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The internet provides opportunities for filmmakers through crowdfunding sites like Kickstarter and IndieGoGo for production funding. Online companies like Netflix and Amazon now produce their own films and Amazon allows audiences to choose scripts for future production. The internet also aids distribution by allowing video on demand (VOD) or simultaneous online and theater releases, as evidenced by films that have used these methods successfully. Specific articles are cited that provide examples of how VOD has helped box office numbers for films.
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3
The document discusses different types of media institutes that could distribute an independent filmmaker's product and the pros and cons of each. It contrasts independent production, which has a low budget and small staff focused more on commercial than creative work, with commercial production which has a large budget, many divisions, and produces feature films for cinema release. It also outlines different distribution options like film festivals, YouTube, university cinemas, social media, and UK distribution companies. The document recommends YouTube as a distribution choice for its ease of use, ability to market to other social media, and to get feedback via comments.
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This document discusses the delivery and promotion of media content online. It notes that digital files have replaced physical film reels, making distribution cheaper but allowing for piracy risks. Social media advertising has made media more accessible for smaller companies. Online streaming platforms like Netflix and Amazon Prime, as well as video sites like YouTube, have become popular ways to release and consume media products. Viral marketing campaigns and apps can also help promote films and reach wider audiences.
Building responses to technology ownership questions
The document discusses how technology and ownership have affected the production, distribution, exhibition, and consumption of films. It notes that technology has allowed for smaller, independent films to be produced more quickly and cheaply using techniques like guerrilla filming. Larger companies have adopted technologies like HD and 3D. Ownership changes have led to more vertical and horizontal integration among companies, allowing for synergies in production. Both technology and ownership have facilitated new forms of distribution like online streaming and viral marketing. Audiences now have more options to view films using different devices and formats.
Question 3
This document discusses potential media institutions that could distribute an independent film product. It provides examples of major production companies like Warner Bros and 20th Century Fox that produce thriller films. It defines independent companies as those independent of broadcasters that produce programs for multiple broadcasters or for corporate clients. Lionsgate and Studiocanal are provided as examples. The document states that due to the filmmaker's amateur status and low-budget thriller film, a company specializing in the thriller genre would be most likely to distribute their product to the niche audience interested in that genre.
Previous ownership questions and writing frame
1) Large film companies produce big-budget blockbuster films using special effects and 3D to attract large audiences, while smaller independent companies tend to produce lower-budget British realist dramas that can be shown in film festivals.
2) Ownership can influence the genres that are produced, as large companies seek large profits through action and sci-fi films that showcase new technologies like 3D, while independents focus on niche genres that require smaller budgets.
3) Changes in ownership and new technologies have provided more opportunities for independents and more viewing choices for audiences, though big global institutions still dominate film production and aim to draw audiences back to theaters through immersive experiences.
Tech convergence & prolif of hardware content final
Technological convergence and the proliferation of hardware and content have created pressures for media institutions in production, distribution, and exhibition. In production, major studios have advantages over independent British film companies in spending on technology, promotion, and distribution deals. In distribution, majors benefit more from synergies across platforms while independents must target niche audiences. In exhibition, audiences now expect greater experiences from cinemas to compete with home viewing options, putting pressure on cinemas to offer IMAX, 3D, and special events. The essay should compare how these issues uniquely impact the case study institutions.
Proliferation of hardware and content
A prosumer is a person who combines the roles of producer and consumer by creating and sharing content online through activities like social media. Developments in technology have given consumers tools to become prosumers by making cameras, microphones and other equipment widely available. Proliferation of hardware and online content refers to their rapid growth in media. This benefits producers by allowing on-demand viewing and mobile access to content, easier online promotion through websites and apps, and viral marketing through YouTube. However, it also makes piracy easier and allows negative opinions to spread quickly. Producers promote and distribute content through converged platforms like apps, games, websites, social media and soundtracks to engage audiences and promote films.
