Our film is a closed narrative that tells the complete story of Laura's life with drugs from start to finish without any cliffhangers. It sends a clear message that drug use will ultimately lead to death without leaving any unanswered questions for the audience. The narrative structure has not changed from the first draft, as it still follows Laura's story in a linear manner from start to end.
The document discusses the rating that the film would receive from the British Board of Film Classification (BBFC). It notes that the film would likely be rated 15 since the content would not be suitable for younger audiences. It provides information on the BBFC and what each rating means in terms of content restrictions like language, sex, violence etc. The 15 rating means that no one under 15 can view the film in cinemas or rent/buy the video.
Based on the information provided about our film and the BBFC rating system, I would recommend our film be rated 12A. While our film contains horror elements involving ghosts, the disturbing sequences would not be frequent or constant enough to warrant a 15 rating. A 12A rating would indicate that children under 12 can view the film if accompanied by an adult, which seems appropriate given the mature themes in our ghost story but not excessive graphic content.
Based on the details provided about the film and the BBFC rating guidelines, I would recommend classifying our film as a 15 rating. While it deals with mature themes of hauntings and ghosts, the film does not contain strong language, graphic nudity, or excessive violence that would warrant an 18 rating. A 15 rating allows us to explore these themes in an age-appropriate way for older teenagers while avoiding content unsuitable for younger viewers.
The document provides an evaluation of the student's media production project. It discusses various technical and creative aspects of constructing the opening to a short film, including use of titles, mise-en-scene, camerawork, editing, sound, and character development. The student learned key skills like blogging, camera operation, and video editing software. Organization and planning improved from the preliminary task. Overall the project helped develop the student's understanding of film production.
The document provides details about characters in a film, including their names, ages, costumes, makeup, stereotypes and more. It describes characters like Cilia Elizabeth Carter, a 73-year-old woman portrayed as a dead woman from the 1800s. The document also shares information about filming locations and influences from other films for titles and credits.
The document discusses conventions used in thriller films. It provides examples of conventions like false endings, innocent victims, escaped convicts, and villains/victims. False endings purpose is to keep audiences thinking with a cliffhanger. Innocent victims make audiences feel sympathy and shock when the victim kills the villain. Escaped convicts show how smart and cunning they are in planning their escape. Villains/victims keep the villain a mystery while showing victims get hurt to disturb audiences.
Cilia Elizabeth Carter is represented as an old, scary maid in the film who is threatening and angry after being killed. She is portrayed this way to show how dangerous ghosts can become if you enter their territory. The character is meant to appear threatening to audiences.
The document discusses potential film ratings for a new film from the BBFC rating system. It provides information on the criteria for ratings such as U, PG, 12A, 15, and 18. The film would likely receive an 18 rating due to its depiction of drugs and sexual content, which are restricted for audiences under 18 according to the BBFC guidelines. The 18 rating allows unlimited bad language and strong realistic sex scenes, as long as they are justified by context.
The document discusses the rating that the film would receive from the British Board of Film Classification (BBFC). It notes that the film would likely be rated 15 since the content would not be suitable for younger audiences. It provides information on the BBFC and what each rating means in terms of content restrictions like language, sex, violence etc. The 15 rating means that no one under 15 can view the film in cinemas or rent/buy the video.
Based on the information provided about our film and the BBFC rating system, I would recommend our film be rated 12A. While our film contains horror elements involving ghosts, the disturbing sequences would not be frequent or constant enough to warrant a 15 rating. A 12A rating would indicate that children under 12 can view the film if accompanied by an adult, which seems appropriate given the mature themes in our ghost story but not excessive graphic content.
Based on the details provided about the film and the BBFC rating guidelines, I would recommend classifying our film as a 15 rating. While it deals with mature themes of hauntings and ghosts, the film does not contain strong language, graphic nudity, or excessive violence that would warrant an 18 rating. A 15 rating allows us to explore these themes in an age-appropriate way for older teenagers while avoiding content unsuitable for younger viewers.
The document provides an evaluation of the student's media production project. It discusses various technical and creative aspects of constructing the opening to a short film, including use of titles, mise-en-scene, camerawork, editing, sound, and character development. The student learned key skills like blogging, camera operation, and video editing software. Organization and planning improved from the preliminary task. Overall the project helped develop the student's understanding of film production.
The document provides details about characters in a film, including their names, ages, costumes, makeup, stereotypes and more. It describes characters like Cilia Elizabeth Carter, a 73-year-old woman portrayed as a dead woman from the 1800s. The document also shares information about filming locations and influences from other films for titles and credits.
The document discusses conventions used in thriller films. It provides examples of conventions like false endings, innocent victims, escaped convicts, and villains/victims. False endings purpose is to keep audiences thinking with a cliffhanger. Innocent victims make audiences feel sympathy and shock when the victim kills the villain. Escaped convicts show how smart and cunning they are in planning their escape. Villains/victims keep the villain a mystery while showing victims get hurt to disturb audiences.
Cilia Elizabeth Carter is represented as an old, scary maid in the film who is threatening and angry after being killed. She is portrayed this way to show how dangerous ghosts can become if you enter their territory. The character is meant to appear threatening to audiences.
The document discusses potential film ratings for a new film from the BBFC rating system. It provides information on the criteria for ratings such as U, PG, 12A, 15, and 18. The film would likely receive an 18 rating due to its depiction of drugs and sexual content, which are restricted for audiences under 18 according to the BBFC guidelines. The 18 rating allows unlimited bad language and strong realistic sex scenes, as long as they are justified by context.
The document discusses various concepts related to analyzing media, including:
- Definitions of denotation and connotation for words like snake, flag, and gun.
- Analyses of movie posters discussing colors, lighting, costumes, props, and locations.
- Descriptions of film clips in terms of genre.
- Analyses of how changing a film's soundtrack or narrative can alter its meaning and perception.
- Discussions of stereotypes related to gender, class, age, and other social groups.
- Iconography commonly found in Western, science fiction, and fantasy genres.
- Definitions of linear and non-linear narratives and examples of films that demonstrate each.
