Edwina Coronation-Chicken
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The document criticizes the film "Dated" for relying on sexist and harmful stereotypes in its portrayal of women and teenagers. It argues that the film presents the female protagonist as a "damsel in distress" and "object to please men," utilizes the "male gaze" in how it introduces her, and depicts her as "weak and pathetic" while she is chased. Additionally, it claims the film portrays teenagers negatively by conforming to stereotypes of them being "up to no good" through scenes of the protagonist being inebriated.
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Q2 updated
The document discusses representations of gender and ethnicity in thriller films. It notes that women are often portrayed as sex objects, damsels in distress, or femme fatales who are sexualized and meet tragic ends. The author's film aims to challenge these stereotypes by having a strong, independent female protagonist whose gender is unimportant. While the film portraits gender equality better than ethnicity due to its limited cast, the author acknowledges thrillers generally lack diversity.
Question 4 Updated
The target audience for this media product is 16-18 year olds. This age group was chosen because the main characters are also 16-18, allowing them to relate to and empathize with the characters. Both male and female teenagers are targeted by including both male and female characters portrayed equally. While most of the actors and characters are white British, the film's themes of mystery and thriller would still appeal to a diverse British audience. The target audience is interested in popular youth culture, going to the cinema, and exploring modern anxieties through thriller films.
Question 4
The target audience for the media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Both male and female teenagers are targeted by including strong male and female leads that break from typical gender stereotypes. While most of the 6th form students involved in producing the film are white British, the film's focus on suspense means all ethnicities could engage with the narrative. The target audience would be interested in thrillers and pop culture references, enjoy activities like exercise and socializing, and get thrill from watching mysterious events unfold safely in the cinema.
Question 4 draft
The target audience for this media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Having creators and characters of the same age means there is a deep understanding of this demographic. Both male and female teenagers are targeted by including identifiable characters of both genders portrayed equally. While the characters are white British, the film's themes of mystery and thriller would appeal to a wide British audience. Prior knowledge of film genres and youth culture references help audiences engage with the film's intertextuality.
Question 1
The document discusses how the film uses conventions of other horror films to tell the story of a shy, lonely girl. It draws influences from films like Carrie and Black Swan to show the girl's transformation from innocent to evil. The title sequence introduces ambiguity and hints at two sides to her personality. The film targets a female audience by focusing on the girl's struggles to overcome her traumatic past.
Representation in my production
This document analyzes aspects of the protagonist and other characters in a dystopian film. It discusses how the protagonist, Aurora, subverts expectations by being female in a typically male-dominated genre. Her ragged clothing and lack of makeup imply she must act masculine to survive. While the film features some diversity, the minority character plays a small role and is marginalized, suggesting tokenism. The protagonist is portrayed as a stereotypical moody teenager through her cynical internal monologue and surroundings in an abandoned area, continuing tropes of troubled youth.
Stock characters in horror
The document describes several common stock characters that are often seen in horror movies:
1) The Wanderer is the character who explores alone and gets killed due to their isolation from the group.
2) The Jock is arrogant, vain, and popular but not very bright. They are often the first non-main characters killed.
3) The Popular Girl is beautiful and well-liked but can also be mean. She is typically dating the Jock.
4) Pandora or the "Dark Horse" seems innocent but is revealed to be the killer in a plot twist.
5) The Final Girl is the main character who outsmarts the killer and survives to the end
Character profile descriptions
This document provides character profiles for 3 female characters - Lucy Smith, Jane Jones, and Kate Brown - for a horror film project. Lucy is described as a 17-year-old extrovert who is logical and resilient. Jane is an introverted 16-year-old with low self-esteem. Kate is a 17-year-old conformist who listens to her peers but faces bullying at home. All three characters are Caucasian and live in Hammersmith, England.
Recommended
Q2 updated
The document discusses representations of gender and ethnicity in thriller films. It notes that women are often portrayed as sex objects, damsels in distress, or femme fatales who are sexualized and meet tragic ends. The author's film aims to challenge these stereotypes by having a strong, independent female protagonist whose gender is unimportant. While the film portraits gender equality better than ethnicity due to its limited cast, the author acknowledges thrillers generally lack diversity.
Question 4 Updated
The target audience for this media product is 16-18 year olds. This age group was chosen because the main characters are also 16-18, allowing them to relate to and empathize with the characters. Both male and female teenagers are targeted by including both male and female characters portrayed equally. While most of the actors and characters are white British, the film's themes of mystery and thriller would still appeal to a diverse British audience. The target audience is interested in popular youth culture, going to the cinema, and exploring modern anxieties through thriller films.
Question 4
The target audience for the media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Both male and female teenagers are targeted by including strong male and female leads that break from typical gender stereotypes. While most of the 6th form students involved in producing the film are white British, the film's focus on suspense means all ethnicities could engage with the narrative. The target audience would be interested in thrillers and pop culture references, enjoy activities like exercise and socializing, and get thrill from watching mysterious events unfold safely in the cinema.