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The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
Recommended
3
The document discusses different types of media institutes that could distribute an independent filmmaker's product and the pros and cons of each. It contrasts independent production, which has a low budget and small staff focused more on commercial than creative work, with commercial production which has a large budget, many divisions, and produces feature films for cinema release. It also outlines different distribution options like film festivals, YouTube, university cinemas, social media, and UK distribution companies. The document recommends YouTube as a distribution choice for its ease of use, ability to market to other social media, and to get feedback via comments.
Media pres
This document discusses the delivery and promotion of media content online. It notes that digital files have replaced physical film reels, making distribution cheaper but allowing for piracy risks. Social media advertising has made media more accessible for smaller companies. Online streaming platforms like Netflix and Amazon Prime, as well as video sites like YouTube, have become popular ways to release and consume media products. Viral marketing campaigns and apps can also help promote films and reach wider audiences.
Building responses to technology ownership questions
The document discusses how technology and ownership have affected the production, distribution, exhibition, and consumption of films. It notes that technology has allowed for smaller, independent films to be produced more quickly and cheaply using techniques like guerrilla filming. Larger companies have adopted technologies like HD and 3D. Ownership changes have led to more vertical and horizontal integration among companies, allowing for synergies in production. Both technology and ownership have facilitated new forms of distribution like online streaming and viral marketing. Audiences now have more options to view films using different devices and formats.
Question 3
This document discusses potential media institutions that could distribute an independent film product. It provides examples of major production companies like Warner Bros and 20th Century Fox that produce thriller films. It defines independent companies as those independent of broadcasters that produce programs for multiple broadcasters or for corporate clients. Lionsgate and Studiocanal are provided as examples. The document states that due to the filmmaker's amateur status and low-budget thriller film, a company specializing in the thriller genre would be most likely to distribute their product to the niche audience interested in that genre.
Previous ownership questions and writing frame
1) Large film companies produce big-budget blockbuster films using special effects and 3D to attract large audiences, while smaller independent companies tend to produce lower-budget British realist dramas that can be shown in film festivals.
2) Ownership can influence the genres that are produced, as large companies seek large profits through action and sci-fi films that showcase new technologies like 3D, while independents focus on niche genres that require smaller budgets.
3) Changes in ownership and new technologies have provided more opportunities for independents and more viewing choices for audiences, though big global institutions still dominate film production and aim to draw audiences back to theaters through immersive experiences.
Tech convergence & prolif of hardware content final
Technological convergence and the proliferation of hardware and content have created pressures for media institutions in production, distribution, and exhibition. In production, major studios have advantages over independent British film companies in spending on technology, promotion, and distribution deals. In distribution, majors benefit more from synergies across platforms while independents must target niche audiences. In exhibition, audiences now expect greater experiences from cinemas to compete with home viewing options, putting pressure on cinemas to offer IMAX, 3D, and special events. The essay should compare how these issues uniquely impact the case study institutions.
Proliferation of hardware and content
A prosumer is a person who combines the roles of producer and consumer by creating and sharing content online through activities like social media. Developments in technology have given consumers tools to become prosumers by making cameras, microphones and other equipment widely available. Proliferation of hardware and online content refers to their rapid growth in media. This benefits producers by allowing on-demand viewing and mobile access to content, easier online promotion through websites and apps, and viral marketing through YouTube. However, it also makes piracy easier and allows negative opinions to spread quickly. Producers promote and distribute content through converged platforms like apps, games, websites, social media and soundtracks to engage audiences and promote films.
Technology - Convergence
The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
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The document discusses the UK Digital Screen Network, which digitally projects films in theaters. It asks questions about what the network is, who and where it involves, and why it was created. It then provides a fact hunt about digital cinema, asking the reader to define it and answer questions about the costs of digital projection and conversion versus film printing. The document considers the benefits of the network for audiences and institutions and assigns homework to research a local digital screen.
