Conventions of title sequence
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This document discusses conventions in title sequences. It defines conventions as the typical format, content, techniques and style used across a medium. Students are asked to watch title sequences and identify conventions through group discussions and mind mapping. Conventions are categorized as technical, genre-related, or symbolic. Students then create a detailed online mind map linking title sequence conventions to film examples. The activity aims to help students understand and analyze conventions in opening titles.
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Conventions of title sequence
This document discusses conventions in title sequences. It defines conventions as typical formats, content, techniques and styles used across a medium that provide visual and auditory clues to identify something as a title sequence. The document guides students through an activity to identify conventions in title sequences by watching examples and creating a mind map. It differentiates between technical, genre, titling, and institutional conventions and challenges students to think of sequences that break conventions.
Horror openings certification
This document provides feedback and guidance for researching and analyzing horror film openings for a blog. It instructs the student to use technical terminology when analyzing sound, link generic codes and conventions, develop explanations, and analyze sequences with titles. It also includes links to example horror film openings and outlines learning objectives and tasks for the student's research on film certification, audience theory regarding why people enjoy horror films, and conducting audience research about the target demographics for horror films and what they like about the genre.
Conventions of a film opening sequence
Opening sequences aim to entice audiences to continue watching and establish characters and genre. Directors have many techniques at their disposal including flashbacks, establishing shots, narration, action scenes, chase scenes, production logos, title sequences, animation, compilation of photographs, increasing the narrative pace and content, and soundtracks. Unconventional openings can also be used to add mystery or artistic style.
Conventions of Title Sequences
Opening title sequences list the key production members and cast over visuals and sometimes music to establish the film's atmosphere. Common conventions include listing the production companies, director, producer, executive producer, top billed actors, and movie title either over a blank screen or during the opening action. The aim is to set the character, setting, genre, or mood for the film.
Codes and conventions of opening titles in movies
The opening of a film sets the tone and establishes the atmosphere without explaining the story. It shows the credits for the director, writers, cast and other crew. The opening of Zombieland begins in a decimated Washington DC to set the horror location and tone. CG effects show a ruined world to further set the mood. Introductory text establishes the dark humor. The credits then roll over shots of the cast before ending with the director's name, drawing the audience into the film.
Title & Opening Sequence
A title sequence presents a film or television program's title and key production details using conceptual visuals and sound, while an opening sequence is shown at the very beginning and uses a brief scene to set the stage for the episode or film. An effective title sequence should include the film title, actors, producer, director, and logos of the production and distribution companies. An opening sequence establishes the scene, introduces characters and their relationship to the story, hints at the plot and genre, and uses music, lighting, and a variety of camera shots to set the mood.
Assignment 9 opening sequence analysis
The document provides information about film opening sequences, including key terms and definitions. It discusses what an opening sequence is, its purposes, and some recent trends. Different genres tend to approach openings differently, such as introducing characters or setting the story. The document also provides examples of openings from films like Scream 4 and evolution of openings over time. It suggests resources like Art of the Title for analyzing title sequences and provides templates for students to fill out to analyze openings.
Key and conventions of opening title sequence
Opening title sequences introduce a film or television program by presenting key production credits and cast members using visuals and audio. Credits are shown at the beginning and typically include the production company, director, producer, executive producer, and top billed actors. Music may or may not accompany the credits, which can be superimposed over static or moving images related to the content of the film or show.
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Conventions of title sequence
This document discusses conventions in title sequences. It defines conventions as typical formats, content, techniques and styles used across a medium that provide visual and auditory clues to identify something as a title sequence. The document guides students through an activity to identify conventions in title sequences by watching examples and creating a mind map. It differentiates between technical, genre, titling, and institutional conventions and challenges students to think of sequences that break conventions.
Horror openings certification
This document provides feedback and guidance for researching and analyzing horror film openings for a blog. It instructs the student to use technical terminology when analyzing sound, link generic codes and conventions, develop explanations, and analyze sequences with titles. It also includes links to example horror film openings and outlines learning objectives and tasks for the student's research on film certification, audience theory regarding why people enjoy horror films, and conducting audience research about the target demographics for horror films and what they like about the genre.