Question 4 draft
The target audience for this media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Having creators and characters of the same age means there is a deep understanding of this demographic. Both male and female teenagers are targeted by including identifiable characters of both genders portrayed equally. While the characters are white British, the film's themes of mystery and thriller would appeal to a wide British audience. Prior knowledge of film genres and youth culture references help audiences engage with the film's intertextuality.
Question 1
The document discusses how the film uses conventions of other horror films to tell the story of a shy, lonely girl. It draws influences from films like Carrie and Black Swan to show the girl's transformation from innocent to evil. The title sequence introduces ambiguity and hints at two sides to her personality. The film targets a female audience by focusing on the girl's struggles to overcome her traumatic past.
Representation in my production
This document analyzes aspects of the protagonist and other characters in a dystopian film. It discusses how the protagonist, Aurora, subverts expectations by being female in a typically male-dominated genre. Her ragged clothing and lack of makeup imply she must act masculine to survive. While the film features some diversity, the minority character plays a small role and is marginalized, suggesting tokenism. The protagonist is portrayed as a stereotypical moody teenager through her cynical internal monologue and surroundings in an abandoned area, continuing tropes of troubled youth.
Stock characters in horror
The document describes several common stock characters that are often seen in horror movies:
1) The Wanderer is the character who explores alone and gets killed due to their isolation from the group.
2) The Jock is arrogant, vain, and popular but not very bright. They are often the first non-main characters killed.
3) The Popular Girl is beautiful and well-liked but can also be mean. She is typically dating the Jock.
4) Pandora or the "Dark Horse" seems innocent but is revealed to be the killer in a plot twist.
5) The Final Girl is the main character who outsmarts the killer and survives to the end
Character profile descriptions
This document provides character profiles for 3 female characters - Lucy Smith, Jane Jones, and Kate Brown - for a horror film project. Lucy is described as a 17-year-old extrovert who is logical and resilient. Jane is an introverted 16-year-old with low self-esteem. Kate is a 17-year-old conformist who listens to her peers but faces bullying at home. All three characters are Caucasian and live in Hammersmith, England.
Mediaaaa
The document discusses plans for the opening sequence of a horror film portraying teenage girls. It was initially going to show a large party, but filming that proved difficult. Instead, the sequence shows a small gathering where the girls gossip about others. In the sequence, one girl, Stacey, confronts and kills another girl, Kelly, portraying the conflicting tensions between girls. The sequence fails to represent sexuality or disability. It portrays teenage girls as very social when together and sly when talking about others, as well as unreliable and unpredictable.
How does our media product represent a particular
This document analyzes how the media product represents social groups such as women and men. It argues that women are represented negatively as overly emotional and mentally unstable. The main character and her niece are shown to have mental health issues stemming from their childhood. Men are represented as cold, emotionless problem-solvers who see mentally ill women as routine cases. However, the document also notes that these representations were not intentional, as the goal was to portray a type of mental illness, not send messages about gender. Choosing a female lead helped use childish props and costumes to link to Alice in Wonderland.
How does your opening represent particular social groups
The opening scene represents several social groups, including children through two young actresses aged 7 and 8 who display childlike behaviors. It also represents females as needy and dependent on children, as shown through a woman adopting a girl due to desperation. The clothing and demeanor of the characters who adopt portray her as wealthy and strong yet feminine through her sharp blue jacket. No men are shown in the opening, subverting the typical thriller genre conventions of having male protagonists or antagonists.
Representation of Characters
In psychological thrillers, characters are often vulnerable individuals who have lost something important, like their family, making them susceptible to manipulation. Main characters are usually males who are taken to their lowest point to engage the audience. Females sometimes take main roles but more often play supporting roles as vulnerable people the main character relies on, such as a mother or daughter. Other common representations include characters who are psychotic or of lower-middle class.
Ruthless
The writer watched the first season of the television show Ruthless produced by Tyler Perry and aired on BET. They express disappointment in Tyler Perry for portraying black men and women in such a negative and degrading way. Specific scenes shown involved a man smelling another man's private parts, a woman being assaulted by seven men, and the implication that black women are incapable and welcoming of brutal abuse. The writer argues such portrayals damage the dignity of the black community and questions why children were present during filming of such inappropriate scenes. They ask Tyler Perry not to let money control his programming at the expense of black people's image.
Magazine tings
The first document discusses an Amy Schumer magazine cover that sexualizes her through revealing clothing and a suggestive pose that references Princess Leia's slave outfit, objectifying women for male pleasure. It also notes her sucking C-3PO's finger appears more comedic than sexual but still comes across as very sexual.
The second document analyzes how Willow Smith is presented in a defeminized way through her short dreadlocks, dark eye makeup, septum piercing, spiked dog collar, and blazer, all typically masculine attributes, though she still appears feminine.
The third document suggests a magazine cover featuring an overweight woman projects strength and power by embracing a non-stereotypical body type, intended to motivate
Question 2 improvment
The document analyzes how social groups are represented in the film opening of a media product:
1) The protagonist is a young female girl, representing females in a stronger role than the typical "damsel in distress" but still presented as weaker than the male character.
