Blog Checklist
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This document outlines the requirements for blogs to be created by a group of students. It lists over 20 topics that need to be covered in posts on their blogs, including: full names and exam numbers of group members, archive of work, labels for posts, draft and final music videos, evaluations, theories, director studies, iconic older and controversial music videos, history of music videos, textual analysis of existing music videos, audience research, brainstorming evidence, division of labor, storyboards, shotlists, production planning, and documentation of the production process with pictures, clips and links. Students are expected to post regularly about their progress and cover these key areas in their blogs.
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Final idea
The document provides instructions for a student to develop a music video concept that will be presented to the class. It outlines 12 areas that must be addressed in the presentation, including choosing a song, describing the target audience and how the video will appeal to them, selecting a genre for the video and the codes and conventions that will be used, the overall tone, message, narrative structure, key characters, how the video concept relates to the song lyrics, and plans for the visual style including camera work, lighting, editing, and special effects. The presentation should use technology that can be posted online and include feedback from the audience.
Final idea
The presentation outlines the key elements to include when pitching a music video idea to a band and their record label, including describing the narrative structure, target audience and how the video will appeal to them, the intended tone, how conventions will be used or challenged, how Goodwin's theory applies, how audience feedback will be collected, influences from research, and the visual style through elements like camera work, lighting, mise-en-scene, and editing techniques. The presentation needs to be uploaded to the student's blog.
Final idea
This document provides guidance for a student's presentation and music video project. It includes 12 sections for the student to address in their presentation and video, such as choosing a song, describing the concept and narrative structure, targeting an audience, and planning visual elements like camera work, lighting, editing, and special effects. The student must answer these sections in detail to cover all areas of creating a music video, and link the visual style to the chosen song's lyrics and music style.
Developing ideas summer homework
This document provides guidance for a summer holiday assignment to develop concepts for three music videos. It instructs the student to consider reasons for choosing each song, the style of the video, how they would explore the style, practical details, use of conventions, genre conventions, representation, and presenting their ideas to the class for feedback. Sample feedback questions are also provided.
Treatment
This document provides guidance on how to write an effective treatment for an opening sequence of a film. It explains that a treatment outlines the key visual and audio elements of the sequence to sell directors' ideas. An opening sequence treatment should take the reader through the story and introduce characters without revealing too much information. It should be 1-2 pages long and grip the reader from the start while moving the action forward. The document includes a treatment template that prompts writers to outline elements like the film title, genre, locations, visual style, and equipment needs. It stresses that treatments must be submitted individually by the deadline to begin filming.
Contemporary English Language Film
This document provides guidance for a film studies exam that requires analyzing two films in relation to a key concept. Students must refer to and compare both films, explaining how technical elements like cinematography, editing, sound, and mise-en-scène construct the specified concept. It outlines frameworks for analysis including representation, messages/values, genre, narrative, theme, style, and authorship. It also defines micro-technical elements that can be analyzed like shots, lighting, editing techniques, diegetic/non-diegetic sound, and production design. Finally, it specifies that a foundation portfolio essay must compare two contemporary English language films in relation to one or more key concepts, with one film allowed to be Hollywood, both
Introduction to Film Studies
This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
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This document provides an overview of the GCSE Film Studies course, outlining the key areas of study, assessment objectives, coursework requirements, and exam structure and content. The course is divided into three study areas - film language, film organizations, and film audiences. Students will complete four pieces of coursework worth 50% of the grade, focusing on topics like textual analysis, film pitching, pre-production, and film production. The remaining 50% comes from two exams, one exploring disaster films and the other exploring a non-Hollywood film through character analysis, sequence analysis, and a creative response.
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The document provides instructions for a student to develop a music video concept that will be presented to the class. It outlines 12 areas that must be addressed in the presentation, including choosing a song, describing the target audience and how the video will appeal to them, selecting a genre for the video and the codes and conventions that will be used, the overall tone, message, narrative structure, key characters, how the video concept relates to the song lyrics, and plans for the visual style including camera work, lighting, editing, and special effects. The presentation should use technology that can be posted online and include feedback from the audience.
Final idea
The presentation outlines the key elements to include when pitching a music video idea to a band and their record label, including describing the narrative structure, target audience and how the video will appeal to them, the intended tone, how conventions will be used or challenged, how Goodwin's theory applies, how audience feedback will be collected, influences from research, and the visual style through elements like camera work, lighting, mise-en-scene, and editing techniques. The presentation needs to be uploaded to the student's blog.
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This document provides guidance for a student's presentation and music video project. It includes 12 sections for the student to address in their presentation and video, such as choosing a song, describing the concept and narrative structure, targeting an audience, and planning visual elements like camera work, lighting, editing, and special effects. The student must answer these sections in detail to cover all areas of creating a music video, and link the visual style to the chosen song's lyrics and music style.
