Combat and Violence
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This document discusses types of combat and violence seen in films, providing examples for each type. It also examines narrative reasons for combat scenes in films, listing common motivations. Viewers are asked to provide additional examples and suggest other categories for types of combat. An Avengers Assemble fight scene is shared as an example for analysis.
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This document provides an overview of film genres and subgenres, including their purposes and conventions. It defines key terms like genre, subgenre, hybrid, and conventions. Genres are categories that films can be grouped into, while subgenres combine elements of multiple genres. Conventions are generally accepted or familiar elements within a genre that audiences expect to see. The document uses examples like horror and disaster films to illustrate subgenres and how their conventions can evolve over time as audiences change. Students are assigned a group project to research a subgenre, identify examples, and present its conventions.
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This document discusses codes and conventions used in four films from different genres:
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2. Winner – India’s biggest blogging contest – Cox & Kings’ #GrabYourDreams (Season 2)
3. Winner – Grand Prize National Geographic Traveller’s GetOutThere Photo Essay Contest
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The document discusses elements that contribute to scale and spectacle in films, including various types of locations and narrative events. It provides examples for epic, exotic, dangerous, unusual, fantasy/sci-fi, and historical locations. Examples are also given for narrative events like battles, sieges, chases, quests, and explorations. Readers are asked to consider other examples and update the lists. The document then instructs watching a video extract from Gladiator multiple times and making notes on camera work, editing, sound, and mise-en-scene.
Scale and spectacle
The document discusses elements that contribute to scale and spectacle in films, including various types of locations and narrative events. It provides examples for epic, exotic, dangerous, unusual, fantasy/sci-fi, and historical locations. Examples are also given for narrative events like battles, sieges, chases, quests, and explorations. Readers are asked to consider other examples and update the lists. The document then instructs watching a video extract from Gladiator multiple times and making notes on camera work, editing, sound, and mise-en-scene.
Q1,2,3 revision
This document provides guidance and sample questions for a media exam focusing on action-adventure films. It includes:
1. Sample conventions of the action-adventure genre that could be asked about in Question 1, such as the protagonist overcoming increasingly difficult challenges, antagonists being better equipped, and situations that put the protagonist in jeopardy.
2. An overview of how to structure the response for Question 1, explaining the convention and providing evidence and analysis.
3. A list of possible elements of media language that could be asked about in Question 2, including editing, sound, mise-en-scene, and camerawork.
4. An indication that Question 3 may focus on representation and
Exam Revision
This document provides information about character types, events, technical terms, and representation that are commonly used in action-adventure films. It discusses the protagonist, antagonist, sidekick, and female lead character archetypes and why they are used. It also outlines common events like fight scenes, chase scenes, and surprise scenes and their purposes. Technical filmmaking terms are defined like mise-en-scene, sound, editing, and camerawork. Finally, it addresses topics like gender and ethnic stereotypes as well as how and why stereotypes are used or challenged in films.
G322revision 090512100336-phpapp02
This document provides guidance on the TV Drama and Representation section of the G322 exam. It outlines the key areas students must discuss in their response, including camerawork, sound, mise-en-scene, editing, and representation. It emphasizes the importance of discussing all areas and linking analysis of technical elements to representations. Examples of shots, sounds, and other techniques are defined. The document also lists common TV drama genres and representation topics that may be assessed. Scoring criteria emphasize a full discussion linking extract examples to the question.
2) exam section a question 1
The document provides lesson material on analyzing action adventure films for an exam. It includes reminders of key terminology, sample exam questions, planning templates for questions, and sample student responses. For question 2, it explains how soundtrack, camerawork, editing, and mise-en-scene can be used to create effects like tension, spectacle and drama. Examples from Tomb Raider: The Cradle of Life are provided, along with guidance on writing a high-scoring response.
Revising tv drama
This document provides guidance on analyzing representations in TV dramas. It discusses analyzing representations of gender, age, ethnicity, sexuality and other attributes. It also defines key terminology for analyzing editing techniques, camerawork, mise-en-scene, and sound. Examiners provide feedback that editing is often the most difficult area for students to analyze and require discussing transitions, pacing, continuity and use of sound. The document advises students to watch TV drama clips and practice identifying terms and commenting on technical aspects.
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Our aim is to differentiate instruction to meet students' individual needs without overburdening teachers. Differentiation involves tailoring lessons through questioning, learning outcomes, tasks, and resources. Teachers currently differentiate well through effective questioning targeted at different ability levels. Differentiation can also involve assigning tasks at bronze, silver, and gold levels to motivate students. Worksheets can be differentiated by making tasks progressively harder. Independent tasks can have different structure and criteria for different ability levels. Differentiation allows all students to achieve a minimum while some have to explain or justify answers further. Observers should see evidence of differentiation in lesson plans.
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Rimmel London aims to represent the capital city of London by being witty, edgy, and streetwise according to its press release. The brand hammers home the message that London is cool through ad campaigns telling consumers to "Get the London look" and enlisting famous Londoners like Kate Moss, Georgia May Jagger, and Zooey Deschanel. Kate Moss in particular has been with the brand since 2001 and signifies a born and bred London lady. The target audience for this campaign would be those wanting to emulate the cool, edgy style of London through Rimmel's products.