The document provides an evaluation of a student media project titled "Forever In My Heart". It discusses several elements of the project including the title, setting, costumes, camerawork, editing, fonts, story, characters, target audience, and technologies used. The students learned about camera techniques, editing styles, and the filmmaking process through constructing the project.
The document discusses how the media products "Torment" and "Rumour" use and challenge conventions of the thriller genre.
"Torment" is a 1920s psychological thriller that challenges stereotypes by having the female protagonist kill the male antagonist. "Rumour" is an action thriller set in the woods that features two young female protagonists being stalked by an unknown creature.
Both productions aim to follow thriller conventions like suspense, mystery, and vulnerable characters while also challenging expectations through choices like their settings, characters, and endings. Research of films like "Blair Witch Project" informed the productions' style and plot developments.
The document discusses ideas that the filmmakers took from other horror films to use in their own film, including: having friends in a picture at the start to establish equilibrium, having a character research to add mystery, using headings inspired by another film but changing the font and color, and using sci-fi effects and handheld camera for shots of an actor to add a dark edge.
The document provides an evaluation of exam numbers for a storyboard and opening sequence clips, summarizing conventions used and challenged, inspirational films, similarities and differences to real films, representation of stereotypes, and research into film distribution companies. Research showed that Lionsgate owns Mandate Pictures which owns Ghost House Pictures, an appealing option known for thriller and horror films similar to the proposed film.
Evaluation question 1- improved
In what ways does your media product use, develop or challenge forms and conventions of real media products?
IMPROVED VERSION.
Question 1; in what way does your media product use, develop or challenge for...Katie Wright
This document discusses how the student's media product opening for a horror/slasher film uses and develops conventions of the genre. The opening uses typical slasher conventions like a mysterious killer, bloody title graphics, and settings that build tension. Locations include an unknown garage where the killer prepares, and an abandoned train track in the woods. Character types and the ordering of opening credits also follow conventions set by films like Halloween and Friday the 13th. While some elements like using a male victim challenge conventions, overall the opening aims to reflect the genre's typical themes and styles.
The opening of the film "Beyond Closed Eyes" uses several conventions of teen drama films to introduce the characters and set up the story. It shows the protagonist Abby getting ready for school and introduces her friends and rivals through interactions at school. The characters fit typical stereotypes seen in teen films. The camera work, editing, titles, and other elements are modeled after examples from films like Juno and Mean Girls to capture the genre. The dream sequence hints at themes to come while intriguing the audience. Overall, it establishes the key players and teen drama genre in under 3 minutes using familiar conventions.
The document provides two pitches for opening title sequences (OTS) for horror films. The first pitch is for a voodoo/occult film and discusses conventions of the genre, inspirational films, and plans for a nonlinear OTS that focuses on the mysterious antagonist without revealing their identity. The second pitch is for a killer/psychological thriller based on the true story of "Bible John." It also discusses plans for a nonlinear, montage-style OTS that implies violence through techniques like music and quick cuts to attract audiences aged 15-35 without revealing too much of the plot.
The document discusses conventions for opening sequences in children's films. It summarizes the conventions, which include introducing characters, establishing the location, using theme music/soundtracks, title/credit sequences, and introducing the film genre and storyline. It then analyzes the opening sequence of the author's own children's film based on these conventions. The summary analyzes how it introduces characters and location, uses music to set tone and genre, and introduces the fantasy/adventure genre and storyline through visuals and music. It also discusses areas for improvement, like clearer character introductions and more engaging credits for children.
The document discusses the filmmaking technique of mise-en-scene and provides examples of how the film production company HELK Productions incorporated mise-en-scene into their short film. Mise-en-scene includes elements like lighting, costumes, props, framing, positioning of actors, and body language. The document analyzes several still shots from the film and explains how specific mise-en-scene elements were used to convey meaning and move the story forward. Elements like a frightened expression, shadowy lighting, and a disheveled appearance were intended to communicate fear, create an eerie tone, and indicate a character's grief, respectively. Overall, the document shows how thoughtful use of mise-en
The document discusses various film theory concepts including denotation and connotation of symbols, iconography in different genres, stereotypes, and narrative structure. It analyzes posters and trailers for several films, noting how elements like colors, props, locations, and actors are used to convey information and manipulate perceptions. Key aspects of a Darth Vader clip from Star Wars are also summarized, such as costume, dialogue, props, lighting, camerawork, editing, music, and colors.
1. In what ways does your media product use, develop or challenge forms and c...ShemaB
The document provides an analysis of how the media product represents various social groups through its two main characters. It represents both genders through a loving female character and protective male character. It intentionally represents people of color, with both characters being black, to subvert the dominance of white main characters and negative stereotypes in this genre. While the characters conform somewhat to racial and gender stereotypes, they also challenge them through their sensitive portrayals. The characters are meant to represent young adults in their early 20s, though the mature relationship may be unrealistic for their age.
The document discusses conventions used in horror movie openings related to titles, camerawork, framing, angles, mis-en-scène, editing, and sound. It notes that research found titles typically appear over black with red or white text. Camera movements like panning create an eye view effect. Shots are framed close up to focus on danger or long to show the environment. Angles are manipulated to depict power. Victims are commonly dressed in white with blond hair. Editing uses cuts and rhythm to build tension. Sound incorporates a scary theme, dialogue for story, and sometimes effects. The production applies many conventions but also challenges expectations.
The preliminary task plan document outlines draft ideas for filming a scene including:
1) Scared/frightened facial expressions captured with extreme close up shots.
2) Establishing the location with camera movement following the character.
3) A conversation where the 180 degree rule will be followed to keep characters' left and right positions consistent.
The document provides details about the characters in a film project, including inspiration photos, costumes, and what each character represents. Three main characters are described - Laura Hibbitt, who represents a typical British youth who gets pressured into drugs and sees her life ruined; Doll Dolly, who is meant to be a frightening hallucinated character; and Clown, another hallucinated character meant to frighten the viewer and represent the effects of drugs. Costumes, makeup, and mannerisms are outlined to bring each character to life.