2) The male character is presented as threatening and mysterious to build tension, reinforcing stereotypes of males being more intimidating through his dark clothing and concealed face.
3) While only two characters are shown, their contrasting representations of the battling male dominating over the weaker female may not be a realistic portrayal of society but reflects some audience ideas about gender roles.
Folktale worksheet
1. The document discusses methods for analyzing folktales, including identifying recurring motifs and symbols, and providing sociological and historical context.
2. It specifically examines the common elements of Cinderella stories, including her mistreatment by a stepmother, being prevented from attending a celebration, meeting a prince, and ultimately marrying him.
3. Vladimir Propp's morphology of the folktale is outlined, identifying 31 functional elements that commonly occur in stories, such as absence, interdiction, villainy, lack, counteraction, and resolution, often following a specific sequence. Character roles like villain, dispatcher, and hero are also defined.
Inspector call-pee-models
Priestley's play An Inspector Calls examines social responsibility and the connections between individuals. The play is set in 1912 and focuses on the wealthy Birling family and their encounter with an inspector investigating the death of a young woman named Eva Smith. Over the course of the evening, the inspector reveals how each family member in some way contributed to Eva's downward spiral and eventual death. By the end, the family begins to understand their role in society and their culpability in Eva's tragedy, showing how the actions of one can impact many.
Question 2 evaluation
This document discusses the portrayal of gender in the opening sequence of a film. It describes the female protagonist as a young, blonde teenager portrayed in a stereotypical innocent and vulnerable way. It also discusses the male antagonist, though his face is not shown, he is understood to be male due to contextual clues and stereotypes of a stalker being male. His dark clothing and vehicle are meant to convey a sinister and unstable character. The document also notes that the ages of the protagonists were chosen to match the target demographic of 15-24 year olds.
Evaluation - social groups
The document is a response evaluating how a student film represents different social groups through its characters and storyline. In three sentences:
The film challenges gender stereotypes by portraying the female secret agent Monroe as tough and able to defeat male attackers. While the male robbers represent traditional masculine traits, they are unexpectedly overpowered by Monroe. The short film does not explicitly represent or challenge stereotypes of age, class, sexuality or ethnicity as it focuses only on the opening action sequence.
Evaluation 2
The document discusses the representation of social groups, particularly gender, in the film "Rewind". It notes that while males are often portrayed stereotypically as strong and dominant, "Rewind" subverts some expectations by having a female lead character who is strong and independent. The female lead also represents the working class through her clothing and disinterest in appearance. The target audience for "Rewind" is identified as middle-class and working-class individuals aged 18-25 who regularly watch films at the cinema.
Question 2
The document summarizes the representation of three characters - Li, Rosaline, and Boris - in a media product. Li is portrayed as a able-bodied male who is seen running worriedly through a wooded area. Rosaline is portrayed as a able-bodied female who maintains strength and will during an interrogation, going against the stereotype of a female companion needing rescue. Boris has the most lines, allowing insight into his character as a dominant male who asserts control over Rosaline through violence when he realizes he has lost control of the situation.
Lamb to the slaughter intro lesson
Here is a summary movie review of the Alfred Hitchcock version of Lamb to the Slaughter:
In the film adaptation, Hitchcock portrays Mary Maloney as a kind, gentle housewife who is devoted to taking care of her husband. She appears to be content in her domestic role. Her husband is depicted as distant and dismissive of Mary. When he tells her he wants a divorce, it is a complete shock to Mary's system.
Watching the visual portrayal of their relationship confirmed my interpretation from reading the text. I saw Mary as a traditional, nurturing wife, so seeing her interact lovingly with her husband aligned with that. Her husband seemed detached, which matched the ambiguity around his stated reason for leaving
Inspector call-pee-models
This document provides guidance on key concepts and techniques to discuss in exam responses for the play "An Inspector Calls" by J.B. Priestley. It outlines vocabulary and literary devices to describe the play's methods, including its structure, stage directions, tone, and use of symbols. It also analyzes specific characters and scenes, noting how the Inspector's questioning gradually implicates each family member in the death of Eva Smith. The document aims to equip students with the analytical tools needed to discuss Priestley's social commentary and dramatic techniques in their exams.
Men Women and Chainsaws
Clover suggests that the horror research is problematic for a few reasons. Statistical surveys are often sponsored by major studios and don't account for many independently produced horror films. Additionally, some horror films don't get a theatrical release and instead rely on videocassette rentals, an audience that is hidden from research. Rental data from a few outlets also showed that horror films were predominantly rented by adolescent males. Overall, Clover indicates that the typical horror audience breakdown consists mainly of young men, with varying proportions depending on the subgenre.
Vladimir Propp
Vladimir Propp was a Russian scholar who analyzed Russian folk tales and identified common narrative structures. He identified 31 narrative units that comprised the typical structure of many Russian folk tales. These units included character archetypes like the hero, villain, dispatcher, donor, and helper. Propp broke down how these characters interacted and progressed the story. For example, the villain acts against the hero while the dispatcher sends the hero on a quest and the donor provides assistance. Propp's theory provides a framework for understanding recurring patterns in folk tales and has been applied to other stories like the Harry Potter series.