Future of film
This document discusses the future of cinema and film viewing. It outlines an upcoming exam that will cover topics like 3D film, online/internet impacts on the film industry, and whether online viewing or 3D will be a major part of cinema's future. It provides links to articles that argue both for and against 3D being a dominant part of the future, and suggests that online viewing may be an alternative future for film.
Mark scheme and timed cond plan for Rise of Blockbuster
The document discusses factors that led to the decline of town center cinemas and the rise of the multiplex in the UK film industry. Sociological factors like strikes and economic recession negatively impacted audiences and reduced box office sales. This weakened town center cinemas. Meanwhile, the rise of blockbuster films drew large audiences and profits, encouraging film institutions to embrace new technologies. The multiplex offered audiences new amenities and blockbusters special effects, leading multiplexes to replace town center cinemas as the dominant film venue in the UK.
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The document discusses the disadvantages of 3D cinema compared to 2D. It states that 3D is antithetical to storytelling as it constantly reminds viewers that they are watching a screen and prevents emotional involvement. While 2D does not reveal the techniques of filmmaking in the same way. 3D tries to mimic human vision but natural vision does not resemble the 3D cinema experience. The document argues that 2D is better suited for storytelling and immersion compared to 3D.
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This document discusses the rise of the blockbuster film and multiplex cinemas. It provides examples of blockbuster films from the 1970s like Jaws, The Godfather, and Star Wars. It then explains how the emergence of multiplex cinemas in out-of-town shopping centers led to the decline of smaller, inner-city "fleapit cinemas". Multiplex cinemas were able to show blockbuster films to larger audiences. The document also touches on the home video revolution of the late 1970s with the rise of VHS and Betamax which benefited the blockbuster film industry.
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The document discusses factors that led to the emergence of blockbuster movies in Hollywood. Key factors included the decline of the film industry prior to the 1970s, the success of films like The Godfather and Jaws which demonstrated that large profits could be made from a single film, and the rise of new technologies and marketing strategies for wide releases and franchises like Star Wars. These breakthrough hits established the blockbuster model that studios use today to seek huge box office revenues from major films.
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Экспериментальная сверхширокополосная беспроводная сенсорная сеть медицинског...
Дмитриев А.С., Рыжов А.И., Лазарев В.А., Малютин Н.В., Мансуров Г.К., Попов М.Г. «Экспериментальная сверхширокополосная беспроводная сенсорная сеть медицинского назначения», Радиотехника и электроника, 2015, т. 60, № 9, с. 974-984.
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"Session ID: BUD17-120
Session Name: Linux-wpan: IEEE 802.15.4 and 6LoWPAN in the Linux Kernel - BUD17-120
Speaker: Stefan Schmidt
Track: LITE
★ Session Summary ★
Adding support for IEEE 802.15.4 and 6LoWPAN to an embedded Linux system opens up new possibilities to communicate with tiny devices. The mainline kernel
supports the wireless protocols to connect such devices to the internet, acting
as border router for such networks.
This talk will show the current kernel support, how to enable and configure the
subsystems to use it and how to communicate between Linux and IoT operating
systems like RIOT, Contiki or Zephyr.