Conventions of a film opening sequence
Opening sequences aim to entice audiences to continue watching and establish characters and genre. Directors have many techniques at their disposal including flashbacks, establishing shots, narration, action scenes, chase scenes, production logos, title sequences, animation, compilation of photographs, increasing the narrative pace and content, and soundtracks. Unconventional openings can also be used to add mystery or artistic style.
Conventions of Title Sequences
Opening title sequences list the key production members and cast over visuals and sometimes music to establish the film's atmosphere. Common conventions include listing the production companies, director, producer, executive producer, top billed actors, and movie title either over a blank screen or during the opening action. The aim is to set the character, setting, genre, or mood for the film.
Codes and conventions of opening titles in movies
The opening of a film sets the tone and establishes the atmosphere without explaining the story. It shows the credits for the director, writers, cast and other crew. The opening of Zombieland begins in a decimated Washington DC to set the horror location and tone. CG effects show a ruined world to further set the mood. Introductory text establishes the dark humor. The credits then roll over shots of the cast before ending with the director's name, drawing the audience into the film.
Title & Opening Sequence
A title sequence presents a film or television program's title and key production details using conceptual visuals and sound, while an opening sequence is shown at the very beginning and uses a brief scene to set the stage for the episode or film. An effective title sequence should include the film title, actors, producer, director, and logos of the production and distribution companies. An opening sequence establishes the scene, introduces characters and their relationship to the story, hints at the plot and genre, and uses music, lighting, and a variety of camera shots to set the mood.
Assignment 9 opening sequence analysis
The document provides information about film opening sequences, including key terms and definitions. It discusses what an opening sequence is, its purposes, and some recent trends. Different genres tend to approach openings differently, such as introducing characters or setting the story. The document also provides examples of openings from films like Scream 4 and evolution of openings over time. It suggests resources like Art of the Title for analyzing title sequences and provides templates for students to fill out to analyze openings.
Key and conventions of opening title sequence
Opening title sequences introduce a film or television program by presenting key production credits and cast members using visuals and audio. Credits are shown at the beginning and typically include the production company, director, producer, executive producer, and top billed actors. Music may or may not accompany the credits, which can be superimposed over static or moving images related to the content of the film or show.
Conventions of film openings
The document discusses conventions for film openings. Most film openings are 2-5 minutes long and introduce the main characters, begin the narrative, and establish the setting and genre. Conventions include showing the production company and director credits, starting with calm equilibrium before a key event occurs, and using non-diegetic sound. The document then analyzes the openings of "Remember the Titans" and "Planet of the Apes," noting how they hook viewers with their use of establishing shots, character introductions, and voiceovers that provide background and begin the narratives.
Four types of title sequences
The document discusses four types of title sequences: 1) Discrete title sequences which are separately filmed clips that set the mood before the film through visuals and music. Skyfall is provided as an example. 2) Stylized sequences rely on editing of text and fonts to convey mood. Zombieland is used as an example. 3) Credits over a blank screen use color, sound and minimal text to set the tone. 4) Narrative openings have a character speak directly to the audience to provide context before being introduced in the film.
Title sequences ppt
This document discusses and compares different title sequences from films and television. It begins by defining a title sequence and what elements they typically include, such as credits for production crew, cast, and accompanying music. Examples are then provided from films like The Hunger Games and television shows like Game of Thrones to illustrate common ordering of credits and use of static vs moving images. Differences in title sequences across genres and between films and television are explored. Overall, while title sequences serve the same basic purpose, elements like credit ordering and use of static vs moving images can vary between productions.
Differences Between a Title Sequence and a Trailer.
Title sequences are scenes at the beginning of a film that show production and cast names superimposed over footage to build anticipation, while trailers are shorter montages of scenes throughout a film meant to entice viewers by previewing the storyline and ending on a cliffhanger.
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This document discusses a media studies lesson on music video institutions. The learning objective is to research different institutions used for music video exhibition, including MTV, YouTube, VEVO, record label websites, artist sites, iTunes, and independent sites. Students are asked to post their findings on their blogs and choose the exhibitor they think will be most successful for a target audience. The connection provided is that Carla Bruni is a singer signed to Universal Music Group, which co-owns VEVO with other companies, and Rihanna has the most certified videos on YouTube.