Developing ideas summer homework
This document provides guidance for a summer holiday assignment to develop concepts for three music videos. It instructs the student to consider reasons for choosing each song, the style of the video, how they would explore the style, practical details, use of conventions, genre conventions, representation, and presenting their ideas to the class for feedback. Sample feedback questions are also provided.
Treatment
This document provides guidance on how to write an effective treatment for an opening sequence of a film. It explains that a treatment outlines the key visual and audio elements of the sequence to sell directors' ideas. An opening sequence treatment should take the reader through the story and introduce characters without revealing too much information. It should be 1-2 pages long and grip the reader from the start while moving the action forward. The document includes a treatment template that prompts writers to outline elements like the film title, genre, locations, visual style, and equipment needs. It stresses that treatments must be submitted individually by the deadline to begin filming.
Contemporary English Language Film
This document provides guidance for a film studies exam that requires analyzing two films in relation to a key concept. Students must refer to and compare both films, explaining how technical elements like cinematography, editing, sound, and mise-en-scène construct the specified concept. It outlines frameworks for analysis including representation, messages/values, genre, narrative, theme, style, and authorship. It also defines micro-technical elements that can be analyzed like shots, lighting, editing techniques, diegetic/non-diegetic sound, and production design. Finally, it specifies that a foundation portfolio essay must compare two contemporary English language films in relation to one or more key concepts, with one film allowed to be Hollywood, both
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This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
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Evaluation questions
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
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This document provides guidance for analyzing the opening sequences of films. It instructs the reader to choose between two and four opening sequences from their chosen genre to analyze. The analysis should examine the narrative structure, characters, representations, and media language used in the sequences. Key aspects of media language to analyze include camera shots, lighting, costumes, sounds, and how these elements establish genre, characters, narrative, and their impact on the audience. Representations of people or concepts in the sequences should be evaluated on whether they are positive or negative, conventional or subversive, and how they relate to the intended target audience.
Key concept genre rick altman
The document introduces genre theory and key theorists Rick Altman, Steve Neale, and David Buckingham. It discusses that genres have recognizable codes and conventions that identify their form and change over time to reflect society. Genre is important to producers, distributors, and audiences of media like music videos. Producers use genre as a template, distributors market to the expected audience, and audiences know what to expect from a genre.
Music videos research into similar products
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- Assessments include internal and external evaluations of film knowledge and practical projects. The document outlines the course content and expectations.
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The document provides guidance for a summer homework assignment to develop concepts for three music videos. Students must consider the reasons for choosing each song, the style (performance, narrative, concept or a combination), practical details like locations, and how conventions may be used or challenged. Students will present their ideas to the class, get feedback, and explain their concepts.
Key concept media language
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- It introduces key theorists like Roland Barthes and concepts like denotation and connotation.
- It explains how every medium has its own "language" using familiar codes and conventions to communicate meaning.
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L10 in the name of the father review
This document provides an overview and instructions for a lesson on the film "In the Name of the Father". It begins with an exam question asking students to analyze how conflict is established in the opening sequence. Students must submit a 1-page review analyzing micro features. The document then provides context about the film's narrative and topics it will cover, including conspiracy and interrogation. It outlines aims of the lesson to recap learning and analyze scenes showing conflict. Students are asked to explain what a character represents and evaluate a hypothetical scenario. The document provides feedback and outlines exam board expectations for identity studies before instructing students to analyze conflict in scenes and produce a homework mind map of themes.
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This document summarizes Andrew Goodwin's theory of analyzing music videos from his 1992 book. It outlines the 8 main characteristics he identified: performance, narrative, genre conventions, correlations between music/visuals and lyrics/visuals, star image motifs, notion of looking, intertextual references, and technical elements. Examples are provided for each characteristic. The document then provides guidance on applying Goodwin's theory to analyze a music video of your choice by identifying its genre, artist, song, and examples of genre conventions found in the video.
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Screening L7 l9 - in the name of the father screening
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2) Analyzing the opening scenes of the film to establish some of its key themes and issues related to identity that students must understand for their exam.
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This document outlines the structure and content for a group presentation on drafting a TV documentary. It includes 17 sections (A-Q) that should be covered in the presentation. Each section provides details on what should be included, such as an introduction, research conducted, target audience, storyboards, scripts, locations, actors, and more. The goal is for the presentation to explain the process of improving their documentary draft over several weeks.