How does your media product represent particular social groups
The document discusses how the media product Jasper represents various social groups through its characters. It had a female protagonist, Jasper, to challenge thriller conventions and engage female audiences. Jasper has high status as the protagonist and her mental health struggles are depicted through various camera techniques and sounds. The male therapist Benjamin was included to appeal to male audiences and because males traditionally hold more power in thrillers. Benjamin's high status is shown through his professional clothing and role controlling the meeting with Jasper.
Character types in comedy
Here is a one page response to the practice question:
The characters in the films Four Lions and Love Actually generally fit well within the typical character archetypes seen in comedy genres.
Four Lions, a comedy about a group of bumbling British terrorists, features characters that align with several common comedic archetypes. Omar and Barry fulfill the roles of The Wisecracker and The Goofball respectively. As the characters constantly finding humor in situations and being oblivious to danger, they drive much of the comedy. Waj and Faisal take on characteristics of The Bully, being more aggressive and impatient with the others. Hassan serves as The Sage, trying to talk sense into the others. These characters fit their roles of prov
Evaluation 2
The document discusses how gender and social groups are represented in the media product "Rewind". It notes that while males are sometimes portrayed in stereotypical roles, the main character in Rewind is a strong female who challenges conventions. It also represents the working class positively. The target audience for Rewind is identified as people aged 18-25 from middle and working class backgrounds who enjoy thriller movies and regularly go to the cinema.
Ashley Sidney Autocue
The document discusses a film production that challenges stereotypes about women. It notes that the production does not include any male characters, removing the dynamic of men battling or dominating women. Additionally, the antagonist is a young girl who is portrayed in a position of power over the protagonist through cinematography techniques like low angle shots, providing a positive representation of age and gender.
Technologies
The document discusses various technologies used in a creative production project, separating them into software and hardware categories. It provides details on learning experiences with Wordpress, Wix, Netflix, Audacity, Adobe Photoshop, Adobe Premiere, Soundcloud, YouTube, smartphones, cameras, computers, sound recorders, and lighting kits. Key takeaways include how the software enabled multimedia insertion, organization of information, editing of audio and video, and accessing music. The hardware facilitated research, editing, lighting control, and portable sound recording.
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Mediaaaa
The document discusses plans for the opening sequence of a horror film portraying teenage girls. It was initially going to show a large party, but filming that proved difficult. Instead, the sequence shows a small gathering where the girls gossip about others. In the sequence, one girl, Stacey, confronts and kills another girl, Kelly, portraying the conflicting tensions between girls. The sequence fails to represent sexuality or disability. It portrays teenage girls as very social when together and sly when talking about others, as well as unreliable and unpredictable.
How does our media product represent a particular
This document analyzes how the media product represents social groups such as women and men. It argues that women are represented negatively as overly emotional and mentally unstable. The main character and her niece are shown to have mental health issues stemming from their childhood. Men are represented as cold, emotionless problem-solvers who see mentally ill women as routine cases. However, the document also notes that these representations were not intentional, as the goal was to portray a type of mental illness, not send messages about gender. Choosing a female lead helped use childish props and costumes to link to Alice in Wonderland.
How does your opening represent particular social groups
The opening scene represents several social groups, including children through two young actresses aged 7 and 8 who display childlike behaviors. It also represents females as needy and dependent on children, as shown through a woman adopting a girl due to desperation. The clothing and demeanor of the characters who adopt portray her as wealthy and strong yet feminine through her sharp blue jacket. No men are shown in the opening, subverting the typical thriller genre conventions of having male protagonists or antagonists.
Representation of Characters
In psychological thrillers, characters are often vulnerable individuals who have lost something important, like their family, making them susceptible to manipulation. Main characters are usually males who are taken to their lowest point to engage the audience. Females sometimes take main roles but more often play supporting roles as vulnerable people the main character relies on, such as a mother or daughter. Other common representations include characters who are psychotic or of lower-middle class.
Ruthless
The writer watched the first season of the television show Ruthless produced by Tyler Perry and aired on BET. They express disappointment in Tyler Perry for portraying black men and women in such a negative and degrading way. Specific scenes shown involved a man smelling another man's private parts, a woman being assaulted by seven men, and the implication that black women are incapable and welcoming of brutal abuse. The writer argues such portrayals damage the dignity of the black community and questions why children were present during filming of such inappropriate scenes. They ask Tyler Perry not to let money control his programming at the expense of black people's image.
Magazine tings
The first document discusses an Amy Schumer magazine cover that sexualizes her through revealing clothing and a suggestive pose that references Princess Leia's slave outfit, objectifying women for male pleasure. It also notes her sucking C-3PO's finger appears more comedic than sexual but still comes across as very sexual.