Credits and timelines
This document provides guidance to students on including credits in a film opening sequence for a media studies assignment. It discusses the purpose of credits in films and TV, and common types of credits seen in opening sequences. Students are instructed to watch examples of opening sequences to identify commonly used credits. They are then asked to storyboard their own credit timeline by planning where different credits will appear. Peer feedback is utilized before students post their timelines online and work on implementing credits into their opening sequence designs. The goal is to help students understand the role of credits and effectively incorporate them in their own opening title designs.
Codes and conventions of a film opening
The document discusses conventions that are commonly used in film openings across genres. It notes that openings typically include the studio/production logo, titles/credits, an establishment of the genre through visuals and sound, an introduction of characters, and the beginning of the story/theme. The purpose is to attract audiences, set expectations for the genre, and create intrigue or "enigma" to motivate viewers to watch the full film.
9 key frames
The document discusses the typical elements contained in an opening film sequence. These elements include details of the cast and crew, the film's title, an introduction to characters or character types, indications of place and historical period, information about mood and tone, introduction of the signature theme tune, details about genre, intriguing questions that set up enigmas, and patterns of editing and mise-en-scene that will be echoed later in the film.
G321 Saul Bass Case Study
This document provides instructions for a lesson on graphic designer Saul Bass. It directs students to watch a documentary on Bass in preparation. It asks students to share one thing they learned about Bass from the documentary. It then provides information about who Bass was and his career creating title sequences and film posters. It includes a link to a montage of his work and asks students to describe his style and the genres of the films. It provides example links of Bass' work and discusses his inspiration on modern titles. It assigns students a task to create a Glogster guide on Bass and his influence, and explains what a teacher will be checking in their blogs.
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The document summarizes the three key stages in the life cycle of a film:
1) Production - involves financing, casting, crew, facilities, pre-production planning, and filming. This is the most creative stage.
2) Distribution - involves research on distribution companies and examples of films they have distributed.
3) Exhibition - relates to how the audience can access the final film through cinemas, DVD/Blu-ray, or streaming.
Final lesson evaluations a2
This document provides guidance for students completing an evaluation for a media coursework unit. It includes the marking criteria, which allocates 20 marks for planning and presentation, 60 marks for construction, and 20 marks for evaluation. Students will upload their evaluation to a blog. The document also provides examples of how students can structure and present their evaluation, including using various digital tools and formats. It emphasizes analyzing audience feedback, use of forms and conventions, and reflecting on the use of media technologies and skills development. Homework involves designing a feedback questionnaire and collecting responses over half term to analyze for one of the evaluation questions.
AS Film Openings Introduction
Opening sequences in film and television serve several purposes. They introduce the key creative roles through opening credits at the beginning of a project. The opening credits typically list important production members like directors, producers and cast. When separated from the main story, this becomes a title sequence. Opening sequences also set the scene by establishing the location or context through techniques like establishing shots. Some openings break conventions and use more abstract sequences to hint at the genre or tone without revealing details.
Film distribution introduction
The document discusses company structures in the film industry, including conglomerates, horizontal integration, and vertical integration. It then focuses on distribution, explaining that distribution involves getting films shown and promoted between production and exhibition. The major distributors that control most film distribution are identified as United International Pictures, Warner Brothers, Buena Vista, 20th Century Fox, and Sony.
Websites and digipaks
This document provides information and guidance about creating digipaks and websites to promote an artist. It begins by defining a digipak and explaining why they are used. It then outlines the process for students, including researching existing digipaks, planning their own designs, considering contents, and meeting deadlines. Similar information and processes are covered for designing an artist website, including terminology, conventions, planning pages and features. Checklists are provided for both tasks.
Distribution lesson part 2
The document discusses the distribution process for films. It covers factors affecting distribution, key responsibilities of distributors, print circulation and costs, and examples of the distribution models for the films "A Field in England" and "Pacific Rim." Students are asked to debate whether distribution benefits all areas of the film industry. They are given roles representing different film industry stakeholders to consider different perspectives in the debate.