The document assigns filming jobs to Kaya, Sanel, Gia and Rahel. It provides descriptions of the roles of director, art director, director of photography, first assistant director and camera operator. It also includes examples of techniques used by famous directors like Hitchcock, Polanski, Scorsese and Burton. The individuals describe how they will ensure they are successful in their assigned jobs.
Our film is a closed narrative that tells the complete story of Laura's life with drugs from start to finish without any cliffhangers. It sends a clear message that drug use will ultimately lead to death without leaving any unanswered questions for the audience. The narrative structure has not changed from the first draft, as it still follows Laura's story in a linear manner from start to end.
The document discusses font and title design options for a film about a woman whose life is ruined by drug use. It considers fonts that convey distorted or hallucinatory visions, as seen in the films Dazed and Confused and Devil. One font called "Delirium Fantasy" is favored for its flexible, curling letters that seem to show the effects of drugs on one's life. Overall, the document explores creative ways to represent the film's themes through visual elements like titles and credits.
The document discusses research on the hallucinogenic drug LSD, including its effects such as distorted senses, anxiety attacks, and flashbacks. It describes potential risks like a "bad trip" that causes terror, long term health damage, and even heart failure. The proposed opening sequence for a film would show the progression of a woman addicted to LSD as she walks through a park having flashbacks before collapsing from a drug-induced heart attack.
The document discusses various concepts related to analyzing media, including:
- Definitions of denotation and connotation for words like snake, flag, and gun.
- Analyses of movie posters discussing colors, lighting, costumes, props, and locations.
- Descriptions of film clips in terms of genre.
- Analyses of how changing a film's soundtrack or narrative can alter its meaning and perception.
- Discussions of stereotypes related to gender, class, age, and other social groups.
- Iconography commonly found in Western, science fiction, and fantasy genres.
- Definitions of linear and non-linear narratives and examples of films that demonstrate each.
The document provides an evaluation of a student media project titled "Forever In My Heart". It discusses several elements of the project including the title, setting, costumes, camerawork, editing, fonts, story, characters, target audience, and technologies used. The students learned about camera techniques, editing styles, and the filmmaking process through constructing the project.
The document discusses how the media products "Torment" and "Rumour" use and challenge conventions of the thriller genre.
"Torment" is a 1920s psychological thriller that challenges stereotypes by having the female protagonist kill the male antagonist. "Rumour" is an action thriller set in the woods that features two young female protagonists being stalked by an unknown creature.
Both productions aim to follow thriller conventions like suspense, mystery, and vulnerable characters while also challenging expectations through choices like their settings, characters, and endings. Research of films like "Blair Witch Project" informed the productions' style and plot developments.
The document discusses ideas that the filmmakers took from other horror films to use in their own film, including: having friends in a picture at the start to establish equilibrium, having a character research to add mystery, using headings inspired by another film but changing the font and color, and using sci-fi effects and handheld camera for shots of an actor to add a dark edge.
The document provides an evaluation of exam numbers for a storyboard and opening sequence clips, summarizing conventions used and challenged, inspirational films, similarities and differences to real films, representation of stereotypes, and research into film distribution companies. Research showed that Lionsgate owns Mandate Pictures which owns Ghost House Pictures, an appealing option known for thriller and horror films similar to the proposed film.
Evaluation question 1- improved
In what ways does your media product use, develop or challenge forms and conventions of real media products?
IMPROVED VERSION.
Question 1; in what way does your media product use, develop or challenge for...Katie Wright
This document discusses how the student's media product opening for a horror/slasher film uses and develops conventions of the genre. The opening uses typical slasher conventions like a mysterious killer, bloody title graphics, and settings that build tension. Locations include an unknown garage where the killer prepares, and an abandoned train track in the woods. Character types and the ordering of opening credits also follow conventions set by films like Halloween and Friday the 13th. While some elements like using a male victim challenge conventions, overall the opening aims to reflect the genre's typical themes and styles.
The opening of the film "Beyond Closed Eyes" uses several conventions of teen drama films to introduce the characters and set up the story. It shows the protagonist Abby getting ready for school and introduces her friends and rivals through interactions at school. The characters fit typical stereotypes seen in teen films. The camera work, editing, titles, and other elements are modeled after examples from films like Juno and Mean Girls to capture the genre. The dream sequence hints at themes to come while intriguing the audience. Overall, it establishes the key players and teen drama genre in under 3 minutes using familiar conventions.
The document provides two pitches for opening title sequences (OTS) for horror films. The first pitch is for a voodoo/occult film and discusses conventions of the genre, inspirational films, and plans for a nonlinear OTS that focuses on the mysterious antagonist without revealing their identity. The second pitch is for a killer/psychological thriller based on the true story of "Bible John." It also discusses plans for a nonlinear, montage-style OTS that implies violence through techniques like music and quick cuts to attract audiences aged 15-35 without revealing too much of the plot.
The document discusses conventions for opening sequences in children's films. It summarizes the conventions, which include introducing characters, establishing the location, using theme music/soundtracks, title/credit sequences, and introducing the film genre and storyline. It then analyzes the opening sequence of the author's own children's film based on these conventions. The summary analyzes how it introduces characters and location, uses music to set tone and genre, and introduces the fantasy/adventure genre and storyline through visuals and music. It also discusses areas for improvement, like clearer character introductions and more engaging credits for children.
The document discusses the filmmaking technique of mise-en-scene and provides examples of how the film production company HELK Productions incorporated mise-en-scene into their short film. Mise-en-scene includes elements like lighting, costumes, props, framing, positioning of actors, and body language. The document analyzes several still shots from the film and explains how specific mise-en-scene elements were used to convey meaning and move the story forward. Elements like a frightened expression, shadowy lighting, and a disheveled appearance were intended to communicate fear, create an eerie tone, and indicate a character's grief, respectively. Overall, the document shows how thoughtful use of mise-en
The document discusses various film theory concepts including denotation and connotation of symbols, iconography in different genres, stereotypes, and narrative structure. It analyzes posters and trailers for several films, noting how elements like colors, props, locations, and actors are used to convey information and manipulate perceptions. Key aspects of a Darth Vader clip from Star Wars are also summarized, such as costume, dialogue, props, lighting, camerawork, editing, music, and colors.