The second document analyzes how Willow Smith is presented in a defeminized way through her short dreadlocks, dark eye makeup, septum piercing, spiked dog collar, and blazer, all typically masculine attributes, though she still appears feminine.
The third document suggests a magazine cover featuring an overweight woman projects strength and power by embracing a non-stereotypical body type, intended to motivate
Question 2 improvment
The document analyzes how social groups are represented in the film opening of a media product:
1) The protagonist is a young female girl, representing females in a stronger role than the typical "damsel in distress" but still presented as weaker than the male character.
2) The male character is presented as threatening and mysterious to build tension, reinforcing stereotypes of males being more intimidating through his dark clothing and concealed face.
3) While only two characters are shown, their contrasting representations of the battling male dominating over the weaker female may not be a realistic portrayal of society but reflects some audience ideas about gender roles.
Folktale worksheet
1. The document discusses methods for analyzing folktales, including identifying recurring motifs and symbols, and providing sociological and historical context.
2. It specifically examines the common elements of Cinderella stories, including her mistreatment by a stepmother, being prevented from attending a celebration, meeting a prince, and ultimately marrying him.
3. Vladimir Propp's morphology of the folktale is outlined, identifying 31 functional elements that commonly occur in stories, such as absence, interdiction, villainy, lack, counteraction, and resolution, often following a specific sequence. Character roles like villain, dispatcher, and hero are also defined.
Inspector call-pee-models
Priestley's play An Inspector Calls examines social responsibility and the connections between individuals. The play is set in 1912 and focuses on the wealthy Birling family and their encounter with an inspector investigating the death of a young woman named Eva Smith. Over the course of the evening, the inspector reveals how each family member in some way contributed to Eva's downward spiral and eventual death. By the end, the family begins to understand their role in society and their culpability in Eva's tragedy, showing how the actions of one can impact many.
Question 2 evaluation
This document discusses the portrayal of gender in the opening sequence of a film. It describes the female protagonist as a young, blonde teenager portrayed in a stereotypical innocent and vulnerable way. It also discusses the male antagonist, though his face is not shown, he is understood to be male due to contextual clues and stereotypes of a stalker being male. His dark clothing and vehicle are meant to convey a sinister and unstable character. The document also notes that the ages of the protagonists were chosen to match the target demographic of 15-24 year olds.
Evaluation - social groups
The document is a response evaluating how a student film represents different social groups through its characters and storyline. In three sentences:
The film challenges gender stereotypes by portraying the female secret agent Monroe as tough and able to defeat male attackers. While the male robbers represent traditional masculine traits, they are unexpectedly overpowered by Monroe. The short film does not explicitly represent or challenge stereotypes of age, class, sexuality or ethnicity as it focuses only on the opening action sequence.
Evaluation 2
The document discusses the representation of social groups, particularly gender, in the film "Rewind". It notes that while males are often portrayed stereotypically as strong and dominant, "Rewind" subverts some expectations by having a female lead character who is strong and independent. The female lead also represents the working class through her clothing and disinterest in appearance. The target audience for "Rewind" is identified as middle-class and working-class individuals aged 18-25 who regularly watch films at the cinema.
Question 2
The document summarizes the representation of three characters - Li, Rosaline, and Boris - in a media product. Li is portrayed as a able-bodied male who is seen running worriedly through a wooded area. Rosaline is portrayed as a able-bodied female who maintains strength and will during an interrogation, going against the stereotype of a female companion needing rescue. Boris has the most lines, allowing insight into his character as a dominant male who asserts control over Rosaline through violence when he realizes he has lost control of the situation.
Lamb to the slaughter intro lesson
Here is a summary movie review of the Alfred Hitchcock version of Lamb to the Slaughter:
In the film adaptation, Hitchcock portrays Mary Maloney as a kind, gentle housewife who is devoted to taking care of her husband. She appears to be content in her domestic role. Her husband is depicted as distant and dismissive of Mary. When he tells her he wants a divorce, it is a complete shock to Mary's system.
Watching the visual portrayal of their relationship confirmed my interpretation from reading the text. I saw Mary as a traditional, nurturing wife, so seeing her interact lovingly with her husband aligned with that. Her husband seemed detached, which matched the ambiguity around his stated reason for leaving
Inspector call-pee-models
This document provides guidance on key concepts and techniques to discuss in exam responses for the play "An Inspector Calls" by J.B. Priestley. It outlines vocabulary and literary devices to describe the play's methods, including its structure, stage directions, tone, and use of symbols. It also analyzes specific characters and scenes, noting how the Inspector's questioning gradually implicates each family member in the death of Eva Smith. The document aims to equip students with the analytical tools needed to discuss Priestley's social commentary and dramatic techniques in their exams.
Men Women and Chainsaws
Clover suggests that the horror research is problematic for a few reasons. Statistical surveys are often sponsored by major studios and don't account for many independently produced horror films. Additionally, some horror films don't get a theatrical release and instead rely on videocassette rentals, an audience that is hidden from research. Rental data from a few outlets also showed that horror films were predominantly rented by adolescent males. Overall, Clover indicates that the typical horror audience breakdown consists mainly of young men, with varying proportions depending on the subgenre.