Two step flow and british and american audiences
This document provides discussion prompts for analyzing two films: A Field in England and Pacific Rim. It asks the reader to:
1) Identify three points of interest from independent research about the production of each film.
2) Analyze the target and secondary audiences of each film based on elements like narrative, production techniques, marketing, and exhibition.
3) Consider whether the success of either film was influenced by opinion leaders and two-step message flows through social media, reviews, interviews, and other sources.
Motion graphics and compositing in title sequences
The document discusses why title sequences are important in films and TV. It notes that title sequences set expectations and tone for the viewer. They attract audiences and introduce characters, themes, genres and visual styles. Motion graphics and compositing can enhance title sequences by making them more visually appealing than live action alone. They allow unlimited camera angles and perspectives. As technology advanced, title sequences have become more enjoyable to watch.
L4 Genre
1. Genre is a way of categorizing texts that defines codes and conventions to structure meaning and set audience expectations. It is constructed through visual and aural signs.
2. Genres are not fixed but rather dynamic processes that are historically and culturally specific. They are constantly evolving through negotiation and change.
3. Categorizing films into genres allows producers to follow templates, distributors to market to audiences, and audiences to predict narratives based on familiar conventions. This satisfies audiences through a sense of cultural capital and correctly predicting outcomes.
Film production guide
The document provides information about various film editing and cinematography techniques such as match on action, shot reverse shot, and the 180-degree rule. It also discusses audience planning, research, planning, construction, and evaluation aspects of film production. Key elements include matching movement across shots to make actions seem continuous, framing speakers in dialogue in medium close-ups, and maintaining the same side of an imaginary line between shots for continuity. Production entails organization, meeting deadlines, using technology, and considering the audience to develop meaning.
Conventions micro and macro
This document defines and discusses the concept of mise-en-scene in film analysis. Mise-en-scene refers to everything that appears within the frame of a shot, including lighting, props, costumes, character performances, and sets. It can help viewers understand different elements of a film, such as the time period through costumes, emotions through lighting, genre through props, and story through sets. Micro analysis of mise-en-scene elements can support larger macro themes in a film, such as representations of characters.
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Conventions of film openings
The document discusses conventions for film openings. Most film openings are 2-5 minutes long and introduce the main characters, begin the narrative, and establish the setting and genre. Conventions include showing the production company and director credits, starting with calm equilibrium before a key event occurs, and using non-diegetic sound. The document then analyzes the openings of "Remember the Titans" and "Planet of the Apes," noting how they hook viewers with their use of establishing shots, character introductions, and voiceovers that provide background and begin the narratives.
Four types of title sequences
The document discusses four types of title sequences: 1) Discrete title sequences which are separately filmed clips that set the mood before the film through visuals and music. Skyfall is provided as an example. 2) Stylized sequences rely on editing of text and fonts to convey mood. Zombieland is used as an example. 3) Credits over a blank screen use color, sound and minimal text to set the tone. 4) Narrative openings have a character speak directly to the audience to provide context before being introduced in the film.
Title sequences ppt
This document discusses and compares different title sequences from films and television. It begins by defining a title sequence and what elements they typically include, such as credits for production crew, cast, and accompanying music. Examples are then provided from films like The Hunger Games and television shows like Game of Thrones to illustrate common ordering of credits and use of static vs moving images. Differences in title sequences across genres and between films and television are explored. Overall, while title sequences serve the same basic purpose, elements like credit ordering and use of static vs moving images can vary between productions.
Differences Between a Title Sequence and a Trailer.
Title sequences are scenes at the beginning of a film that show production and cast names superimposed over footage to build anticipation, while trailers are shorter montages of scenes throughout a film meant to entice viewers by previewing the storyline and ending on a cliffhanger.
A2 level media exhibitors
This document discusses a media studies lesson on music video institutions. The learning objective is to research different institutions used for music video exhibition, including MTV, YouTube, VEVO, record label websites, artist sites, iTunes, and independent sites. Students are asked to post their findings on their blogs and choose the exhibitor they think will be most successful for a target audience. The connection provided is that Carla Bruni is a singer signed to Universal Music Group, which co-owns VEVO with other companies, and Rihanna has the most certified videos on YouTube.