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WJEC EcL25 wjec exam topics
This document provides guidance for an exam focusing on how two British films, "In the Name of the Father" and "Hunger", represent the themes of outsiders and borders. Students are instructed to analyze key scenes that demonstrate the films' conformity to these themes. They are expected to show knowledge of characters, institutions, and relevant scenes, as well as apply film terminology and theories of narrative and representation. The marking scheme emphasizes accurate detail, specialist language, and addressing how the prison represents barriers to freedom and belonging for the protagonists. Students must summarize similarities and differences between scenes from the two films. Homework is to revise for an upcoming mock exam.
L12 in the name of the father key scenes part 2 new
1) The document provides homework assignments for students studying the film "In the Name of the Father." Students are asked to complete a short test on material covered so far, peer assess another student's answers, and reflect on personal targets.
2) Students must analyze two key scenes from the film to understand its themes and issues. They are expected to focus on how narrative constructs meanings and raises questions about identity and belonging in Britain.
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L28 past paper practise and exemplar answer - adapt
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This document provides guidance and expectations for an exam focusing on British and American film. It outlines the following:
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- The objectives are to understand the exam board's expectations, examples to refer to, and assessing knowledge of film as an audio-visual form and applying critical approaches.
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L20 hunger key scenes l2 of 2
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Evaluation questions
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
Deconstructing an opening sequence
This document provides guidance for analyzing the opening sequences of films. It instructs the reader to choose between two and four opening sequences from their chosen genre to analyze. The analysis should examine the narrative structure, characters, representations, and media language used in the sequences. Key aspects of media language to analyze include camera shots, lighting, costumes, sounds, and how these elements establish genre, characters, narrative, and their impact on the audience. Representations of people or concepts in the sequences should be evaluated on whether they are positive or negative, conventional or subversive, and how they relate to the intended target audience.
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This document provides an introduction and overview of the WJEC AS GCE in Film Studies course. It includes the following key points:
- The two-year course is made up of four units assessing a range of film analysis, research, and production skills.
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Summer holiday work Developing ideas
The document provides guidance for a summer homework assignment to develop concepts for three music videos. Students must consider the reasons for choosing each song, the style (performance, narrative, concept or a combination), practical details like locations, and how conventions may be used or challenged. Students will present their ideas to the class, get feedback, and explain their concepts.
Key concept media language
- The document discusses media language and how it creates meaning in different media forms.
- It introduces key theorists like Roland Barthes and concepts like denotation and connotation.
- It explains how every medium has its own "language" using familiar codes and conventions to communicate meaning.
- Music videos, for example, use elements like locations, characters, lighting to signify genres and representations.
- It provides guidance on evaluating how micro-level signifiers in one's own work combine to form the macro-level signified meanings.
L10 in the name of the father review
This document provides an overview and instructions for a lesson on the film "In the Name of the Father". It begins with an exam question asking students to analyze how conflict is established in the opening sequence. Students must submit a 1-page review analyzing micro features. The document then provides context about the film's narrative and topics it will cover, including conspiracy and interrogation. It outlines aims of the lesson to recap learning and analyze scenes showing conflict. Students are asked to explain what a character represents and evaluate a hypothetical scenario. The document provides feedback and outlines exam board expectations for identity studies before instructing students to analyze conflict in scenes and produce a homework mind map of themes.
Goodwin's theory
This document summarizes Andrew Goodwin's theory of analyzing music videos from his 1992 book. It outlines the 8 main characteristics he identified: performance, narrative, genre conventions, correlations between music/visuals and lyrics/visuals, star image motifs, notion of looking, intertextual references, and technical elements. Examples are provided for each characteristic. The document then provides guidance on applying Goodwin's theory to analyze a music video of your choice by identifying its genre, artist, song, and examples of genre conventions found in the video.
Summer holiday homework – analysing music videos
Students must choose five music videos to analyze over the summer break according to specific criteria. For each video, they must include a link, discuss camera shots, editing, mise-en-scene, sound, representations, Goodwin's theory, style, record label, director, opinion, conventions, influence on their own work, and use different technologies for each analysis. The analyses will be posted individually online and labeled as research.
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This document provides guidance for a film studies lesson on the British film "In the Name of the Father". The lesson will involve:
1) Recapping prior learning about the film by completing an online quiz.
2) Analyzing the opening scenes of the film to establish some of its key themes and issues related to identity that students must understand for their exam.
3) Watching at least 40 minutes of the film and taking notes on the provided sheet to aid revision and analyzing important scenes.
4) Answering an exam-style question in a 1-page review analyzing how the opening sequence establishes the idea of conflict through its micro features.
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This document outlines the structure and content for a group presentation on drafting a TV documentary. It includes 17 sections (A-Q) that should be covered in the presentation. Each section provides details on what should be included, such as an introduction, research conducted, target audience, storyboards, scripts, locations, actors, and more. The goal is for the presentation to explain the process of improving their documentary draft over several weeks.
