as a
passive observer of the image who is duped into believing that it is
real. It could be argued however, that the modern day film
spectator knows it is only a film but actively participates in the
experience of illusion that the cinema affords.
• Choose a ‘shocking’ scene from Kill Bill to explore.
• Looking at a scene, consider why it is shocking. What aspects of us as active
participants allow us to both understand and believe that it is a film?
67. • The interaction between director and
spectator can be achieved through the
manipulation of the following information:
• Textual – information provided by the text
itself
• Extra-textual – information existing in the mind
of the spectator (think carefully about where
this might come from)
Projecting Illusion
68. Projecting Illusion
• Watch the following extracts from Kill Bill and make notes on
the following:
• How does the director invite us (spectator) to view the film
as a construct?
• What effect does this have on your response to the film?
• How is extra-textual information used to create meaning for
the spectator?
69. Question practice:
• Spectatorship: Popular Film and Emotional Response
• Your answer should be based on a minimum of two films. Either,
• 15. ‘Narrative is often assumed to be the most important factor in triggering
emotional response whereas style is often overlooked.’ How far do you agree
with this? [35]
• Or,
• 16. ‘Some spectators can laugh, others cry at the same sequence.’ Explore
why spectators may react very differently to the same sequences in the films
you have studied for this topic. [35]
70. Question practice:
• Spectatorship: Popular Film and Emotional Response
• Your answer should be based on a minimum of two films. Either,
• 15. ‘Narrative is often assumed to be the most important factor in triggering
emotional response whereas style is often overlooked.’ How far do you agree
with this? [35]
• Or,
• 16. ‘Some spectators can laugh, others cry at the same sequence.’ Explore
why spectators may react very differently to the same sequences in the films
you have studied for this topic. [35]
HOMEWORK DUE IN ON
15th MAY
71. Deconstruction
• This theory challenges the assumption that a text has an
unchanging, unified meaning that is true for all readers and also
the idea that the author is the source of any text’s meaning. The
approach suggests that there is a multiplicity of legitimate
interpretations of a text.
• Theories such as this, developed particularly during the 1970s,
tended to emphasise the viewer’s control over the creation of the
film being watched.
72. Deconstruction
• However, other theories have attempted to demonstrate how the
spectator is fixed in place by the text (or by the system of values
within the text) so that audiences are manipulated by filmmakers
into seeing things, and therefore thinking, in certain ways.
• The tension between concepts of the reader/spectator as on the
one hand active and in control, and on the other hand passive and
as a victim, lies at the heart of ideas regarding the experience of
spectatorship, or the process that is taking place as we view films.
73. Censorship
• Censorship and regulation have always sought to restrict groups of
people from viewing certain films.
• Does the implementation of censorship and/or classification
suggest that there is a fear that film could create too strong an
emotional response from certain social groups?
• Films have always been seen to have the power to bring about
antisocial behaviour, particularly in the young and the working
class.
• To what extent is it a heightened emotional response that has been
feared in theses circumstances?
74. Censorship
• Films have always been seen to have the power to bring about
antisocial behaviour, particularly in the young and the working
class. To what extent is it a heightened emotional response that
has been feared in theses circumstances?
• Use http://www.sbbfc.co.uk/CaseStudies/ to research two films and
prepare to feedback with answers to the these questions:
• Why where those films controversial?
• What did the BBFC say about the issues of controversy?
• How might these scenes bring about a heightened emotional response-
what might the audience’s reaction be?
75. Censorship
• Films have always been seen to have the power to bring about
antisocial behaviour, particularly in the young and the working
class. To what extent is it a heightened emotional response that
has been feared in theses circumstances?
• Use http://www.sbbfc.co.uk/CaseStudies/ to research two films and
prepare to feedback with answers to the these questions:
• Why where those films controversial?
• What did the BBFC say about the issues of controversy?
• How might these scenes bring about a heightened emotional response-
what might the audience’s reaction be?
HOMEWORK FOR HALF
TERM.
76. Censorship
• Films have always been seen to have the power to bring about
antisocial behaviour, particularly in the young and the working
class. To what extent is it a heightened emotional response that
has been feared in theses circumstances?
• Use http://www.sbbfc.co.uk/CaseStudies/ to research two films and
prepare to feedback with answers to the these questions:
• Why where those films controversial?
• What did the BBFC say about the issues of controversy?
• How might these scenes bring about a heightened emotional response-
what might the audience’s reaction be?
HOMEWORK FOR HALF
TERM.
SO IS YOUR REVISION
77. Censorship
• Films have always been seen to have the power to bring about
antisocial behaviour, particularly in the young and the working
class. To what extent is it a heightened emotional response that
has been feared in theses circumstances?
• Use http://www.sbbfc.co.uk/CaseStudies/ to research two films and
prepare to feedback with answers to the these questions:
• Why where those films controversial?
• What did the BBFC say about the issues of controversy?
• How might these scenes bring about a heightened emotional response-
what might the audience’s reaction be?