Credits and timelines
This document provides guidance to students on including credits in a film opening sequence for a media studies assignment. It discusses the purpose of credits in films and TV, and common types of credits seen in opening sequences. Students are instructed to watch examples of opening sequences to identify commonly used credits. They are then asked to storyboard their own credit timeline by planning where different credits will appear. Peer feedback is utilized before students post their timelines online and work on implementing credits into their opening sequence designs. The goal is to help students understand the role of credits and effectively incorporate them in their own opening title designs.
Codes and conventions of a film opening
The document discusses conventions that are commonly used in film openings across genres. It notes that openings typically include the studio/production logo, titles/credits, an establishment of the genre through visuals and sound, an introduction of characters, and the beginning of the story/theme. The purpose is to attract audiences, set expectations for the genre, and create intrigue or "enigma" to motivate viewers to watch the full film.
9 key frames
The document discusses the typical elements contained in an opening film sequence. These elements include details of the cast and crew, the film's title, an introduction to characters or character types, indications of place and historical period, information about mood and tone, introduction of the signature theme tune, details about genre, intriguing questions that set up enigmas, and patterns of editing and mise-en-scene that will be echoed later in the film.
G321 Saul Bass Case Study
This document provides instructions for a lesson on graphic designer Saul Bass. It directs students to watch a documentary on Bass in preparation. It asks students to share one thing they learned about Bass from the documentary. It then provides information about who Bass was and his career creating title sequences and film posters. It includes a link to a montage of his work and asks students to describe his style and the genres of the films. It provides example links of Bass' work and discusses his inspiration on modern titles. It assigns students a task to create a Glogster guide on Bass and his influence, and explains what a teacher will be checking in their blogs.
Intro to film stages as
The document summarizes the three key stages in the life cycle of a film:
1) Production - involves financing, casting, crew, facilities, pre-production planning, and filming. This is the most creative stage.
2) Distribution - involves research on distribution companies and examples of films they have distributed.
3) Exhibition - relates to how the audience can access the final film through cinemas, DVD/Blu-ray, or streaming.
Final lesson evaluations a2
This document provides guidance for students completing an evaluation for a media coursework unit. It includes the marking criteria, which allocates 20 marks for planning and presentation, 60 marks for construction, and 20 marks for evaluation. Students will upload their evaluation to a blog. The document also provides examples of how students can structure and present their evaluation, including using various digital tools and formats. It emphasizes analyzing audience feedback, use of forms and conventions, and reflecting on the use of media technologies and skills development. Homework involves designing a feedback questionnaire and collecting responses over half term to analyze for one of the evaluation questions.
AS Film Openings Introduction
Opening sequences in film and television serve several purposes. They introduce the key creative roles through opening credits at the beginning of a project. The opening credits typically list important production members like directors, producers and cast. When separated from the main story, this becomes a title sequence. Opening sequences also set the scene by establishing the location or context through techniques like establishing shots. Some openings break conventions and use more abstract sequences to hint at the genre or tone without revealing details.
Film distribution introduction
The document discusses company structures in the film industry, including conglomerates, horizontal integration, and vertical integration. It then focuses on distribution, explaining that distribution involves getting films shown and promoted between production and exhibition. The major distributors that control most film distribution are identified as United International Pictures, Warner Brothers, Buena Vista, 20th Century Fox, and Sony.
Websites and digipaks
This document provides information and guidance about creating digipaks and websites to promote an artist. It begins by defining a digipak and explaining why they are used. It then outlines the process for students, including researching existing digipaks, planning their own designs, considering contents, and meeting deadlines. Similar information and processes are covered for designing an artist website, including terminology, conventions, planning pages and features. Checklists are provided for both tasks.
Distribution lesson part 2
The document discusses the distribution process for films. It covers factors affecting distribution, key responsibilities of distributors, print circulation and costs, and examples of the distribution models for the films "A Field in England" and "Pacific Rim." Students are asked to debate whether distribution benefits all areas of the film industry. They are given roles representing different film industry stakeholders to consider different perspectives in the debate.
Two step flow and british and american audiences
This document provides discussion prompts for analyzing two films: A Field in England and Pacific Rim. It asks the reader to:
1) Identify three points of interest from independent research about the production of each film.