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L2 areas of focus and l3 - narrative lesson
This document provides an overview of a lesson plan on film studies. It introduces the key concepts of Unionists, Republicans, and "The Troubles" in Northern Ireland. It then outlines the aims and objectives of analyzing two case studies on "The Troubles" to understand how they represent the conflict. The lesson focuses on narrative construction and how it shapes meanings and issues related to borders and identity. Students are assigned homework on researching the historical context and applying narrative theories to scenes from the case studies.
WJEC EcL25 wjec exam topics
This document provides guidance for an exam focusing on how two British films, "In the Name of the Father" and "Hunger", represent the themes of outsiders and borders. Students are instructed to analyze key scenes that demonstrate the films' conformity to these themes. They are expected to show knowledge of characters, institutions, and relevant scenes, as well as apply film terminology and theories of narrative and representation. The marking scheme emphasizes accurate detail, specialist language, and addressing how the prison represents barriers to freedom and belonging for the protagonists. Students must summarize similarities and differences between scenes from the two films. Homework is to revise for an upcoming mock exam.
L12 in the name of the father key scenes part 2 new
1) The document provides homework assignments for students studying the film "In the Name of the Father." Students are asked to complete a short test on material covered so far, peer assess another student's answers, and reflect on personal targets.
2) Students must analyze two key scenes from the film to understand its themes and issues. They are expected to focus on how narrative constructs meanings and raises questions about identity and belonging in Britain.
3) For homework, students must produce a mind map of stereotypes represented in the film in terms of characters, locations, and narrative. They are also asked to state what they have learned and discuss how the narrative's construction influences viewer sympathy for the main character.
L28 past paper practise and exemplar answer - adapt
This document provides guidance for students on preparing for an exam question comparing the films "Goodfellas" and "American Gangster". It outlines the learning objectives, such as recapping prior knowledge and understanding exam board expectations. Students are advised to target their point of view, show confidence in their understanding of the films and genre, and apply theories of narrative and representation when comparing the two gangster films. Examples from the films must be established to fully address the question. Students are directed to revision materials to help structure their answer and learn how to compare the films in the exam. As homework, students are instructed to revise all exam sections.
L29 wjec exam topics preparation 'carousel of questions'
This document provides guidance and expectations for an exam focusing on British and American film. It outlines the following:
- Students will review their prior learning on two British identity films, "In the Name of the Father" and "Hunger", which make up 60% of the AS level course.
- The objectives are to understand the exam board's expectations, examples to refer to, and assessing knowledge of film as an audio-visual form and applying critical approaches.
- The mark scheme will examine excellent knowledge of film details, use of terminology, and understanding of narrative theory and representation when analyzing the chosen films.
L20 hunger key scenes l2 of 2
You must fill in the gaps to summarize the document:
'I don’t think people are b___ in general, but c__________s make them do what they h____ t_.' (Steve M________)
bad
ircumstances
ave to
cQueen
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Screening L7 l9 - in the name of the father screening
Screening L7 l9 - in the name of the father screening
L12 in the name of the father key scenes part 2 new
L12 in the name of the father key scenes part 2 new
L28 past paper practise and exemplar answer - adapt
L28 past paper practise and exemplar answer - adapt
L29 wjec exam topics preparation 'carousel of questions'
L29 wjec exam topics preparation 'carousel of questions'
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This document provides an assignment for students to create a blog post, PowerPoint, or Prezi about an important music video director. Students must analyze at least one director in detail, including embedding two of their videos, including their basic bio and collaborators, key videos, other work, analyzing their style through typical looks, use of effects, cinematography, motifs, and giving a personal response to their work. Students can analyze additional directors for extra credit. A list of potential directors to analyze is provided.
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Goodwin published a book in 1992 called "Dancing in the Distraction Factory" where he came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, 3) There is a relationship between music and visuals, 4) They include close-ups of the artist, 5) Artists develop recurring visual motifs, 6) They frequently reference the notion of looking, and 7) Often include intertextual references to popular culture. Goodwin's theory provided a framework to analyze how elements are commonly used in music videos.
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The document provides instructions for a task that asks student production groups to research and create an interactive timeline outlining the history of music videos. They are to identify at least 15 significant moments in music video history using Timetoast to create the timeline, including images, clips, and text for each moment. The timeline will then be embedded in the students' blogs. Example timelines and source materials are also provided.
Representation
This document discusses representational issues in music videos such as gender, age, class, and ethnicity. It notes how women are sometimes objectified or men portrayed with a "female gaze." It also addresses how African American rappers are sometimes depicted as criminals and how collaborations between black and white artists can reach more markets. Region and place are represented, such as Los Angeles symbolizing wealth and opportunity or London portrayed as gritty. The task is to choose a representational focus, analyze a music video related to it discussing portrayal and potential offense, and post the analysis online.