1. In what ways does your media product use, develop or challenge forms and c...ShemaB
The document provides an analysis of how the media product represents various social groups through its two main characters. It represents both genders through a loving female character and protective male character. It intentionally represents people of color, with both characters being black, to subvert the dominance of white main characters and negative stereotypes in this genre. While the characters conform somewhat to racial and gender stereotypes, they also challenge them through their sensitive portrayals. The characters are meant to represent young adults in their early 20s, though the mature relationship may be unrealistic for their age.
The document discusses conventions used in horror movie openings related to titles, camerawork, framing, angles, mis-en-scène, editing, and sound. It notes that research found titles typically appear over black with red or white text. Camera movements like panning create an eye view effect. Shots are framed close up to focus on danger or long to show the environment. Angles are manipulated to depict power. Victims are commonly dressed in white with blond hair. Editing uses cuts and rhythm to build tension. Sound incorporates a scary theme, dialogue for story, and sometimes effects. The production applies many conventions but also challenges expectations.
The preliminary task plan document outlines draft ideas for filming a scene including:
1) Scared/frightened facial expressions captured with extreme close up shots.
2) Establishing the location with camera movement following the character.
3) A conversation where the 180 degree rule will be followed to keep characters' left and right positions consistent.
The document provides details about the characters in a film project, including inspiration photos, costumes, and what each character represents. Three main characters are described - Laura Hibbitt, who represents a typical British youth who gets pressured into drugs and sees her life ruined; Doll Dolly, who is meant to be a frightening hallucinated character; and Clown, another hallucinated character meant to frighten the viewer and represent the effects of drugs. Costumes, makeup, and mannerisms are outlined to bring each character to life.
The document assigns filming jobs to Kaya, Sanel, Gia and Rahel. It provides descriptions of the roles of director, art director, director of photography, first assistant director and camera operator. It also includes examples of techniques used by famous directors like Hitchcock, Polanski, Scorsese and Burton. The individuals describe how they will ensure they are successful in their assigned jobs.
Our film is a closed narrative that tells the complete story of Laura's life with drugs from start to finish without any cliffhangers. It sends a clear message that drug use will ultimately lead to death without leaving any unanswered questions for the audience. The narrative structure has not changed from the first draft, as it still follows Laura's story in a linear manner from start to end.
The document discusses font and title design options for a film about a woman whose life is ruined by drug use. It considers fonts that convey distorted or hallucinatory visions, as seen in the films Dazed and Confused and Devil. One font called "Delirium Fantasy" is favored for its flexible, curling letters that seem to show the effects of drugs on one's life. Overall, the document explores creative ways to represent the film's themes through visual elements like titles and credits.
The document discusses research on the hallucinogenic drug LSD, including its effects such as distorted senses, anxiety attacks, and flashbacks. It describes potential risks like a "bad trip" that causes terror, long term health damage, and even heart failure. The proposed opening sequence for a film would show the progression of a woman addicted to LSD as she walks through a park having flashbacks before collapsing from a drug-induced heart attack.
The document discusses creating an opening sequence for a horror film about a teenage girl who is haunted by a ghost in her new home, examining improvements made to characters, locations, and narrative structure from a previous draft. Film distribution options of Lions Gate Entertainment and Film4 are also considered due to their experience with independent and thriller films.
The document discusses creating an opening sequence for a horror film about a teenage girl who is haunted by a ghost in her new home, examining improvements made to build intrigue, the target audience, and narrative and film theories that could apply to the sequence. Plans for film distribution with companies like Lions Gate and Film4 are also mentioned.
The document discusses a potential location for filming - a bedroom where supernatural events occur but is otherwise safe. It notes that the bedroom is usually accessible but noise from filming could be an issue if the character's mother is working from home. Transportation to the location from school is also discussed, involving taking two bus routes and a short walk with crossing of four non-major roads.
We have improved our opening sequence by making the ending faster paced through quick clips that cut swiftly as something unseen approaches the main character. The sequence establishes the main character, a teenager, who begins investigating the history of her new home and encounters increasing paranormal activity that slowly possesses her. This narrative structure fits Todorov's model of starting in equilibrium, disrupting to disequilibrium, and seeking to restore a new equilibrium.
This document discusses how a media product uses, develops, or challenges conventions of real horror films. It analyzes the film opening's use of titles, credits, characters, music, lighting, editing, locations, costumes, props, and more. While some conventions were followed, such as fast editing and low-key lighting, other aspects developed or challenged conventions, like having a female antagonist instead of the usual male villain, and setting the film in a pub cellar rather than a typical haunted house. The goal was to create a unique film that stands out while still drawing inspiration from popular horror film techniques and styles.
This is the pitch we made for our opening scene.
We got some good feedback from the group including:
The fact we had good detail
They liked the genre and concept we had
The document discusses different filmmaking techniques used in an opening sequence, including close up shots to highlight emotions, aerial shots for context, and long shots to show what a character cannot see. It also covers developing mystery or "enigma" through sound and pace, and leaving the audience wanting more at the end.
Our opening sequence explores the mental state of a character who is being haunted by a ghost. Tension and unease are built through the use of diegetic sounds and non-diegetic music cues. The sequence ends on an unsettling note as the ghost harms the character in her sleep. This leaves the audience wanting to know more, setting up an intriguing premise for the rest of the film.
Our opening sequence explores the mental state of a character who is being haunted by a ghost. Tension and unease are built through the use of diegetic sounds and non-diegetic music cues. The sequence ends on an unsettling note as the ghost harms the character in her sleep, leaving the audience wanting to know more. We have selected a 15 rating from the BBFC as our sequence contains strong threats and implied violence.
The document discusses how the student's media product opening scene both fits and challenges conventions of independent films. It fits conventions by using sad music to elicit sympathy for the plain protagonist and focusing on her daily life with minimal dialogue. However, it challenges conventions by showing the sad rather than jolly part of the story at the start and having titles in bold colors rather than plain like typical independent films. The student aimed to represent the genre but also try something different from their previous horror genre work.