---------------------------------------------------
★ Resources ★
Event Page: http://connect.linaro.org/resource/bud17/bud17-120/
Presentation: https://www.slideshare.net/linaroorg/linuxwpan-ieee-802154-and-6lowpan-in-the-linux-kernel-bud17120
Video: https://youtu.be/6YNeF2H2i-U
---------------------------------------------------
★ Event Details ★
Linaro Connect Budapest 2017 (BUD17)
6-10 March 2017
Corinthia Hotel, Budapest,
Erzsébet krt. 43-49,
1073 Hungary
---------------------------------------------------
Keyword: linux-wpan, kernel, IEEE, Stefan Schmidt
http://www.linaro.org
http://connect.linaro.org
---------------------------------------------------
Follow us on Social Media
https://www.facebook.com/LinaroOrg
https://twitter.com/linaroorg
https://www.youtube.com/user/linaroorg?sub_confirmation=1
https://www.linkedin.com/company/1026961"
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The attractions of going to the cinema today still hold appeal when competing against other viewing options, but cinemas face challenges in fully competing. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or downloads is convenient and cheaper. Cinemas aim to enhance the experience through premium formats like IMAX, 3D and 4DX to encourage viewers to choose the cinema experience over watching at home. Marketing events and exclusive previews also entice audiences. Overall, cinemas remain attractive for certain films and audiences, but competing
Exhibition & technology
Here is a draft answer to question 1:
The attractions of going to the cinema today still hold appeal when compared to other viewing options, but cinemas face increasing competition that they must work to overcome. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or DVDs provides convenience that cinemas cannot match. Cinemas have countered this by emphasizing the communal aspect of watching films as an event or night out, with extras like reserved seating, food/drink options. Keeping ticket and concession prices reasonable will also help cinemas compete for
5. new technologies
This document discusses the use of new technologies in the film industry, including their impact on production, distribution, and exhibition. It provides examples of technologies like digital cameras, smartphones, DVDs, Blu-rays, and IMAX theaters that have led to increased capabilities and proliferation of hardware. The document also discusses how technologies converge to allow multiple uses on one device and how this has benefited films. Readers are prompted to consider examples of specific technologies that have impacted various aspects of filmmaking and exhibition.
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Emergence of Blockbuster
The document discusses factors that led to the emergence of blockbuster movies in Hollywood. Key factors included the decline of the film industry prior to the 1970s, the success of films like The Godfather and Jaws which demonstrated that large profits could be made from a single film, and the rise of new technologies and marketing strategies for wide releases and franchises like Star Wars. These breakthrough hits established the blockbuster model that studios use today to seek huge box office revenues from major films.
Film death of city centre cinema
This document discusses the decline of city centre cinemas in the UK from 1972-1984 and the rise of multiplex cinemas. It provides UK cinema admissions figures from 1972-1984 that show admissions declining from 156 million in 1972 to 54 million in 1984. It then analyzes the sociological, economic, and technological factors that contributed to the death of city centre cinemas, including a recession in the UK, rising unemployment, increased TV ownership and channels, the arrival of home video, and limitations of old fleapit cinemas like poor sound, limited screens and seating. Multiplex cinemas addressed these issues and were able to flourish after the 1985 Cinematograph Act allowed them to operate.
13 media q3
The document provides guidance on how to answer Question 3 at different levels of achievement. It lists objectives of understanding how to achieve a Level 3 or Level 4 mark, considering past examples, and using new technologies. Examples of student responses are provided and categorized as Level 2, Level 3 or Level 4. The document also includes a planning template to help structure a response to Question 3 about learning from audience feedback.
Como montar uma Startup?
Este documento fornece informações sobre como montar uma startup. Explica o conceito de startup, como planejar uma usando o Business Model Canvas, e a importância de validar a ideia com um MVP para aprender e pivotar se necessário. Também discute as fases de uma startup, fontes de financiamento e perfis comuns.
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"Session ID: BUD17-120
Session Name: Linux-wpan: IEEE 802.15.4 and 6LoWPAN in the Linux Kernel - BUD17-120
Speaker: Stefan Schmidt
Track: LITE
★ Session Summary ★
Adding support for IEEE 802.15.4 and 6LoWPAN to an embedded Linux system opens up new possibilities to communicate with tiny devices. The mainline kernel
supports the wireless protocols to connect such devices to the internet, acting
as border router for such networks.
This talk will show the current kernel support, how to enable and configure the
subsystems to use it and how to communicate between Linux and IoT operating
systems like RIOT, Contiki or Zephyr.