Axillary tasks
This document provides examples and guidelines for various promotional materials used by musicians, including digipacks, websites, magazine advertisements, and conventions.
For digipacks, it lists the typical information included like the artist name, album title, tracklisting, label branding, photos, price, and credits. Examples of artists are provided.
Web site guidelines suggest including the band logo, navigation links, a large featured image or video, minimalist design, and content focused on a new release. Example artist sites are listed.
Tips for magazine advertisements emphasize grabbing attention through bold graphics, using color, keeping the pitch simple but precise, and making it easy for customers to order the product. Example artists using ads are
As to a2 intro 2015
This document provides an overview of the A2 Media Studies course, which includes two main components: 1) an Advanced Media Portfolio coursework unit involving creating a music video and additional supporting media products, and 2) a Critical Perspectives in Media exam unit focusing on postmodernism and media theory. Students are encouraged to improve their technical skills in areas like editing and to regularly engage with media through blogs, websites, and other platforms to support their studies and productions. The goal is to help students achieve the highest grades through organization, skill-building, thoughtful evaluations, and dedicated work.
Music vids styles 2017
This document discusses different styles and conventions in music videos. It explains that music videos commonly promote a single, artist, or album. They entertain audiences and help set the meaning of songs through visual imagery. Typically, music videos are 3-4 minutes and combine live performance, narrative elements, and visuals like computer graphics. Videos often contain performances by artists, narratives that relate to the song lyrics, or conceptual themes. Conceptual videos may focus on themes, symbols, or interesting visual ideas rather than narrative or performance. The document provides examples and further explanation of different music video elements and styles.
Target audience 2017
Music producers gather information about audiences to help market bands to the right demographic groups. Demographic profiling divides audiences into categories based on factors like age, income level, and occupation. This information helps producers understand what types of audiences different bands may appeal to. Producers are interested in details like a band's current audience to help target their marketing efforts to similar groups. Understanding audience demographics and psychographics helps tailor a band's image and marketing strategy to attract their target fans.
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Blog Checklist
This document provides a list of topics and content that should be included on blogs for a music video production project. It includes:
1) Names and exam numbers of group members, archive links, use of labels, draft and final music videos, evaluations, theories, industries, director studies, iconic videos, labels, styles, lessons, evidence, controversies, history, and textual analyses with examples and references to class concepts.
2) Audience research with surveys, results, and effects on the project. Brainstorming evidence, division of labor details, initial storyboards, shotlists, schedules, and evaluations of previous student examples.
3) Many posts documenting the production process, filming, editing, auxiliary tasks
Revamped blog checklist with what should already be completed.
Year 13 detailed blog list to help with G324. The highlighted sections should be already on your blog.
Year 12 developed blog list
This blog post outlines the essential elements that need to be included on a student's blog for a film assessment. It lists:
1) Name and candidate number, and links to other group members' blogs to identify who is working together.
2) Detailed storyboards or animatics to plan out visual elements.
3) A risk assessment with details on health and safety.
4) A list of props and actors.
5) Focus on the main assessment task worth 60 marks and on meeting all requirements of preliminary tasks.
6) Seven evaluation questions from the exam board and space for continual feedback.
7) Research into target audiences, genres, title sequences, and previous student examples.
Student blog checklist
This document provides a checklist and instructions for blog posts about planning a music video project. It includes requirements for research into similar products, target audiences, locations, costumes, props, and performers. Students must include shot lists, storyboards, schedules and draft plans. Suggested additional posts include behind-the-scenes videos, vlogs about progress, reviews of other music videos, and market research. Fifteen assignment topics are outlined covering various aspects of music video analysis, theory, and production planning. The goals are to thoroughly research and document all pre-production planning for the music video project.
1516 a2 blog checklist
This document provides a checklist and guidance for creating a blog for a music video production project. It lists 16 blog posts that should be included, such as researching similar music videos, analyzing target audiences, developing shot lists and storyboards, and reflecting on progress. For each post, it provides a topic, related tasks, and due dates. It emphasizes researching and planning the production, using digital tools to present work, and getting feedback from audiences. The goal is to demonstrate understanding of real music video forms and conventions through an effective blog documenting the planning and evaluation process.
A2 evaluation
This document outlines the requirements and guidelines for a blog assignment evaluating the process of creating a music video production. Students must:
1) Create a detailed blog by a deadline documenting all stages of pre-production, production, and post-production for their music video.
2) Write a 3-part critical evaluation analyzing their process, the outcomes, and how it engages their target audience.
3) Demonstrate creativity, research, planning, organization, and address audience feedback throughout their work.