HOMEWORK FOR HALF
TERM.
SO IS YOUR REVISION
WHICH YOU REALLY SHOULDHAVE STARTED BY NOW
78. Reception Theory
• Reception theory hoped to be a more sophisticated approach to
studying audiences, concentrating more on those who consume a
text than the text itself.
• When a text is encoded (watched & understood; note, only
possible for active not passive, viewers) certain ideologies are
dominant in an audience member, a spectator.
• The audience decodes this message in multiple ways and this is
dependent on the background of the person.
• This links in with what 4 ideas we discussed earlier in the
course?
79. Reception Theory
When a text is
encoded (watched
& understood; note,
only possible for
active not passive,
viewers) certain
ideologies are
dominant in an
audience member,
a spectator.
The audience
decodes this
message in
multiple ways
and this is
dependent on
the background
of the person.
80. Reception Theory
• Reception Theory states that an audience may respond in one of three ways based on their
reading of a film and how they ‘decode’ the meanings / ideologies placed in to the text by
the filmmaker.
• Preferred Reading – taking an intended reading of the film
identifying and agreeing with all messages encoded in to the text
• Negotiated Reading – the viewer identifies most of the meanings
encoded in to the text but does not agree with, or take the full
meaning
• Oppositional Reading – the viewer does not identify the meanings
encoded in to the text and their own personal ideologies /
experiences form an alternate meaning within the text
81. Reception Theory
• Reception theory dictates that a film does not have any meaning without the
spectator . Meaning is only generated when the spectator views. the text and
‘decodes’ it.
• This makes good logical sense, after all, how can there be a meaning without it
being seen?
What is the difference between ‘Meaning’ and ‘Response’?
Meaning deals with themes and specific scenarios
Response is an all-encompassing interaction with the film as a whole.
82. Reception Theory
• Reception Theory states that an audience may respond in one of three ways based on their
reading of a film and how they ‘decode’ the meanings / ideologies placed in to the text by
the filmmaker.
• Preferred Reading – taking an intended reading of the film
identifying and agreeing with all messages encoded in to the text
• What could a preferred reading of Kill Bill be?
83. Reception Theory
• Reception Theory states that an audience may respond in one of three ways based on their
reading of a film and how they ‘decode’ the meanings / ideologies placed in to the text by
the filmmaker.
• Negotiated Reading – the viewer identifies most of the meanings
encoded in to the text but does not agree with, or take the full
meaning
• What could a negotiated reading of Kill Bill be?
84. Reception Theory
• Reception Theory states that an audience may respond in one of three ways based on their
reading of a film and how they ‘decode’ the meanings / ideologies placed in to the text by
the filmmaker.
• Oppositional Reading – the viewer does not identify the meanings
encoded in to the text and their own personal ideologies /
experiences form an alternate meaning within the text
• What could an oppositional reading of Kill Bill be?
85. Central ImaginingCentral Imagining
• Arguably the central function of spectatorship is Central Imagining.
• This refers to an immersion in the film. There are certain times when a
spectator experiences ‘central-imagining’ – when a film recreates physical
sensations such as falling over or walking in a daze.
• In theory, central imagining is the merging of the spectator with the film-when the
cinematic experience is felt physically.
• Central imaging is often expressed as “I feel…”
• Technology has always been at the forefront of the drive for spectatorship in this
regard, with the use of colour, widescreen ratios, stereo and later surround sound,
IMAX and arguably, 3D.
• What is the earliest example we know of where an immature audience responded
to technology through central imagining?
86. Arrival of a Train at La Ciotat
(The Lumière Brothers, 1895)
87. A-Central ImaginingA-Central Imagining
• Most of the time film spectators operate in the ‘I imagine that...’ mode –
meaning they do not feel the physical effects but can imagine how a certain
sensation may feel.
• “I imagine that it must be pretty terrifying seeing someone cut off a man’s head and
knowing that if you say the wrong thing, you’ll be next”
• A-Central imagining is often expressed as “I imagine that…”
• Write down 3 examples of central imagining for either Kill Bill or True Grit AND
• Write down 3 examples of A-central imagining for either Kill Bill or True Grit.
88. SummarySummary
• Essentially when we view films we have a combination of responses
ranging from preferred to oppositional to individual emotional responses.
• We as spectators can have our physical responses manipulated via
Central imagining and our emotional responses manipulated by A-Central
imagining
• The A-Central Imagining depends on our extra-textual reading of a film
whilst the central imagining depends on how the director uses the camera
to elicit physical responses (shock, tears...)
89. RevisionRevision
• Using your notes from the previous lessons answer the following
questions:
• How does Tarantino construct the characters of The Bride and Oren in the scenes that
we’ve focused on?
• What personal experiences have contributed to your personal recognition of the
characters and how you respond to them?
• Which characters do you feel the most allegiance towards?
• How is this allegiance created? (you must consider the micro elements and personal
experiences)