This document summarizes Fern Disney's evaluation of their media product "Dolls Domain". Some key points:
1) The product develops conventions of real horror media by featuring scary female characters and child-like elements like dolls, playing into stereotypes.
2) G.E.A.R.S (Gender, ethnicity, Age, Religion, Socio-economic) were considered to create an inclusive product without focusing on one group.
3) The intended audience is teenagers and horror fans aged 15+, as younger viewers may find it distressing.
4) Lessons were learned about editing techniques like manipulating frames and adding filters to achieve the desired atmosphere.
Uno sguardo di insieme sull'evoluzione del portafoglio di F2i - Fondi Italiani per le Infrastrutture nel settore aeroportuale e i dati principali sulla rete "A2i".
5 Ways to Turn Digital Trends into Strategies and Investments into ReturnsRyan Manchee
This webinar focused on what you need to know about how consumer trends will affect your media strategies and business results going into next year. Along with the American Marketing Association, and my colleague Kurt Anderson, we presented five key consumer trends that are causing commotion in the industry today, and paired each trends with best practices for marketers to leverage as they employ smarter strategies for 2016.
FLAIR TOWERS is….
What: The only private and genuine resort-inspired high-rise condominium
How: That features the abundant outdoor and indoor amenities paired with DMCI Homes’ unique building design technology, the Lumiventt advantage
Who: For young and discerning urban families
Why: Aspiring for exclusivity, a natural home setting, quality community living and a balanced home and work life
Where: At the Ortigas-Mandaluyong central business district
When: In a time of limited housing options
Hauts-de-Seine / Tableau de bord emploi-formationDefi_metiers
Ce document propose une sélection d’indicateurs chiffrés, de graphiques à l’échelon départemental. Il intègre les thématiques suivantes : l’activité économique ; l’emploi ; la démographie ; le marché du travail ; la formation professionnelle.
FACILITIES
• Multiple Swimming Pools
• Wet Play Area
• Grand Lobbies
• Children’s Playground
• Vast Modern Tropical Garden
• Jogging Trail
• Clubhouse
• 5 Passenger Elevators for each of the 4 Buildings
• Restaurant / Commercial Strip
• 24-hour Security
• Automatic Fire Detection and Alarm System
• Stand-by genset for common areas
& select residential outlets
• Sufficient Fire exits
• Centralized cistern tank
• Sewerage treatment plant
SQI : Ses façons de faire en matière de gestion de projetsPMI-Montréal
Créée par le gouvernement du Québec en 2013, la Société québécoise des infrastructures (SQI) a pour mission, d'une part, de soutenir les organismes publics dans la gestion de leurs projets d'infrastructure publique en assurant une planification, une réalisation et un suivi rigoureux des projets et, d'autre part, de développer, de maintenir et de gérer un parc immobilier qui répond aux besoins des ministères et des organismes en leur fournissant des services de construction, d'exploitation et de gestion immobilière.
Disposant d'une expertise unique, l'équipe pluridisciplinaire de la SQI offre l'ensemble des services liés à la gestion de projets et à la gestion immobilière. À titre de gestionnaire de projets, elle prend en charge toutes les étapes menant à leur livraison, depuis la planification jusqu'à la mise en service, en fournissant des prestations telles que l'analyse et la programmation fonctionnelle et technique, l'estimation des coûts et l'établissement des échéanciers, l'encadrement administratif et contractuel de la conception de la réalisation.
Afin de répondre adéquatement à ce rôle, la SQI s'est dotée d'un cadre de gestion, visant à améliorer ses façons de faire en matière de gestion de projets. La Direction de l'Expertise en gestion de projets vient vous présenter les orientations, les procédures, les mécanismes et les outils développés au sein de la SQI et mis en place depuis les deux dernières années.
Conférencière :
Isabelle Dufour Architecte, directrice de l'Expertise en gestion de projet,
Société québécoise des infrastructures
Détentrice d'un bac en architecture et d'une mineure en histoire de l'art de l'Université Laval, Isabelle a parfait pendant près de 10 ans ses connaissances techniques en pratiques traditionnelles de l'architecture auprès d'architectes renommés. Devenue directrice de projets à la CHQ et à la SIQ, spécifiquement pour les projets de la clientèle santé, elle a géré, en un peu plus de 7 ans, une douzaine de projets totalisant près de 195 M$ de coût de projet. Garante de cette expérience, Isabelle a accepté en février 2014 le poste de directrice de l'Expertise en gestion de projets au sein de la SQI. Ayant comme mandat d'harmoniser, de développer et de favoriser l'application des bonnes pratiques en matière de gestion de projets, la Direction de l'Expertise en gestion de projets (DEGP) contribue notamment à l'émergence d'une culture intégrée de gestion de projets dans l'ensemble de l'organisation, peu importe l'envergure du projet et la clientèle desservie. Elle met en œuvre les processus et les outils de gestion, coordonne leur implantation, et en fait la promotion auprès des gestionnaires de projets.