A2 evaluation
This document outlines the requirements and guidelines for a blog assignment evaluating the process of creating a music video production. Students must:
1) Create a detailed blog by a deadline documenting all stages of pre-production, production, and post-production for their music video.
2) Write a 3-part critical evaluation analyzing their process, the outcomes, and how it engages their target audience.
3) Demonstrate creativity, research, planning, organization, and address audience feedback throughout their work.
G324 music video brief full presentation 2011
This document provides an outline for a course on teaching music video production to Year 12 students. It includes:
1. An overview of the A2 course structure and timeline for completing the music video brief unit from June to December.
2. Details on introducing music video theory, setting individual research tasks, and organizing group production work throughout the unit.
3. Examples of successful student music videos produced in previous years and resources for teaching music video forms, styles, and analysis.
4. Suggested practical exercises and tasks to aid skills development in areas like performance, camera work, editing, and planning music video productions.
1718 a2 blog checklist
This document provides a checklist and assignments for creating a blog about planning a music video production. It includes:
- A list of over 25 assignments that students should complete to research different aspects of planning a music video such as researching genres, target audiences, conventions, and inspiration.
- Suggestions for additional blog content like behind the scenes videos, reviews, and audience feedback.
- Instructions for students to present individual initial ideas for their own music video including songs, artist styling, a video idea summary, and inspiration.
- Evaluation questions to help students reflect on how their media product does or doesn't follow real music video conventions and how they have used media technologies.
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This document outlines the requirements for a Year 11 music video portfolio assignment. Students must complete research on their chosen genre, styles and techniques of music videos, influential record labels, and their target audience. They are also required to analyze two music videos, write a treatment, create a storyboard, plan costumes and props, develop a shooting schedule, conduct risk assessments, and maintain a production diary. The portfolio consists of research, planning, and production elements and is worth 15 of the total 45 marks for the assignment. Various templates and deadlines are provided to help students complete the tasks.
Mv Presentation Final Full Version
This document outlines a teaching plan for a Year 12 A2 music video course at The Latymer School. It discusses the organization of the course from June to December, focusing on teaching music video construction, performance, analysis, planning, production, and evaluation. Examples of successful student music videos from previous years are provided, as well as resources, practical exercises, concepts to teach, and assessment guidelines. The goal is to build students' confidence and understanding of music videos through exposure, analysis, workshops, and culminating in their own music video production and evaluation.
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This document outlines a teaching plan for a Year 12 A2 music video course at The Latymer School. It describes teaching the course from June to December of Year 12, focusing on music video construction, performance, and portfolio development. Students will analyze music videos, develop their own music video projects through planning, production, and screening work. Past student music videos produced through this course have achieved success, with over 300,000 YouTube views for one project. The document provides guidance on resources, concepts, and practical exercises to support student learning and skill development for the music video brief.
1718 a2 blog checklist
This document outlines a checklist for creating an effective blog to plan a music video project. It recommends including approximately 75-100 posts with detailed research into similar products, target audiences, locations, costumes, props, actors, storyboards, and shot lists. It also provides suggestions for additional blogging activities like behind-the-scenes videos, vlogs, reviews, and audience feedback. The checklist is accompanied by assignment descriptions and due dates to guide students in researching music video conventions, planning ideas, pitching concepts, and evaluating their work throughout the project.
G324 advanced media portfolio
This document provides information for students taking the A2 G324 Advanced Portfolio in Media course. It outlines the course content, which involves students producing a media portfolio including a music video, website, and digital packaging. Students will be assessed on their technical skills, knowledge, research, and evaluation. The document provides guidance on choosing a brief, developing a blog to document the process, conducting audience research, and various planning and production tasks to complete the portfolio. Students must work in a group to produce a music video and complete individual ancillary projects of a website and digital packaging.
Ocr advice nov 13 version2
The document provides guidance on conducting audience research for an A-level media studies film or music video project. It emphasizes that questionnaires should be carefully designed and linked to a relevant audience theory to generate meaningful data. More valuable research involves showing draft work to a target audience and asking qualitative questions about their understanding and responses. Later stages should gather formative feedback through group presentations, storyboard animatics, and focus groups on rough cuts with guided discussion questions.
A2 whole blog checklist
This document outlines blog post assignments for a music video production course. It includes 18 assignments focused on researching music videos, developing planning documents, and reflecting on the process. The assignments include analyzing existing music videos, researching target audiences, developing initial ideas, and summarizing music video theories. Students are asked to embed relevant videos and images in their blog posts. The goals are to help students learn about all aspects of music video production through hands-on research, planning and evaluation.