---------------------------------------------------
★ Resources ★
Event Page: http://connect.linaro.org/resource/bud17/bud17-120/
Presentation: https://www.slideshare.net/linaroorg/linuxwpan-ieee-802154-and-6lowpan-in-the-linux-kernel-bud17120
Video: https://youtu.be/6YNeF2H2i-U
---------------------------------------------------
★ Event Details ★
Linaro Connect Budapest 2017 (BUD17)
6-10 March 2017
Corinthia Hotel, Budapest,
Erzsébet krt. 43-49,
1073 Hungary
---------------------------------------------------
Keyword: linux-wpan, kernel, IEEE, Stefan Schmidt
http://www.linaro.org
http://connect.linaro.org
---------------------------------------------------
Follow us on Social Media
https://www.facebook.com/LinaroOrg
https://twitter.com/linaroorg
https://www.youtube.com/user/linaroorg?sub_confirmation=1
https://www.linkedin.com/company/1026961"
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- WatchMojo's business model draws on multiple potential revenue streams, including licensing fees, syndication partnerships, and advertising, similar to models in retail banking, corporate banking, and investment banking.
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Technology and proliferation
This document discusses how digital technology has impacted various aspects of the film industry, including production, distribution, marketing, and exhibition. It notes that digital technology has made it cheaper and easier for independent filmmakers to produce and distribute films. However, it has also enabled piracy and unauthorized downloading, which major studios see as a threat as it takes power away from them. The document discusses various ways the industry has tried to address these issues, and considers how new technologies may change the film viewing experience both at home and in cinemas.
Android Box: What's Next for TV Streaming
In 2019, subscription video services, on a global scale are predicted to overtake theaters for the first time in terms of revenue. This is based on the latest report from Ampere Analysis which looked to compare the changes in subscription-based revenue over the last few years in comparison to revenue associated with cinema attendance. Ampere Analysis notes that although cinema revenue has remained consistent over the last few years (with the data actually showing an increase compared to a decade ago), revenues from subscriptions has increased massively and at a rate where 2019 will see the figure surpass cinema for the first time.
Source - https://www.ampereanalysis.com/blog/aaee9a6c-e7eb-496c-bedc-e9e36f78ce1f or https://www.androidheadlines.com/2018/12/subscription-video-vs-cinema-revenue-2019.html
Unit 2 Powerpoint notes
Cineworld approached the student to increase revenue by reviewing the company. The student proposes an online option to watch films through a monthly membership or pay-per-film on Cineworld's website. This would promote the brand, increase revenue with minimal costs, and give an advantage over competitors who only offer older films online. A PowerPoint presentation outlines the idea, target audience who increasingly watch films online, and financial projections showing increased revenue potential from online subscriptions and maintaining food/drink sales.
CAMA Digital Media Event 11-16-2011
The document summarizes a presentation given at a Chicago AMA event on digital media and marketing. It discusses:
1) How consumers are in control of when, where and how they consume content and have more options than ever to research products.
2) The importance of content, curation and convergence in digital media, with content king and everything becoming content.
3) How companies must understand consumer habits and the "moments of truth" when researching and purchasing products in order to be present where and when consumers are searching.
State Of Online Video 201003
WatchMojo.com produces over 100 original video clips per month across 12 categories and 30 subcategories. It distributes its catalog of 5,000 videos across 100 websites as well as out-of-home digital networks. WatchMojo offers advertisers opportunities to promote brands alongside its professionally produced, high-quality, short-form, and ad-friendly video content.
Nick Bolton - The evolution and commercialisation of online video
Internet video has come a long way from the postage stamp generic media player to the commercial success it is today.
This session looks at this journey, and examines the multitude of online video options available. We will look at content creation (simple single piece, to multi-platform, and user generated), distribution methods and publishing strategies.
Then once the video is published, how do you justify it (the ROI), commercialise it (leverage the content) and monetise it through syndication, advertising, sponsorship, or pay-per-view/subscription. There will be real time demos and case studies.