2) Analyze the target and secondary audiences of each film based on elements like narrative, production techniques, marketing, and exhibition.
3) Consider whether the success of either film was influenced by opinion leaders and two-step message flows through social media, reviews, interviews, and other sources.
Motion graphics and compositing in title sequences
The document discusses why title sequences are important in films and TV. It notes that title sequences set expectations and tone for the viewer. They attract audiences and introduce characters, themes, genres and visual styles. Motion graphics and compositing can enhance title sequences by making them more visually appealing than live action alone. They allow unlimited camera angles and perspectives. As technology advanced, title sequences have become more enjoyable to watch.
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2. Genres are not fixed but rather dynamic processes that are historically and culturally specific. They are constantly evolving through negotiation and change.
3. Categorizing films into genres allows producers to follow templates, distributors to market to audiences, and audiences to predict narratives based on familiar conventions. This satisfies audiences through a sense of cultural capital and correctly predicting outcomes.
Film production guide
The document provides information about various film editing and cinematography techniques such as match on action, shot reverse shot, and the 180-degree rule. It also discusses audience planning, research, planning, construction, and evaluation aspects of film production. Key elements include matching movement across shots to make actions seem continuous, framing speakers in dialogue in medium close-ups, and maintaining the same side of an imaginary line between shots for continuity. Production entails organization, meeting deadlines, using technology, and considering the audience to develop meaning.
Conventions micro and macro
This document defines and discusses the concept of mise-en-scene in film analysis. Mise-en-scene refers to everything that appears within the frame of a shot, including lighting, props, costumes, character performances, and sets. It can help viewers understand different elements of a film, such as the time period through costumes, emotions through lighting, genre through props, and story through sets. Micro analysis of mise-en-scene elements can support larger macro themes in a film, such as representations of characters.
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Lesson 5 ta researchto identify the conventions of a concept based
Lesson 5 ta researchto identify the conventions of a concept based
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magazine cover conventions
The document discusses magazine cover conventions such as the masthead, coverlines, main image, direct address, anchorage text, covermount, slogan, and skyline. It provides definitions for each convention and instructs students to match the conventions to their meanings. It then gives tasks for students to find a magazine cover online, annotate it identifying the conventions used and their impact/effect, and analyze the target audience, content, and representations in the magazine.
Final revision lesson section 1 a2 exam
This document provides guidance for students preparing for a media studies exam. It includes sample exam questions, advice on planning essay responses, and examples of how to analyze various coursework productions using relevant media concepts and theories. Students are encouraged to revisit their planning materials and production work to identify specific examples demonstrating skills development. They should also practice applying concepts like audience, genre, and media language to their work. Thorough preparation through practice essays and plans is emphasized to help students structure high-scoring responses within the short exam time limit.
Cue cards for film industry as revision
A Field in England utilized synergistic partnerships with Film 4, Channel 4, and BFI to fund, market, and distribute the independent film simultaneously across theaters, DVD, television, and online platforms. Pacific Rim was produced by Legendary Pictures and co-financed by Disney, with distribution from Warner Bros. It employed viral marketing techniques including an interactive website and merchandise partnerships to promote the large-budget action film to broad audiences. Both films leveraged digital technologies and cross-platform distribution strategies, though A Field in England had a minimal budget while Pacific Rim benefited from the financial resources of its studio backers.
Cue cards for film industry as revision
A Field in England utilized synergistic partnerships with Film 4, Channel 4, and BFI to fund, market, and distribute the film across multiple platforms simultaneously. It targeted a niche audience of older, middle-class viewers interested in history and independent films. Pacific Rim had a large budget from parent company Time Warner and worked with subsidiaries like NECA for merchandise and Legendary Pictures for production. It used extensive viral and cross-platform marketing techniques to appeal to both male and female audiences around the world. Both films leveraged technological convergence for digital distribution while A Field in England was more limited by its smaller budget.
Glossary of key terms film institution exam
The document defines key terminology used in discussing media ownership, cross media and technological convergence, synergy, digital technology developments, film production, distribution, marketing, finance, exhibition, and audiences. It provides definitions and concepts for terms like conglomerate, vertical and horizontal integration, cross promotion, production, distribution, and exhibition. It also discusses how digital technology is merging devices and allowing for new forms of distribution and convergence across media.