Printers are essential and needful thing that must be present in every offices and work places. It increases empty Ink cartridges quantity and scores reaches to millions in a year. With this presentation we have provided you information about Printer cartridges recycling
Uno sguardo di insieme sull'evoluzione del portafoglio di F2i - Fondi Italiani per le Infrastrutture nel settore aeroportuale e i dati principali sulla rete "A2i".
5 Ways to Turn Digital Trends into Strategies and Investments into ReturnsRyan Manchee
This webinar focused on what you need to know about how consumer trends will affect your media strategies and business results going into next year. Along with the American Marketing Association, and my colleague Kurt Anderson, we presented five key consumer trends that are causing commotion in the industry today, and paired each trends with best practices for marketers to leverage as they employ smarter strategies for 2016.
FLAIR TOWERS is….
What: The only private and genuine resort-inspired high-rise condominium
How: That features the abundant outdoor and indoor amenities paired with DMCI Homes’ unique building design technology, the Lumiventt advantage
Who: For young and discerning urban families
Why: Aspiring for exclusivity, a natural home setting, quality community living and a balanced home and work life
Where: At the Ortigas-Mandaluyong central business district
When: In a time of limited housing options
Hauts-de-Seine / Tableau de bord emploi-formationDefi_metiers
Ce document propose une sélection d’indicateurs chiffrés, de graphiques à l’échelon départemental. Il intègre les thématiques suivantes : l’activité économique ; l’emploi ; la démographie ; le marché du travail ; la formation professionnelle.
FACILITIES
• Multiple Swimming Pools
• Wet Play Area
• Grand Lobbies
• Children’s Playground
• Vast Modern Tropical Garden
• Jogging Trail
• Clubhouse
• 5 Passenger Elevators for each of the 4 Buildings
• Restaurant / Commercial Strip
• 24-hour Security
• Automatic Fire Detection and Alarm System
• Stand-by genset for common areas
& select residential outlets
• Sufficient Fire exits
• Centralized cistern tank
• Sewerage treatment plant
SQI : Ses façons de faire en matière de gestion de projetsPMI-Montréal
Créée par le gouvernement du Québec en 2013, la Société québécoise des infrastructures (SQI) a pour mission, d'une part, de soutenir les organismes publics dans la gestion de leurs projets d'infrastructure publique en assurant une planification, une réalisation et un suivi rigoureux des projets et, d'autre part, de développer, de maintenir et de gérer un parc immobilier qui répond aux besoins des ministères et des organismes en leur fournissant des services de construction, d'exploitation et de gestion immobilière.
Disposant d'une expertise unique, l'équipe pluridisciplinaire de la SQI offre l'ensemble des services liés à la gestion de projets et à la gestion immobilière. À titre de gestionnaire de projets, elle prend en charge toutes les étapes menant à leur livraison, depuis la planification jusqu'à la mise en service, en fournissant des prestations telles que l'analyse et la programmation fonctionnelle et technique, l'estimation des coûts et l'établissement des échéanciers, l'encadrement administratif et contractuel de la conception de la réalisation.
Afin de répondre adéquatement à ce rôle, la SQI s'est dotée d'un cadre de gestion, visant à améliorer ses façons de faire en matière de gestion de projets. La Direction de l'Expertise en gestion de projets vient vous présenter les orientations, les procédures, les mécanismes et les outils développés au sein de la SQI et mis en place depuis les deux dernières années.
Conférencière :
Isabelle Dufour Architecte, directrice de l'Expertise en gestion de projet,
Société québécoise des infrastructures
Détentrice d'un bac en architecture et d'une mineure en histoire de l'art de l'Université Laval, Isabelle a parfait pendant près de 10 ans ses connaissances techniques en pratiques traditionnelles de l'architecture auprès d'architectes renommés. Devenue directrice de projets à la CHQ et à la SIQ, spécifiquement pour les projets de la clientèle santé, elle a géré, en un peu plus de 7 ans, une douzaine de projets totalisant près de 195 M$ de coût de projet. Garante de cette expérience, Isabelle a accepté en février 2014 le poste de directrice de l'Expertise en gestion de projets au sein de la SQI. Ayant comme mandat d'harmoniser, de développer et de favoriser l'application des bonnes pratiques en matière de gestion de projets, la Direction de l'Expertise en gestion de projets (DEGP) contribue notamment à l'émergence d'une culture intégrée de gestion de projets dans l'ensemble de l'organisation, peu importe l'envergure du projet et la clientèle desservie. Elle met en œuvre les processus et les outils de gestion, coordonne leur implantation, et en fait la promotion auprès des gestionnaires de projets.