The Future of Video 2013
Video content is accountable for 50 percent of the growth of the internet year on year. Yet so many marketers are still unaware or unprepared to invest in video content. This presentation dives into the technologies, strategies and solutions that are driving the future of video content.
Digitalmediachannels_digitalworkshop_14sep10
trends and case studies for digital workshop covering:
Search
Social Media
Online Video
Gaming
Mobile
Streaming videos are replacing traditional mode of entertainment
This document discusses a study on streaming videos as a substitute for traditional entertainment among youth in Agra, India. It first provides background on how streaming services are threatening cable and satellite TV by offering improved quality and frequent updates. It then defines streaming video as content sent over the Internet in compressed form for real-time viewing. The literature review shows that studies have found youth increasingly shifting to streaming videos from traditional entertainment. The objectives are to understand what drives demand for streaming videos, their impact on Agra youth, and if they are replacing cable TV, theaters etc. The methodology describes a 2-month study of 100 Agra youth ages 18-35 using questionnaires and secondary sources. The findings will be analyzed using statistical tools and Microsoft Office
Lesson 2 Media Conglomerates/SOC
This document discusses media conglomerates and their vertical and horizontal integration in the film industry. It provides examples of NBC Universal, which is owned by Comcast, and how it owns subsidiaries across various stages of film production, distribution, and exhibition. Owning assets across different stages of a film's life cycle allows conglomerates to have control and reap greater profits from their content.
Django unchained
The document summarizes the 2012 film Django Unchained, directed by Quentin Tarantino. It discusses the production companies behind the film, Columbia Pictures and The Weinstein Company, which provided a $100 million budget. It also notes the film's box office revenue of $425 million. The document then examines various technological developments in film production, distribution, and marketing in recent years.
Published by Flat World Knowledge, Inc.© 2014 by Flat .docx
Published by Flat World Knowledge, Inc.
© 2014 by Flat World Knowledge, Inc. All rights reserved. Your use of this work is subject to the License Agreement available
here http://www.flatworldknowledge.com/legal. No part of this work may be used, modified, or reproduced in any form or by
any means except as expressly permitted under the License Agreement.
Information Systems: A Manager’s Guide to Harnessing Technology V 3.0
By John Gallaugher
Chapter 4
Netflix in Two Acts: The Making of an E-Commerce Giant and the Uncertain Future of Atoms to Bits
Learning Objectives
Understand the basics of the two services operating under the Netflix business model.
Recognize that the firm has experienced wild swings in market perception and stock performance as it attempts the difficult transition from relying on a model that may soon be obsolete to one that may hold promise for the firm’s long-term viability.
Introduction to Netflix
Netflix started as a DVD rental business
Known for best-in-class service
Netflix rightly surmised that digital streaming is the future.
Firm was split into two.
Internet based streaming services.
Traditional DVD by mail services.
Transition from a DVD based service to Internet based video streaming business resulted in:
Drop in customer base.
Drastic fall of share prices.
To bring back profits, the firm:
Aggressively expanded the firm’s customer base, both domestically and internationally.
Sponsored the creation of critically acclaimed, original content.
Learning objectives
Recognize the downside the firm may have experienced from an early IPO.
Appreciate why other firms found Netflix’s market attractive, and why many analysts incorrectly suspected Netflix was doomed.
Understand how many firms have confused brand and advertising, why branding is particularly important for online firms, and the factors behind Netflix’s exceptional brand strength.
Understand the long tail concept, and how it relates to Netflix’s ability to offer the customer a huge selection of movies.
Learning objectives
Know what collaborative filtering is, how Netflix uses collaborative filtering software to match movie titles with the customer’s taste, and in what ways this software helps Netflix garner sustainable competitive advantage.
Describe the sources of Netflix’s size advantage in the DVD-by-mail business, and how this large scale is a difficult-to-create asset for any start-up trying to compete in DVD-by-mail.
Understand the role that scale economies play in Netflix’s strategies, and how these scale economies pose an entry barrier to potential competitors.