Feedback on writing media film institution
Here is a potential outline for the essay:
Introduction
- Define cross media convergence and synergy
- State your media area of study (films Pacific Rim and A Field in England)
Body Paragraph 1
- Point: Pacific Rim benefited greatly from cross media convergence and synergy as a Time Warner film
- Evidence: Extensive marketing across TV, games, toys, etc. leveraging Time Warner properties
- Analysis: This wide reach helped build a large audience
- Link: However, A Field in England had more limited convergence as an independent film
Body Paragraph 2
- Point: A Field in England still utilized some convergence successfully
- Evidence: Promotion through partner organizations Film4 and BFI
Audience for section 1b
This response applies theories of audience to a coursework production, discussing the targeted audience, how the product was received, and reflections on targeting audiences in new media.
Paragraph 1:
Introduce the media product and discuss who was targeted as the audience. Explain how demographic or psychographic factors were considered to appeal to this audience.
Paragraph 2:
Discuss how the product was actually received or might be received by audiences. Consider both intended and alternative readings using concepts like negotiated or oppositional readings. Reference examples from the product.
Paragraph 3:
Reflect on the challenges
Representation for section 1b
The document discusses various concepts related to representation in media, including:
- Stereotypes and how they can positively or negatively represent social groups;
- How meaning is constructed through signs and their interpretation;
- Arguments that representations do not always have to be negative or false stereotypes;
- Identities as constructed rather than innate;
- Baudrillard's concept of the simulacrum - that representations can become more "real" than reality itself.
List of music videos for teaching
This document provides a list of music videos categorized by genre and purpose that are appropriate for GCSE and post-16 music studies. The videos are grouped into categories such as performance, narrative, abstract, hybrid, and genres that challenge conventions or use unique editing techniques. Some videos are only recommended for post-16 due to more mature content. The list serves as a resource for students and teachers to analyze music videos across different styles and eras.
Narrative and essay planning for section 1b
This document provides guidance on how to structure a response analyzing one of the student's coursework productions in relation to the concept of narrative. It recommends including an introductory paragraph stating which production will be discussed and how it relates to narrative conventions. The main body should have 4-5 paragraphs analyzing how the production conformed to and challenged narrative concepts, referring to specific examples and media theorists. The conclusion paragraph should summarize how influential narrative was in planning and producing the piece.
OCR AS media Planning exam answer film industry
The document provides guidance for students on planning and structuring exam answers for media studies. It discusses developing an introduction that establishes the context and relates to the exam question. It recommends planning the response in sections that apply each case study or company to the question in turn, then comparing and contrasting them. The conclusion should relate back to the question and provide the student's own opinion on the future impact on audiences and the industry. Structuring the answer with a clear introduction, body paragraphs, and conclusion will help address the exam question effectively.
OCR A level media Q1b genre example answer A grade
The student discusses their horror teaser trailer and how it relates to genre conventions. The trailer is set in the woods and uses techniques like handheld camera work and cross-cutting to create tension. While adhering to horror tropes like an isolated setting and darkness, the trailer subverts expectations by featuring a female psycho killer instead of the typical male role. Editing techniques like changes in pace and symbolic shots of blood and hanging were used to unsettle the audience. The open ending leaves viewers wanting more, demonstrating how the trailer effectively engaged with its target horror genre audience.
OCR media A level - genre, section 1 exam
The document provides guidance for answering exam questions relating to media coursework productions. It includes potential topics for two questions:
Question 1a asks the student to discuss the development of their skills and creative decision making.
Question 1b provides options to analyze a coursework production using various critical concepts, including genre, narrative, representation, audience, and media language. The document advises analyzing one production in relation to one of these concepts, applying relevant theory and terminology.
Film Case study preparation 2014
This document provides guidelines for preparing a case study analysis of two films: Rook Films' "A Field in England" and Time Warner's "Pacific Rim". Students are instructed to research the production companies behind the films, including other projects, budgets, and target audiences. They are to compare key details of the two films like synopses, dates, budgets and stars. Students should also analyze the pre-production, production, distribution, marketing and audience reception of each film paying close attention to the role and issues faced by the films' parent institutions.