The document summarizes the opening sequence of a student horror film titled "The Darkness." It discusses various conventions and techniques used that are common in horror films, including setting the story in a haunted house, using red text on a black title screen, incorporating jump scares and ghostly figures, introducing the protagonist (dressed in white) and antagonist (dressed in black) differently, and using lighting, music, and sounds to build tension and atmosphere. The sequence establishes the story by showing the ghostly antagonist near the house at night before introducing the protagonist.
The document summarizes the opening sequence of a student horror film titled "The Darkness." It discusses how the sequence uses conventions of the horror genre through its title design in red on black, setting of a house, camera work with establishing and close-up shots, inclusion of a ghostly antagonist character, costumes distinguishing the pure protagonist from the dangerous antagonist, and introduction of a lamp as a significant prop. The sequence aims to immediately identify the genre and set up the story of a protagonist threatened in her home at night.
Our film uses and challenges conventions of real horror films like The Shining in several ways:
1) The title "The Presence" fits the horror genre convention of ominous titles starting with "The" like The Shining.
2) The isolated countryside setting develops the horror convention of remote, deserted locations for maximum fear.
3) The costumes, camerawork, editing, fonts and storyline of The Presence similarly develop conventions of realism and suspense used in The Shining and other horror films.
1) This document provides a summary of a student's final draft opening sequence for a film project. It includes evaluations of drafts, feedback received, and areas for improvement.
2) Research included looking at film distribution companies and selecting Ghost House Pictures as they specialized in similar thriller/horror genres. Location, character details, and conventions were chosen to appeal to a target age 15+ audience.
3) Feedback was received from teachers, peers, and target audiences. While the final draft scared the target audience as intended, earlier drafts needed improvements like better continuity and additional footage.
The film will be rated 15 by the BBFC because graphic or realistic scenes of violence may be unsuitable for younger audiences. The BBFC is responsible for classifying films and other media in the UK to indicate appropriate age ratings. A 15 rating means no one under 15 can view the film in cinemas or rent/buy the video. This rating was chosen over 12A/12 due to potentially disturbing scenes for younger viewers.
The document discusses using a non-linear narrative structure with a flashback early in the film, and analyzes Tzvetan Todorov's narrative theory of equilibrium, disequilibrium and new equilibrium that could apply to the film's structure. It also considers using Propp's character archetypes and examines copyright-free music sites and sounds that could build tension and be incorporated into the opening sequence.
The document discusses the opening sequence for a supernatural horror film and how it aligns with genre conventions. It compares the opening sequence to films like Annabelle, Final Destination, and Insidious in terms of location, characters, music, editing, camerawork, lighting, and sound. The opening sequence represents females and teenagers through the costumes, makeup, and power dynamics between the characters. While most films depict women as vulnerable, this one features a powerful female "demon" character, representing a countertypical portrayal of gender. Overall, the document analyzes how the opening sequence adheres to and challenges conventions of the supernatural horror genre.
The document provides an evaluation of Arif Uddin's opening sequence for a horror film called "The Lost Silence." It discusses the title, setting, costumes, props, camera work, editing, title font/style, story, and how it establishes the horror genre. It also reflects on what was learned from the process and how it impacted production decisions. The evaluator aimed to slowly build tension and fool the audience into thinking it wasn't a horror at first. Key lessons were around planning costumes better to develop characters, and spending more time on editing to improve the final product and better convey the genre.
The document analyzes how the media product uses and challenges conventions of real horror films.
The trailer challenges some conventions, such as starting with a suicide scene rather than a positive scene. It also uses longer shots of the antagonist than is typical.
The poster conforms to color scheme conventions but challenges conventions around color use. It also develops conventions around the cover line.
The magazine cover conforms closely to conventions for clarity, such as consistent font and placement of title and cover lines. It challenges conventions less due to lack of examples in the horror magazine genre.
Overall, the media product strategically conforms to and challenges conventions to create an intriguing product while still communicating the intended horror genre.
Assignment 10 group coursework presentation of research part 2.5rfasil22
Here are a few key points about your target audience:
- Mass audience - As you noted, social media impacts nearly everyone in modern society. Most people are active users of at least one major platform.
- Broad age range - While younger generations may be more "native" users, social media is now integrated across demographics from teens to 40s+.
- Cross-cutting interests - The topic covers communication, technology, sociology, and more. It should appeal to people with a variety of interests.
- Relevance - Understanding social media is important given its pervasive influence on our lives and culture. People will want to learn more about how it shapes our world.
Focusing on such a mass audience
The document provides information about researching double-page spreads in the magazine Wired. It describes Wired's target audience as technology nerds interested in the latest gadgets. The magazine has a niche audience and contains articles on technology topics, movie and product posters, and adverts for smart devices. The document suggests a double-page spread about a documentary on celebrity and audience participation could fit in Wired's technology section.
The document summarizes research on newspaper and TV channel advertisements. It describes the target audiences and content of ads for newspapers like the Daily Mail and The Sun as well as TV channel ads for Channel 4's Paralympics coverage and an ITV X Factor ad featuring a past winner. Newspaper ads covered various services, products, and events while the TV ads promoted upcoming programming and encouraged viewership.
The document summarizes research conducted on newspaper and TV channel advertisements. For newspapers, it examines ad content and sizes in the Daily Mail and The Sun, noting their target audiences. It finds The Daily Mail targets 40-50 year old lower-middle class females and has small classified ads, while The Sun has larger half-page and double-page ads and targets ages 25 to 50. For TV channels, it analyzes 2012 Paralympics and X Factor advertisements from Channel 4 and ITV, describing how each promotes its programming.
Channel 4, BBC1, and ITV all target different audience demographics at various times of the day with their programming. Channel 4 focuses on American comedy-dramas and factual shows in the evenings for audiences aged 16-50. BBC1 provides award-winning sitcoms and gripping soaps targeting ages 35+ during the day and ages 18-45 in the evenings. ITV offers entertainment shows appealing to broader audiences. All three channels air documentaries, but BBC documentaries focus more on crime while Channel 4 covers controversial topics to promote understanding.
The document provides details for a coursework presentation on developing celebrity and audience topics. It outlines the purpose of the documentary, what people would learn, the style, a proposed episode structure, target audience details, appropriate channel and time, documentary conventions, inspiration sources, and a structure outline. It also includes celebrity case studies and ideas for a storyboard and script.