Vladimir Propp
Vladimir Propp was a Russian scholar who analyzed Russian folk tales and identified common narrative structures. He identified 31 narrative units that comprised the typical structure of many Russian folk tales. These units included character archetypes like the hero, villain, dispatcher, donor, and helper. Propp broke down how these characters interacted and progressed the story. For example, the villain acts against the hero while the dispatcher sends the hero on a quest and the donor provides assistance. Propp's theory provides a framework for understanding recurring patterns in folk tales and has been applied to other stories like the Harry Potter series.
How does your media product represent particular social groups
The document discusses how the media product Jasper represents various social groups through its characters. It had a female protagonist, Jasper, to challenge thriller conventions and engage female audiences. Jasper has high status as the protagonist and her mental health struggles are depicted through various camera techniques and sounds. The male therapist Benjamin was included to appeal to male audiences and because males traditionally hold more power in thrillers. Benjamin's high status is shown through his professional clothing and role controlling the meeting with Jasper.
Character types in comedy
Here is a one page response to the practice question:
The characters in the films Four Lions and Love Actually generally fit well within the typical character archetypes seen in comedy genres.
Four Lions, a comedy about a group of bumbling British terrorists, features characters that align with several common comedic archetypes. Omar and Barry fulfill the roles of The Wisecracker and The Goofball respectively. As the characters constantly finding humor in situations and being oblivious to danger, they drive much of the comedy. Waj and Faisal take on characteristics of The Bully, being more aggressive and impatient with the others. Hassan serves as The Sage, trying to talk sense into the others. These characters fit their roles of prov
Evaluation 2
The document discusses how gender and social groups are represented in the media product "Rewind". It notes that while males are sometimes portrayed in stereotypical roles, the main character in Rewind is a strong female who challenges conventions. It also represents the working class positively. The target audience for Rewind is identified as people aged 18-25 from middle and working class backgrounds who enjoy thriller movies and regularly go to the cinema.
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How does your opening represent particular social groups
How does your opening represent particular social groups
How does your media product represent particular social groups
How does your media product represent particular social groups
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Ashley Sidney Autocue
The document discusses a film production that challenges stereotypes about women. It notes that the production does not include any male characters, removing the dynamic of men battling or dominating women. Additionally, the antagonist is a young girl who is portrayed in a position of power over the protagonist through cinematography techniques like low angle shots, providing a positive representation of age and gender.
Technologies
The document discusses various technologies used in a creative production project, separating them into software and hardware categories. It provides details on learning experiences with Wordpress, Wix, Netflix, Audacity, Adobe Photoshop, Adobe Premiere, Soundcloud, YouTube, smartphones, cameras, computers, sound recorders, and lighting kits. Key takeaways include how the software enabled multimedia insertion, organization of information, editing of audio and video, and accessing music. The hardware facilitated research, editing, lighting control, and portable sound recording.
Natalie Q1 Autocue
This document contains an interview with the filmmakers discussing their coming of age short film. Some key points discussed include:
- The film contains common coming of age themes like a teenage protagonist experiencing loss of innocence and experimentation through parties and alcohol.
- The filmmakers wanted to avoid toning down these themes to appeal to a more reserved audience and felt it was important to portray these experiences.
- They disagree that the male character takes dominance, pointing out he has no face and the female protagonist is the clear focus as they wanted to represent her story.
- The protagonist has no name to emphasize that she represents all teenagers going through this experience rather than a single character.
- Music videos
Host Q1 Autocue
The document discusses the film Adolescence, which won the Official Selection at the Short Film Festival in London. The director Natalie Kidd, feminist critic Betty O'Donnahuge, and film critic Patrick Dank discuss the film. Adolescence follows the coming of age story of a female character and was controversial for its experimental style and focus on a sole female protagonist. Natalie Kidd explains how the film approaches the coming of age genre in a new way.
Patrick Q1 Autocue
The document discusses a film called Adolescence and focuses on how it represents teenagers and uses water imagery. It notes that it is difficult to comment on gender representation in the film due to a lack of representation. It argues that the film represents teenagers as a whole through its focus on the main character. The discussion also analyzes how water is used throughout various scenes to represent changing emotions and moods in a subtle yet effective manner.
Betty Q1 Autocue
While the reviewer was pleased to see a female protagonist addressing issues around female empowerment, they felt describing the film as feminist was misleading. The reviewer argues the female protagonist lacked strength and voice due to a lack of dialogue. Additionally, the only male character was shown subduing and dominating the female character, rather than depicting the characters as equals.
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Similar to Edwina Coronation-Chicken
Representation of characters (1)
The document analyzes the representation of characters in three horror film trailers through their use of sound, editing, camerawork, and mise-en-scene. Male characters are generally portrayed as dominant through dialogue, protective gestures, and shot compositions that make them appear bigger or in control. Female characters are often represented as vulnerable through close-ups of their scared expressions and positioning that reveals their bodies for the "male gaze." Dark lighting and fast editing aim to depict all characters as vulnerable to the impending horror. Common stereotypes are employed, such as the "blonde bimbo" character sexualized for her appearance.