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This document provides homework instructions asking the reader to analyze a brand marketing campaign by examining how it targets a specific audience, creates a unique selling proposition for the brand, and persuades the audience to buy into the brand. Students are asked to choose a campaign from a brand such as Dove, Nike, Coke, or L'Oreal, and stick images from the campaign in their exercise books along with writing an analysis addressing the specified points.
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This document provides information and tasks for a GCSE media studies coursework assignment on print advertising. It includes assessment criteria, key concepts to understand like unique selling points and audience targeting. It defines important terminology like call to action and imperatives used to maximize sales. It asks students to analyze sample ads for their USPs and examples using imperatives and calls to action. It explains the technique of "synthetic personalization" and provides a creative task to design a fragrance ad using these techniques.
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This document identifies and analyzes the target audiences for the film Star Trek Into Darkness. The primary audience consisted of action and science fiction fans aged 12-35, particularly male, who enjoyed previous Star Trek films. The secondary audience were older mainstream female viewers aged 25-45 who could relate to the characters. The tertiary audience were long-time Star Trek fans aged 35-55, predominantly male, who were excited by references to the franchise's history. The film appealed to these diverse groups through its high production values, focus on spectacle, representation of appealing lead characters, nostalgic elements, and ability to foster personal connections to the characters' relationships and journeys.
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This document provides an introduction to GCSE Media Studies. It discusses how the media plays a large role in today's world and acts as a window into what is happening globally. Exponential growth in media technologies in recent decades is explored, with students asked to consider key developments and their impacts. Students are assigned tasks to map their own media usage and discuss the degree of influence the media has on them.
Audience theories display
1. Richard Dyer's Utopian Solutions Theory proposes that audiences will be drawn to media that offers compensation for inadequacies in their lives by allowing them to vicariously live out desires and fulfill needs.
2. Abraham Maslow's Hierarchy of Needs Theory suggests that targeting the top five basic human needs - physiological, safety, love/belonging, esteem, and self-actualization - will increase the likelihood of a media production's success.
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This document provides feedback on student responses to analyzing representations of class and status in a scene from the television show Merlin. It discusses the following key points:
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3) Better responses identified shots like over-the-shoulder that established dominance and composition placing Arthur centrally with guards to show his power. Weaker responses confused technical terms.
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- 2. TYPES OF FIGHT SEQUENCE Hand to hand combat –Matrix, Rocky, Sherlock Holmes Traditional weapons – Martial Arts- The Karate Kid, The Last Samurai, Crouching Tiger Hidden Dragon Military weapons – The Hurt Locker, Jar Head, Three Kings Futuristic weapons – Avatar, Star Wars Vehicles (with and on) see Skyfall, Top Gun Special powers – Superhero genre, Matrix Assassins – Bourne Identity, Shoot Em Up, Desperado Discussion: Can you think of other types or examples?
- 3. NARRATIVE REASONS FOR COMBAT The conclusion of a chase sequence- Mission Impossible A competition or contest – the Karate Kid A fight to the death to end a war - Troy To protect more vulnerable characters – Captain America To save the world from an apocalyptic army/force – Avengers Assemble To settle an argument – Face Off Because of a misunderstanding - The Princess Bride As part of a crime – Point Break, The Dark Knight For fun – Fight Club As a test for the hero/training – Batman Begins Revenge - Taken
- 4. TASK Up date the list with films that you have watched recently: The conclusion of a chase sequence- A competition or contest – A fight to the death to end a war – To protect more vulnerable characters – To save the world from an apocalyptic army/force – To settle an argument – Because of a misunderstanding – As part of a crime – For fun – As a test for the hero/training – Revenge – Extension: Can you think of any other categories?
- 6. TEXTUAL ANALYSIS Question 1 Using this extract… Explain two ways the characters/events in the extract fit the action adventure genre Explanation 1 Explanation 2
- 7. Use the following questions as prompts for each technical area for question 2. Camera angles and framing/shot types/movement • How is the viewer invited to empathise with any particular character in the sequence? In what ways? • What kinds of shots are the most prominent|? If close ups are used, what do they show and why?
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- 9. Sound -Listen to the sound mix carefully. • What elements of the soundtrack seem to be most important (i.e. dialogue, ambient sound, music, specific sound effects)? • Are any sounds exaggerated or amplified in volume? • What kind of music is used in the sequence? Is it used throughout or introduced at a specific poit? Does it emphasise the action or contrast with it? • Is silence used at all for effect? Diegetic, non diegetic
- 10. Mise en scene and special effects • Does the sequence seem real? What aspects contribute most to this? • Are aspects of the sequence stylised or unrealistic? Does the film-maker attempt to convince us that what we are seeing is real? • What elements of the mise en scene are intended to add to the intensity to add to the intensity of the visual experience (such as lighting, special effects, stunts, etc)? • Comment on the nature of violence in the sequence. Is it graphically depicted? Are there elements of comedy?