Media convergence and synergy
Technological convergence refers to different technologies resembling each other and blurring the lines between them, like TVs becoming more like computers. Cross media convergence involves media institutions delivering content across multiple channels. Media synergy occurs when different parts of a media company work together to promote linked products across media.
AS film teaser poster campaigns
This document provides an overview and outline of topics covered so far and still to cover for an AS media studies course. Topics covered so far include the film life cycle, conglomerates, integration, finance, distribution, digital technology, and marketing methods. Topics still to cover include production, exhibition, marketing, audience theory, convergence, and synergy. It then provides information on demographics, psychographics, and audience classifications.
tent pole and quadrant marketing
A tent pole film is a major blockbuster film that a film studio invests heavily in because it is expected to be hugely successful and profitable. These tent pole films guarantee large profits for studios that they can then use to fund more risky films. Warner Bros. relies heavily on tent pole films based on popular book series and franchises like Harry Potter, Sherlock Holmes, Lord of the Rings, and DC superhero films to be their biggest moneymakers each year. These tent pole films are aimed at appealing to as many of the four audience quadrants - males/females under and over 25 - as possible to achieve maximum viewership and box office revenues.
Film distribution hand out
The document discusses film distribution and the complex relationship between filmmakers, distributors, and audiences. It presents two competing views on who holds the most power: 1) audiences, as studios are forced to cater to what audiences like, or 2) distributors, who control which audiences and markets receive films. The document also provides background on film budgets, revenues, and the roles and strategies of major film distributors in getting films seen by the public.
As tv drama 3
This document provides an overview of key concepts related to representations of age and gender in TV dramas. It discusses common stereotypical representations of males and females, such as strength and independence for males versus beauty and relationships for females. The concept of the "male gaze" is introduced, which assumes the audience and producers are male, resulting in the objectification of women. The document also outlines areas to discuss when analyzing representations, such as camerawork, mise-en-scene, editing, and sound. Students are assigned homework to watch a clip from an exam and write an essay analyzing representations.
Digital technology
The document provides guidance on answering exam questions about developing digital technology skills through coursework. It emphasizes using specific examples from multiple projects, analyzing the impact, and relating skills growth over time. Key points include:
- Draw on examples from AS and A2 coursework to show improved skills and expanded creativity.
- For each example, analyze the effects and how it shaped later work.
- Utilize media concepts like genre and audience when discussing creative choices and their influences.
- Structure the response with an introduction, paragraphs on pre-production/production/post-production, and a conclusion tying it back to the question.
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OCR A level media Q1b genre example answer A grade
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Conventions of title sequence
- 1. Conventions
- 2. Connect How can you tell that this is an opening title sequence? http://www.artofthetitle.com/title/the-avengers/
- 3. Discovery question How would you describe the term: conventions?
- 4. Discover Conventions Like any conventional media text, film titles have conventions, the typical format, content, techniques and style used predominately across the medium. They are visual and audible clues that tell you (an avid media consumer) that what you are watching is a title sequence. In essence, you could describe these as the ingredients needed to make a title sequence.
- 5. Discover Investigating the conventions Now that you have watched a variety of title sequences from film and TV, you should be able to identify some of the conventions. In groups, use the prompt cards and the post it notes provided to create a giant mind map of the conventions of an opening title sequence.
- 7. Pit stop! What is a: • Technical convention • Symbolic convention • Genre convention
- 8. Develop Can you now reorder your ideas (on the post it notes) into: • Technical conventions • Genre conventions • Symbolic conventions
- 9. Challenging conventions Develop How does this title sequence challenge the conventions? Can you think of any other titles that challenge the conventions? http://www.youtube.com/watch?v=t3t5ho0eifo
- 10. Mind map Develop Using www.bubl.us , create a DETAILED mind map of the conventions of a title sequence. Link to examples from films (you will have to explain as the website does not support images). This can then be embeded into a blog post using the embed code. Font Conventions Blah blah blah relevant point, relevant explanation… Explain example from a film or TV show
- 11. HW Make sure that you have uploaded this to your blog by this time next week. Due: Wed 20th November