Question 2
The document discusses how the media product represents social groups in terms of gender and age.
For gender, the male character is portrayed as powerful and dominant while the female character is portrayed as weak, vulnerable, and scared. The female is shown running away from the male character, establishing his dominance.
For age, the main female character is portrayed as a timid youth through her actions like playing hopscotch, while the male character's clothing stereotypically represents young males. The target audience of young females was chosen based on feedback that this group prefers thriller movies more than young males. In 3 sentences or less, the document discusses representations of gender and age stereotypes in the media product.
The representations of gender in horror films essay
In horror films, representations of gender are often more complex than in other media. Women may be portrayed as both extremely weak and as strong "final girls" who survive until the end. While women are sometimes sexualized, horror films also allow women to be active protagonists who save the day. The final girl is often presented as more masculine or virginal compared to other female characters. Horror films provide some female role models and allow for more varied portrayals of gender than other forms of media.
The representations of gender in horror films essay
In horror films, representations of gender are more varied than in other media. Women can be portrayed as both extremely weak or strong, taking on active roles rather than just passive ones. The "final girl" trope allows the main female protagonist to survive until the end of the film, taking on a more masculine role as the hero who defeats the monster. However, presentations of women in horror films still vary significantly within the genre and even within individual films, showing both weak and strong characteristics. While they receive more varied portrayals than other media, representations of gender in horror films remain complex and uneven.
Representation
The document analyzes the representation of various identities in an opening film sequence. It discusses how the female protagonist is represented as vulnerable through being overpowered physically by the male antagonist. It also examines how the female character could be seen as sexualized based on her revealing clothing compared to the male character's baggier outfit. The document notes that neither the protagonist nor antagonist are white, challenging conventions of white leads, but a late plot twist reintroduces a stereotype. Signs point to the antagonist having a mental illness, in line with common onsets for young adults.
Female presentation lady gaga
The document analyzes how women are portrayed in the music video for "Telephone" using four communication theories. It summarizes that the video represents women as powerful and brave but also highly sexualized. Intertextual references link it to the film "Thelma and Louise" to portray women breaking stereotypes. Close-up shots focus on women's bodies rather than faces, emphasizing their sexuality over identity. Outfits and dance moves show efforts to depict women as powerful yet still desiring male attention. The male gaze theory explains how shots position viewers to see women as heterosexual sex objects.
Female presentation lady gaga
The document discusses how four theories analyze the portrayal of women in a music video as powerful yet highly sexualized. It summarizes the theories of John Stewart, Andrew Goodwin, Steve Archer, and Laura Mulvey, noting how they confirm that women are represented through intertextuality linking them to existing cultural texts, close-ups focusing on their bodies rather than identities, outfits implying power but also revealing nature encouraging male attention, and the male gaze viewing women through the eyes of heterosexual men.
Representation of Black Swan
A presentation on representation theory connected with the film Black Swan; including theory regarding Levi-Strauss, Propp, McRobbie and Mulvey.
Propp's character roles and narrative functions
The document discusses Propp's character roles and narrative functions as seen in trailers for the soap operas Hollyoaks and EastEnders. In Hollyoaks, characters taking on hero, villain, and false hero roles are identified. A narrative of victory is seen as a woman confronts the "hospital killer." In EastEnders, a woman's aggressive actions suggest she is a villain, while a man receiving dying flowers may be a false hero or villain. Trickery and villainy disrupting a family are identified as narrative functions.
Gender representations Within Movies!
After analyzing many movie trailers and posters, the document finds that there are clear gender stereotypes in how women and men are portrayed in horror media. Women are often sexually objectified and depicted as emotional, while men are shown as tough and protective. Males usually take on active, leading roles, whereas females are usually part of a group and take passive, supporting roles. Additionally, women are often only young and white, while men can be depicted across ages, races and classes. However, the horror genre sometimes challenges these norms through characters like the "final girl", who can be more masculine and survive to the end.
G321 evaluation questions
The document discusses how the media product challenges conventions of real media products through its location, characters, and costumes.
Specifically, it summarizes:
1) The location of an upper-class 1950s British schoolroom was chosen to fit the noir thriller genre but challenges conventions by depicting the female character gaining independence when the male is distracted.
2) The character Eve challenges conventions by betraying the male character against expectations and dressing in a seductive, convention-challenging style to represent her defiance.
3) The male character Frank's name was chosen to fit the 1950s thriller genre theme.
Question 2
The document analyzes how the film represents gender in both traditional and modern ways. Regarding males, the opening portrays the male detective in a traditionally authoritative role through his dominance, formal title, and competitive chess playing. However, he also shows modern traits through an emotional tear and love letter suggesting feelings. Females are represented both traditionally through objectification of the dead woman's beauty and dependence on men, as well as modernly through the femme fatale's striking red lips implying power and passion. Overall, both males and females are depicted with both traditional and modern gender representations.