Blog Checklist
This document outlines the requirements for blogs that students must include. It lists: the opening draft and final thriller openings, evaluation questions, names and exam numbers, an archive section, a labels tool, a thriller recipe, research on thriller conventions, a director study, a group presentation on an opening, textual analysis of three thriller openings, questions on Shutter Island, a preliminary task, analysis of previous blogs, audience research, initial brainstorming, title sequence research, a final idea PowerPoint, ideas on mise-en-scene, task divisions, an initial storyboard, shot lists, and multimedia elements.
Music video tasks
This document outlines the preproduction tasks and deadlines for an advanced music video portfolio. It includes researching music video conventions and genres, analyzing similar videos, researching the music industry, developing audience profiles, creating storyboards and production materials like equipment lists and schedules, and blogging the production process. The goals are to complete preproduction tasks by October and December, and finish the final video and packaging materials by the end of the module.
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The document provides instructions for a film task assignment with two parts - a preliminary exercise and main task.
The preliminary exercise involves filming and editing a short scene demonstrating film techniques like match on action, shot reverse shot, and the 180-degree rule. The main task requires students to create the opening titles and sequence of a new fictional film up to 2 minutes long, using original video and audio. The document outlines requirements for research, planning, production and evaluation of the project.
As media studies things to do
The document lists various topics and analyses that need to be included on a media studies blog, including analyzing thriller title sequences and conventions, revising a previous analysis, creating mood boards and character profiles, analyzing music, audiences, and locations, storyboarding and filming scenes, and getting feedback from the teacher at various stages of production. It provides example links and emphasizes making sure work is reviewed by the teacher before being marked. The goal is to document the process of analyzing and creating media content for a thriller genre project.
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Revamped blog checklist with what should already be completed.
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Sherlock 1
The Sherlock series draws attention to its constructed nature as a postmodern text through various techniques:
1) It is self-aware of being a narrative and acknowledges the intertextual references and knowledge of both the historical Sherlock Holmes stories as well as the TV series itself that the audience possesses.
2) Characters like Mrs. Hudson point out their own functions within the narrative and the constructed nature of their roles.
3) Scenes and dialogue directly reference and parody elements from the original Sherlock Holmes stories and previous episodes, blurring the lines between reality and fiction.
Post Modern Essays Top Level Responses
Postmodern media differs from other media in several key ways:
1) It opposes modernist ideas like objective truth and focuses instead on subjectivity and relativism.
2) It frequently references and comments on other media texts through techniques like parody and pastiche.
3) It lacks linear narratives and instead embraces fragmentation and irony.
The big short as a pomo text
The Big Short is a 2015 film about the 2007-2008 financial crisis directed by Adam McKay. It uses unconventional techniques like celebrity cameos and breaking the fourth wall to explain complex financial instruments. The film follows three separate but interconnected stories of men who predicted the housing market collapse. It combines elements of drama, comedy, documentary, and music videos. The film challenges conventions by blurring the lines between hero and villain. It also represents bankers and banks critically but conventionally through their appearance and actions. It explores an unconventional postmodern representation of the audience by highlighting their initial lack of understanding of the financial concepts covered in the film.
Genre examples
This document provides exam resources and guidance for a media production question. It instructs students to write about one of their coursework productions in question 1(b), applying the concept of genre. It provides two examples of student answers that received 18/25 and 16/25 marks respectively to serve as models.
Representation examples
This document provides exam resources and examples for writing about one of your media coursework productions in response to Question 1(b). It lists representation as the topic for January 2010 and 2012, instructing students to analyze media representation in one of their coursework productions. For June 2013, it asks students to apply the concept of representation to one of their coursework productions.
Audience essay examples
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into account when creating the film. The response demonstrates understanding of several audience theories (hypodermic needle, uses and gratifications, reception theory) and relates them to choices made in the filmmaking process, such as targeting a specific age range and incorporating feedback. Overall, the summary highlights the student's ability to apply media theories to their own creative work through relevant examples and explanations.
Question 1 b revision
This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.
Essay plan for 1 b
This document outlines an essay plan discussing an important concept, its impact, and relevant theorists. It includes discussing three examples of how the concept was used and its effects, as well as one example of how the concept was challenged.
Research and planning exemplars
This document contains examiner comments on student responses to a question about how their media production work was informed by research into real media texts and how their ability to use such research developed over time.
The examiner notes that higher scoring responses were able to provide specific examples of how research influenced creative decisions, critically reflect on the research process, and discuss progression from earlier work. Weaker responses lacked applied examples or evaluation. The examiner advises focusing responses and being clear about research outcomes rather than just listing sources. Higher scores required synthesis of examples, critical reflection, and awareness of development. Research can inform work in various ways beyond just genres, such as technical or institutional aspects.