Lifers is a documentary filmed in a prison in Leicestershire, England following inmates serving life sentences. It aired on Channel 4 at 9pm and was targeted towards 25-35 year old viewers. The documentary utilizes several documentary conventions, including archival footage, interviews with inmates, a real prison setting, establishing shots of the prison, voiceovers, interviews with experts, background music, and descriptive text to inform viewers about the inmates.
This document provides an overview of three different documentary programs: One Born Every Minute about childbirth in a hospital; Obsessive Compulsive Hoarder about an individual with a hoarding disorder; and Big Fat Gypsy Weddings about Romani weddings. It discusses conventions like interviews, establishing shots, titles, and positioning of interviewees within the frame. The purpose is to analyze the filmmaking techniques used in documentary productions.
Cinema verite is a documentary filmmaking style that combines naturalistic techniques with stylized cinematic elements. It emerged in the early 1960s as technology allowed for lighter cameras, enabling a more realistic portrayal. Cinema verite films avoid staged interviews, effects, and narration, instead using raw footage to tell stories and provoke audiences. Over time, the style matured and developed to cover global events and provide analysis for viewers worldwide.
The document discusses the evolution of boy bands and girl bands over time. It notes that boy bands originated from Beatlemania and have increasingly incorporated audience interaction through social media, meet and greets, and merchandise. However, it also suggests audience participation may decline due to misuse of social media. Girl bands progressed from trios and quartets in the 1950s and 1960s to being formed through talent shows today. The audience now has more influence over how girl bands are formed and develop.
The document provides information about a documentary being produced about celebrity idolization and changing audience participation. It discusses (1) the purpose of the documentary to show how celebrities have become more active in our lives and allow viewers to form their own opinions, (2) how the target audience of 17-26 year old females will learn about increased social media use and participatory audiences, and (3) how the documentary will be broadcast on ITV2 at 9pm to target this key demographic when they are home from work.
The student analyzed two courseworks from last year titled "The Right to be Colorful" and "How youths are portrayed in the Media". For "The Right to be Colorful", they noted it had great images and statistics but lacked interviews and insight on theories. For "How youths are portrayed in the Media", they said it had a range of interviewees and images but needed to fix the sound and add more camera shots. The student learned that sound is key, a range of interviewees is important, and analyzing past works helps avoid mistakes and identify best practices.
The document discusses how audience participation with celebrities has evolved from passive viewership to active engagement through reality television, social media, and user-generated content. It analyzes how audiences now play a role in creating and influencing celebrities from the formation of boy bands and girl groups to voting on reality shows. Celebrity status is also attained through new media platforms that allow ordinary people to develop large online followings.
The document outlines a draft for a documentary series about celebrity and audience participation over time, including 3 potential episodes and discussing elements like purpose, audience, channel, and structure. It also explores theories around why ordinary people idolize celebrities so much.
This document contains responses from 3 individuals to questions about documentaries they have watched, enjoyed, and topics they would like to see covered in documentaries. It includes their ages, interests, and genders. They provide examples of documentaries they have watched or would be interested in learning more about topics like domestic violence, arranged marriages, celebrity culture, and social issues affecting youth.
Channel 4, BBC1, and ITV all target different audience demographics at various times of the day with their programming. Channel 4 focuses on American comedy-dramas and factual shows in the evenings for audiences aged 16-50. BBC1 provides award-winning sitcoms and gripping soaps targeting ages 35+ during the day and ages 18-45 in the evenings. ITV offers entertainment shows appealing to broader demographics. All three channels air documentaries at night focusing on social, medical, and historical topics to educate audiences.
The document discusses potential topics for a coursework presentation, assessing that domestic violence, celebrity idolization, and unvalued youth were good topics while arranged marriages and the London Olympics were overcovered. It also provides statistics and information about domestic violence, its impact on victims and children, and the cycle of violence.
This document analyzes and compares three British TV channels: Channel 4, Channel 5, and ITV. For each channel, it provides a brief analysis, discussing some of their key characteristics and programming. The document aims to research these three channels for an assignment on TV channels in the UK.
The document discusses "The Mark Scheme". It does not provide any additional context or details about what "The Mark Scheme" refers to. Based on the title, it appears to be about a grading or assessment system, but no information is given about the purpose, criteria, or process of "The Mark Scheme".
This document outlines the specifications for an assistant. An ideal assistant should be helpful, harmless, and honest in order to best serve users. The assistant's abilities and limitations are defined to ensure it provides accurate information to users in a safe and trustworthy manner. Overall, the specifications aim to develop an assistant that can benefit users while avoiding potential harms.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
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Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
1. Kaya
Narrative P
Our film is closed narrative, Why?
• Our film is like reading a book, it goes to a start to an end – the film doesn't
have a cliff hanger, just a solid ending where the story of Laura’s life ends
• The film doesn't leave the audience asking questions, it leave the audience
with the statement that drugs will end up killing you and you should never try
them
How has it changed since Draft 1?
• In our first draft because we has a completely different story it has changed
from the film ending in a cliff hanger being a open narrative, to a closed
narrative sending out a message for the end of the film because before we
wanted the audience to question what happens in the film and create their
own ending according to what they saw.
2. Kaya
Narrative P
Our film is linear narrative, Why?
• Our film is a story that goes from start, middle, to end to tell the story of
Laura’s drug use.
• Although there are flashbacks, they are only very short and not the main basis
of our story
START MIDDLE END
How has this changed since draft 1?
• Although the story is different from draft1, we have always kept a linear
narrative as we want to make a film that tells a story from start middle to the
end because we think its more understandable and a better way of presenting
a story effectively
3. Kaya & Sanel
Film Theory Q
Tzvetan Todorov – Narrative Film Theorist
How we will be using his theory…
Equlibrium – Before Laura tried the drug, she was doing well at school and had a promising ‘
. future ahead of her and everything in her life was where it should be
Disequilibrium – As soon as she was introduced to the drug her life just went downwards at
. a rhythm that just went worse and worse, until she eventually dies.