Recognize how Netflix built a data asset and why this asset was so valuable in the firm’s original business model.
Understand the role that market entry timing has played in the firm’s success.
Netflix: Going Public
By going public, Netflix had to disclose its financial position.
Resulted in two big competitors entering the market: Blockbuster and Walmart
Netflix maintaine ...
Netflix Case Study
Netflix’s unique DVD rental service has revolutionized the industry. They successfully took the best of traditional conventions (like physical media, the U.S. Postal Service) and mixed them with new world internet-conventions. They have also effectively managed to discourage competition from both more established businesses and new entrants. The future growth of Netflix as it expands into streaming media, poses challenges in legal, infrastructure/technology, and through additional costs. In order to remain competitive, it is imperative that Netflix partner with companies with global reach to overcome these challenges. This presentation was part of an MBA class assignment to audit and industry in the the technology sector. The presentation has multiple authors listed on the title page. If you would like copies of the executive summary, complete S.W.O.T. analysis, and/or the transcript of the presentation please PRIVATE MESSAGE ME and I will email it to you.
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Data Con LA 2018 - How is Blockchain Changing Relationships in Entertainment ...
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Nick Bolton - The evolution and commercialisation of online video
Nick Bolton - The evolution and commercialisation of online video
Streaming videos are replacing traditional mode of entertainment
Streaming videos are replacing traditional mode of entertainment
Published by Flat World Knowledge, Inc.© 2014 by Flat .docx
Published by Flat World Knowledge, Inc.© 2014 by Flat .docx
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This document provides guidance on revising for a film studies exam by ranking questions from least to most confidently answered and considering various factors that could affect audience, industry, society, film terminology, history, economics, and technology when answering exam questions. Students are instructed to choose one question, take notes considering the listed factors, and write a 30-minute response using the notes and additional resources provided.
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This document discusses music video conventions and theories related to analyzing a student's media product. It provides information on common music video conventions like genre, casting, choreography. It also explains relevant theories around representation, the male gaze, intertextuality, and how music videos are used to construct artist personas. The student's music video takes a narrative approach, references Cinderella but subverts expectations, and pays homage to another artist while challenging stereotypes related to ethnicity and gender.
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This document provides guidance on achieving high levels for a critical evaluation question and incorporating audience feedback. It discusses the characteristics of Level 3 and 4 responses, including using examples and technology. Students are asked to plan their response, get peer feedback, and consider how to present their work and incorporate audience perspectives. Examples of student work are provided and analyzed. The document emphasizes using feedback to improve work and presentations.
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This document outlines a lesson plan on analyzing music videos through various theoretical lenses. Students are introduced to theories like star persona, voyeurism, intertextuality, commodity, empowerment, and objectification. They analyze a Lady Gaga music video using the assigned theories and debate whether the video employs empowerment or objectification. Later, students research genres and outline the essential ingredients and applicable theories for an original music video. The lesson aims to develop students' understanding and application of music video theories through analysis, discussion, and creative projects.
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The document provides an overview of British cinema across several decades from the 1920s to the 1990s. Some of the key points covered include:
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Distribution
- 1. How does the internet provide opportunties for film makers? PRODUCTION -Funding- crowdfunding indie gogo and kickstarter -Netflix and Amazon online companies producing films - Amazon new interactivity where audiences can choose scripts for production -360 degree films shown on the internet
- 4. Distribution • Find at least 2 examples of films that have had VOD or simultaneous release • Find examples of film companies that are using VOD
- 7. The following 2 articles are EXCELLENT evidence about the internet helping film distribution http://www.telegraph.co.uk/film/45-years/VOD- boxoffice-success/ http://www.telegraph.co.uk/film/45-years/VOD- boxoffice-success/ In teams- read through the article- summarise in 100 words and highlight any key facts to share with the class.
- 9. Practice Q How has the internet benefited film production and distribution? Give lots and lots of specific examples.