Conventions of a ‘slasher’ film
The document summarizes key conventions of slasher films. It discusses common character archetypes like the final girl, killer, and friends. It also outlines typical elements like the weapon (often a blade), isolated settings familiar to audiences, and low-key lighting that creates shadows and mystery. Narrative theories like Vladimir Propp's character types and Claude Levi-Strauss's binary oppositions are also relevant to slasher film structures and themes involving innocence versus experience.
Cast Choice
The document discusses casting choices for a film production. It provides a character breakdown for the leading female role of Milly, a 22-year-old introverted artist. The document discusses choosing a female lead to empower women and convey independence. It then announces casting Laura Wilson, a 19-year-old actress, in the role. Laura is described as mature, able to convey emotions through movement and facial expressions, and committed to the production. A contract and release forms will be sent to secure Laura in the role.
Luara mulvey
The document summarizes Laura Mulvey's Male Gaze theory, which argues that in film, the camera lens represents a masculine perspective that objectifies female characters. According to the theory, women are portrayed as passive objects for the male characters and audience to admire based on their physical appearance rather than as active subjects. This denies women their humanity and restricts them to stereotypical roles like victims. The male gaze asserts control over the female form and pushes the narrative forward, while women slow it down as inspirations for men to act.
Once upon a time in america
Once Upon a Time in America is a 1984 crime epic directed by Sergio Leone. It follows the lives of Jewish youths in 1920s New York who rise to prominence in the mob. The film establishes several thriller conventions through its characters and locations. It introduces the protagonist Noodles as an antihero who commits crimes while remaining the focus of the story. It also features Eve as the archetypal femme fatale, whose lavish lifestyle foreshadows her doomed fate. Key sets like the elevator shaft and Eve's bedroom utilize lighting, camera angles, and symbolism to create an atmosphere of mystery, danger, and the inability to escape impending threats. These elements establish the film as fitting within the noir thriller genre
Media Evaluation Question 2
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It potentially reinforces some stereotypes around mixed race people and location.
Media evaluation question 2
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It risks portraying mixed race characters negatively or as criminals at times. Location may appeal more to white than black audiences.
Media Evaluation Question 2
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It risks portraying mixed race characters negatively or as criminals at times. Location may appeal more to white than black audiences.
2. how does your media product represent particular social groups?
The media product portrays several social groups:
- Females are usually shown as emotional and passive but one takes control in an aggressive way, challenging stereotypes. However, a male later asserts dominance over her.
- Males are commonly depicted as aggressive and dominant, which is shown through characters' actions. However, the female regains control by manipulating and getting her way.
- Youths are portrayed as aggressive through their interactions. A teenage girl with purple hair subverts expectations of blonde victims, portraying her as a rebel among her peers.
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The representations of gender in horror films essay
The representations of gender in horror films essay
The representations of gender in horror films essay
The representations of gender in horror films essay
2. how does your media product represent particular social groups?
2. how does your media product represent particular social groups?
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
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But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
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The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
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The immediate aftermath of the Dwayne Johnson kidnappin
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
Edwina Coronation-Chicken
- 1. I was actually rather disappointed to see dated as one of the favourites for the festival because it is something we have seen all before. The ‘damsel in distress’ type of character identified by Propp we see is an archaic idea of women. Where the only role of women is to be saved and act as a prize for the ‘hero’. This piece like many others is fundamentally based on women as objects to please men. 5 sec leave There is clear evidence of ‘the male gaze’ a principle recognised by Laura Mulvey. The introduction of the female protagonist starts with a shot of her feet, exactly how a men would look a woman up and down. And don’t get me started on the rest of the opening sequence. We hear the girl running panting and even squealing as she desperately runs away from the predator. This is clearly giving the impression the girl is weak and pathetic and this is a very harmful, sexist and boring representation of women. Yes the representation of age is also a problem. Dated uses the classic stereotype that teens are up to no good. The blurring throughout clearly shows our protagonist is inebriated. It unfairly conforms to the idea the younger generation are up to no good.
- 2. I was actually rather disappointed to see dated as one of the favourites for the festival because it is something we have seen all before.
- 3. The ‘damsel in distress’ type of character identified by Propp we see is an archaic idea of women. Where the only role of women is to be saved and act as a prize for the ‘hero’.
- 4. This piece like many others is fundamentally based on women as objects to please men.
- 5. 5 sec leave
- 6. There is clear evidence of ‘the male gaze’ a principle recognised by Laura Mulvey. The introduction of the female protagonist starts with a shot of her feet, exactly how a men would look a woman up and down
- 7. And don’t get me started on the rest of the opening sequence. We hear the girl running, panting and even squealing as she desperately runs away from the predator.
- 8. This is clearly giving the impression the girl is weak and pathetic and this is a very harmful, sexist and boring representation of women
- 9. Yes the representation of age is also a problem. Dated uses the classic stereotype that teens are up to no good.
- 10. The blurring throughout clearly shows our protagonist is inebriated. It unfairly conforms to the idea the younger generation are up to no good