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Supernatural handout one
The episode confuses boundaries between reality and fiction by having the main characters transported from their fictional supernatural TV show into the "real world" of the TV show's production. This postmodern narrative technique blurs the lines between the constructed nature of the media text and reality. The characters struggle to understand what is real as they interact with actors playing themselves and the director. The episode also comments on celebrity culture and fans' obsession with social media through its portrayal of the characters uncomfortable with their celebrity lifestyle.
Essay plan fotc
Flight of the Conchords can be defined as a postmodern text based on several criteria. The TV show incorporates elements of postmodern theory as described by Strinati, such as blurring genre boundaries and playing with audience expectations. However, it also employs traditional media concepts at times. Overall, while Flight of the Conchords displays some postmodern features, it cannot be purely defined as postmodern and still incorporates traditional elements of narrative and representation. The show challenges rigid definitions of postmodernism.
Post modern concepts
This document discusses key concepts in traditional media and how postmodern texts challenge those concepts in three main ways. It outlines how postmodern media draws attention to its construction, challenges genre conventions through hybridity and subversion, and subverts audience expectations of representation, ideology and narrative through new stereotypes, ideas, and non-linear or open-ended structures. The postmodern audience is also described as diverse, fragmented, and active rather than passive.
Section A audience
The document discusses several theories of media audiences, including reception theory which states that audiences interpret media texts in different ways based on their own experiences and perspectives, rather than just accepting the producer's intended meaning. It also examines the hypodermic needle theory, which suggests audiences passively accept messages from media, and uses and gratifications theory, which proposes that audiences actively engage with media to fulfill various needs and desires.
Audience theory
This document summarizes several theories about media audiences:
- Cultivation theory suggests that repeated exposure to similar media representations can shape people's views of the world.
- Reception theory examines how audiences can interpret media messages in preferred, negotiated, or oppositional ways.
- Participatory culture theory describes how audiences actively engage with media texts by creating and sharing their own works.
- More recent theories argue that digital technologies have transformed passive audiences into active producers who can respond to and create their own media content.
Media language
This document discusses film techniques including camerawork, editing, mise en scene, and sound. It provides a specific example of each technique and explains how they relate to meaning and audience response. In a concise manner, the document outlines key cinematic elements.
Media language section a
The document discusses various concepts relating to how meaning is created through media language. It defines key terms like denotation and connotation, and how they relate to encoding and decoding meaning. Elements of media language that create meaning are explained, such as mise-en-scene, camerawork, editing, and sound. The importance of understanding how these micro-level techniques construct intended meanings and can allow for alternative readings is highlighted. Analyzing one's own media products in terms of the specific examples of how these elements create key meanings and audiences' potential alternative interpretations is presented as a task for revising one's work.
Using conventions
This document provides guidance on answering exam questions about using conventions from real media texts in your own work. It emphasizes showing how your understanding of conventions has developed over time through various projects. It recommends discussing both technical conventions as well as symbolic conventions related to narrative, representation, themes and messages. Students are advised to structure their answer with an introduction about the projects, paragraphs discussing skills and examples from early and later projects, and a conclusion. The document also contains advice on analyzing other students' work and planning essay answers.
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Blog Checklist
- 1. What needs to be on your blogs… Name____________________________________________________________ o Full names and Exam numbers of every group member o Archiveat top o Label gadget and use of labels in posts o DraftMusic Video Final Music Video o Axillary 1 Axillary 2 o Evaluation Questions 1 2 3 4 o Music Videos and Representation o Poston the theories of Goodwin. o At least one director study per person o Iconic Music Video frombefore you were born o Music Industry and Record labels and your choice o Different styles of music videos – Performance, Narrativeand Concept. o Final Cut Express lessons o ‘Why does love do this to me’ evidence o ControversialMusic Video o History of Music Videos. o Textual analysis of existing Music Videos with working links or embedding. At least five examples per person and refer to ideas taught in class (Goodwin Seven, Representation, style, textual analysis etc.) o Textual analysis of previous student examples looking at strengths and weaknesses. At least three examples per person (videos and axillary) o Discuss of potential target audience (Detailed poston initial audience research task – include a sampleof your survey, results (possibly as graphs) and the effect the research will have on whatyou do o Evidence of initial brainstorming – include scanned or photographed images of your brainstormsheets, summer homework etc. o Detail of the division of labour – who will do what? o Evidence of you initial storyboard which should bedetailed. o Evidence of shotlists o Evidence of planning mise en scene (locations, costumes, props, lighting/colour, special effects) o Production schedule o Textual analysis of previous student examples (evaluations) looking at strengths and weaknesses (atleast three per person). o Many posts about the process –filming, editing, axillary tasks, evaluation audience feedback etc o Lots of pictures, embedded clips, links and other whizzy technology stuff.