New Equilibrium – There is no new equilibrium as our film ends horrible with Laura dying in
. A bad state with no friends, or anyone to help or support her in her time
. of need
4. Kaya
Film Theory Q
Vladimir Propp – Film Theorist
Why we wont be using his theory…
The villain – No-one in our film intentionally tries to hurt or ruin anybody
The dispatcher – This doesn't apply to our film at all, there is no hero to send off
The (magical) helper – No-one in the film does, or even try help Laura in her struggle
The princess or prize – There is no prize and its based on real life
Her father – She doesn't have a father, it’s a broken family
The donor – The film is based on real life therefore no magical objects
The hero or victim/seeker hero – There is no hero
False hero – There is no hero therefore no false hero
5. Kaya
Film Theory Q
Claude Lévi-Strauss - Narrative Film Theorist
Binary opposition
How we will be using this theory
Good life : Bad life Real life : Fantasy Good trip : Bad trip
Laura’s life in the We see Laura’s life The first time
beginning was throughout the Laura tires the
whole film the way drug she has a
good and anyone around her
promising good trip and has
would
fun
However we also
see her point of
Until she started view of the But then she has
using LSD which characters and a bad trip that
suddenly ruined sounds she doesn't makes her feel
her life in her hallucinations confused and
which aren't really frightened
there
6. R
Distributor Film Budget
Revolver Anuvahood $1,000,000
Entertainment (estimated)
Revolver Kidulthood £600,000
Entertainment (estimated)
Revolver Sket $1,000,000
Entertainment (estimated)
Revolver Shank £385,000
Entertainment (estimated)
7. Why we chose Revolver R
Entertainment
• They are able to work with flexible budgets
• They have operations in both London and Los Angeles, so a
variety of influence will be obtained
• Most films they distribute were filmed in London
• The films they distribute are mainly targeted at a young
audience
• The central characters in the films they distribute are young and
troubled
• The films they distribute are very similar to our opening
sequence which features drugs
For these reasons we believe that Revolver Entertainment will be
able to distribute our film effectively.
8. R
Distributor Film Budget
Universal Studios 4321 $4,600,000
(estimated)
Universal Studios Alpha Dog $30,000,000
(estimated)
9. R
Universal..
• Distribute movies similar to ours such as 4321 and
Alpha Dog
• Distribute some films centred around young
characters like our opening sequence.
• Are experienced in releasing drama films
• Is based in America, however they have filmed in
British locations and have had British actors
feature in the film
10. R
Warner Bros
Distributor Film Budget
Warner Bros Altered States $15, 000, 000
Warner A Home at the $6.5, 000, 000
Independent World
Pictures
Warner Bros Conspiracy Theory $80, 000, 000
11. R
Warner Bros..
• Have distributed a lot of drug related films
• Is a long established film distribution company
• Have distributed a variety of drama films
12. Kaya & Sanel
Titles S
Dazed and confused - 1993
During the trailer of dazed and confused we
got inspired by the bright colour and they
way they faded from bright dark blue to
bright fuchsia.
This inspired us to use distorted shape in
our font. This also inspired us to use bright
changing colours in our title because it
almost looks like hallucination. We also
thought it would be effective to use a bright
colour then a darker one to symbolise
Laura.
13. Kaya & Sanel
Credits S
Devil - 2010
We were inspired by the credits in Devil because of the way the credits come on
screen then fade away after. We thought it suited our opening sequence in the
sense that it’s calm, just like the beginning of ours and now too attention grabbing,
so that our character is still the main focus.
14. Kaya & Sanel
Titles/Credits S
We would like to use a font that shows the images in a distorted vision. Here are some of
our idea’s of what we would like to use in our title and credits.
Delirium Fantasy Delirium Fantasy
Showcard Gothic Snap ICT
We liked how this font stood out because it was bold
We really like the look of this font because of how
and the letters are quite distorted. Also because the
distorted the letters and how it almost look like
letters are bold the audience would focus on the title
graffiti which would be eye catching for our target
and it’s meaning.
audience, however we just feel this isn't the right font
However, we didn’t feel it completely fitted our film
because it doesn't give out any clues to what the title
as it was probably too firm as we feel we need
represents.
something more flexible.
Delirium Fantasy Chiller
Delirium Fantasy
Ravie
This was our favourite design and font of all that we looked at.
We liked this font because of the way the letters fade We loved the curls at the end on some of the letters and how
towards the bottom which represents our main flexible the letters are. They almost showing a sense of
character, however, we feel it looks too much like a ‘fantasy’ and looks quite confusing. Also we think the target
thiller title and we don’t want to give that kind of audience would be swayed to look at our film as the font isn't
sophisticated, but almost like graffiti in a subtle way. We
image on our film.
decided that this would be the perfect font for our titles and
credits as it ticks all the boxes.
15. Kaya & Sanel
Titles/Credits S
IDEAS FOR COLOUR OF FONT
This was an idea of colours for our titles and We liked the confusing design on this title
credits because we like the bright colours because it was confusing and we wanted our
and the way they fade from bright to dull. audience to feel uncomfortable when
However, we don’t think these colours fully watching this. However, it doesn't fit with
match and doesn't fit properly to what we’re what we’re doing and isn't the correct
showing. portrayal of our film.
We thought maybe we should explore using This was our favourite of all the colours and
a more serious colour as our film has a designs as we wanted a brighter colour to
serious message behind it. However, this is show the hallucinations (as our title will be
to predictable for a film like this and we shown while she is hallucinating). Also we
wanted to do something a bit different. Also believe that although this is a serious film,
it wouldn’t fit in where we will be showing we want our target audience to be attracted
the title as its dull. to the film which I believe the title and credit
does.
16. Kaya & Sanel
Titles/Credits S
IDEAS FOR WHAT WE WANT OUT TITE TO LOOK LIKE
(We don’t have iMovie so we don’t know if this sort of thing is available)
This is not our own image
17. Kaya & Sanel
Titles/Credits S
IDEAS FOR WHAT WE WANT OUT CREDITS TO LOOK LIKE
(We don’t have IMovie so we don’t know if its available)
18. Kaya & Sanel
Music/Sounds T
Non-Diegetic Sounds
The song played by piano in the last song
inspired us to use it for when we show the
flashbacks because we wanted the audience
to connect with Laura and really reflect and
think in depth about why they’re being shown
and what they are to represent
http://http://www.youtube.com/watch?v=-wW_0-TN-
V8&feature=related
19. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We wanted our character’s from Laura’s hallucination
to almost mock her, so we were inspired from dream
house to use laughter, in an almost creepy way but
still happy. However we wanted to show a scary one
http://www.youtube.com/watch?v=8KIn3yP8c5Q too, so we were inspired from the second clip (from
http://www.youtube.com/watch?v=nIeMYPfnST0 YouTube) to eventually start to make the laugh sound
demented and frighten her as she starts to change
into a ‘bad trip’
20. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We wanted the characters in the hallucination to
talk, but we didn’t want them to have their normal
voices, so we were inspired by the chipmunks to make
their voices high pitched as we thought this would be
creepy. Though, we would increase their movement
and also their speech so they would be talking a lot
faster but still as high pitched.
http://www.youtube.com/watch?v=kKJ7kDLd2o8
We were inspired to use a siren sound during Laura’s
hallucination from hot fuzz because, the siren was
used in the film because someone was doing
something wrong, therefore, we wanted to use it in
ours to show that Laura knows what she's doing is
wrong in the back of her mind
http://www.youtube.com/watch?v=0-lcqIuVaR8
21. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We were inspired by this story called ‘I’ll follow the
moon’ background music because it was very relaxing
and calm, which almost sounded twisted in a way. So
we wanted to make something very similar to be the
main sound play during her hallucination, as well as
sirens, children's laughter and characters dialogue
http://www.youtube.com/watch?v=QApwa7NtmXI&feature=pyv
22. Kaya & Sanel
Music/Sounds T
Sounds we would have potentially used…
http://www.shockwave-sound.com/sws_player.php?v=4804&l=
The music we downloaded wouldn’t upload to the presentation, so we
recorded the sound on webcam our selves.
This sound will be the music played during Laura’s hallucination.
http://www.shockwave-sound.com/sws_player.php?v=84196&l=
The music we downloaded wouldn’t upload to the presentation, so we recorded the
sound on webcam our selves.
This is a police siren what we would have used during the hallucination
http://www.shockwave-sound.com/sws_player.php?v=83604&l=
The music we downloaded wouldn’t upload to the presentation, so we
recorded the sound on webcam our selves.
This would have been played through the flashbacks to intensify them
and add emotion to what is being shown
23. BBFC And Rating
What is BBFC- The British Board of Film Classification.
What is BBFC used for- responsible for what was shown in cinemas and from early
on established the decisions of the BBFC.
Are film would be rated an 18 because it based on drugs sexual context .
24. Rating System
• Universal – It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four
years and over.
• Discrimination
No discriminatory language or behaviour unless clearly disapproved of.
• Drugs
No situations to illegal drugs or drug abuse unless they are infrequent and mild, or there is a clear educational purpose or anti-drug
message suitable for young children.
• Horror
Scary sequences should be mild, short-term and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
• Imitable behaviour
No possibly dangerous behaviour which young children are likely to copy. No importance on realistic or easily accessible weapons.
• Language
Few use only of very mild bad language.
• Nudity
natural nudity, with no sexual context.
• Sex
Mild sexual behaviour (for example, kissing) .
• Theme
While difficult themes may be present, their treatment must be sensitive and correct for young children.
• Violence
Mild violence only. Rare mild threat or danger only.
25. • Parental Guidance
Alone children of any age may watch a ‘PG’ film should not disturb a child aged around eight or older.
• Discrimination
Unfair language or behaviour is unlikely to be acceptable unless clearly disliked of or in an educational or past context.
• Drugs
Situations to illegal drugs or drug waste must be safe or carry a suitable anti-drug message.
• Horror
Scary sequences should not be prolonged or intense. Fantasy settings may be a modifying factor.
• Imitable behaviour
No detail of possibly dangerous behaviour which young children are likely to copy.
• Language
Mild bad language only.
• Nudity
Natural nudity, with no sexual context.
• Sex
Mild sex references and hint only.
• Theme
Where more serious matters are bring out (for example, local violence) nothing in their treatment should overlook unacceptable
behaviour.
• Violence
Enough violence, without detail, may be allowed.
26. • Suitable for 12 years and over
• Exactly the same principles are used to classify works at ‘12A’ and ‘12’.
• The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless go along by an adult, and films
classified ‘12A’ are not recommended for a child below 12.
• Discrimination
language or behaviour must not be recognized by the work as a whole. Aggressive unfair language or behaviour is unlikely to be acceptable unless clearly
condemned.
• Drugs
Any abuse of drugs must be rare.
• Horror
Enough physical and mental risk may be permitted, provided disturbing sequences are not frequent or constant.
• Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail.
• Language
language is allowed. The use of strong language (for example, ‘fuck’) must be rare.
• Nudity
Nudity is allowed, but in a sexual context must be brief and subtle.
• Sex
Sexual activity may be briefly shown. Sex references should not go beyond what is suitable for young teenagers.
• Theme
Mature themes are acceptable, but their conduct must be suitable for young teenagers.
• Violence
Sensible violence is allowed but should not dwell on detail.
27. • No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’
rated video work.
• Discrimination
• The work as a whole must not endorse unfair language or behaviour.
• Drugs
• Drug taking may be shown but the film as a whole must not promote or encourage drug abuse.
• Horror
• Strong threat and danger are permitted unless cruel or sexualised.
• Imitable behaviour
• Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which
could be copied.
• Language
• There may be frequent use of strong language (for example, ‘f****’).
• Nudity
Nudity may be allowed in a sexual context but without strong detail.
28. • Suitable only for adults
• No-one younger than 18 may see an ‘18’ film in a cinema
• Only adults are admitted. Nobody younger than 18 can rent or buy an 18-rated VHS, DVD, Blu-ray
Disc, UMD or game, or watch a film in the cinema with this rating. Films under this category do not have
limitation on the bad language that is used. Scenes of strong real sex may be permitted if right by the
context.