Printers are essential and needful thing that must be present in every offices and work places. It increases empty Ink cartridges quantity and scores reaches to millions in a year. With this presentation we have provided you information about Printer cartridges recycling
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
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Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2. In what ways does your media
product use, develop or challenge
forms and conventions of real media
products?
• We develop forms of real media products by having scary women in our
media text about child-like things for example dolls and playing with
dollhouses and toys. This develops real media products because from our
research of films such as Annabelle, dead silence and the women in black,
the main character (protagonist) is male and the evil character
(antagonist) is female. As this is also present in our media text it suggests
we help develop this stereotypical view of childlike factors being creepy
and/or scary .
3. G.E.A.R.S… Gender, ethnicity, Age
• When forming our ideas, it was very important to keep in mind a variety of
different groups.
• G.E.A.R.S helped us follow a guideline. For example, the gender we chose
was unisex, due to horror not being exclusive to one gender, it would be very
hard to specify a horror media product which was on,y for say girls. However
from on perspective, someone may say that our product it actually for the
female gender due to the use of dolls- stereotypically playing by young girls.
Although we as a group wouldn't specify a certain gender
• Much like gender, the ethnicity is purely varied. Any one who is a fan of
horror movies would be able to watch this.
• For age, as seen on our BBFC the guided age was 15+ this is because
younger ages may find it distressing as it is a horror, we also used child toys
which may psychology harm younger viewers.
4. Who would be the audience for your
media product?
• Through the use of a teenage as our main featured
character in this media product. The main age for
viewing would be around teenagers. However due to
this being a horror film it would be appropriate for only
teenagers aged 15 and up. Also those aged older who
are fans of these types of horrors would also be suitable
for our media product.
5. G.E.A.R.S religion/nationality
• As we didn't include any religion or nationality reference with in our
product, it shows we didn't want to specify any given group.
• If we wanted to, we could have taken aspects of films such as The Conjuring
to include a given religion. For in example in this film they specify on the
Christianity religion. By trying to get rid of the ' evil' within the wife/ mother
by saying prays and reading out of the Bible.
• However, even though it is not clear, we did actually use a quiet pray. As
part of our build of sound, we used one of our group to whisper and one part
we recorded a pray.
6. G.E.A.R.S Socio-economic
There isn't a particular class for our genre, we intend to create our production for those who are
fans of horror, not based on their class. Although I do believe it is mainly E-C1- those above may
choose to watch it. However it is best suited for these social groups because our main character of
our product is a 16/17 (our age) which puts her in class E class in the first place because we don't
earn enough money to live off, we are students. Therefore it is likely that people in social grade E
could easily identify with our film, increasing the chances of the lower social grades watching it.
7. How does your media product
represent particular social groups?
• Through the use of our antagonist, I would say our media
product represents the social group of the mainstream, going
from the social grade of E (those of lowest level) to about social
grade C1 (the lower middle class).
9. Young and Rubicam's 4Cs model
For our media product, I think it is most suited to the
'mainstream' cultural consumer. This is because our production
is a horror film which suits the characteristics of people who live
in the world of the domestic and everyday. A daily routine is
fundamental to the way they live their lives- supernatural
horrors have become more popular therefore with this growing
popularity the mainstream audiences may follow the crowd-
creating a snowball effect- picking up new viewers for our media
product, for example those who discover insidious, may then
venture into films such as the conjuring or sinister or
Annabelle.
10. What kind of media institution might
distribute your media product and
why?
• I think the media institute which would distribute our media
product is BBC films. This is because films they have already
distributed before hand are ones such as Woman In Black. The
reason I believe this goes with our film is because The Woman
In Black film opens in a similar way to ours, with the child
innocence manipulated to be creepy.
11. How did you attract/ address your
audience?
• Before we began to film I wrote up a variety of different
questions to ask our focus group (this is a video in which I
have uploaded to YouTube linked in my blog) to find out
how they would feel about our media product and give
their thoughts of variety of different horror based
questions, for example, whether our focus group (all aged
between 16-17) preferred jumpy horror films or
psychological. Therefore our answers gathered were
addressed in the creating of our media product. A way in
which we address our product was by playing the tune
lots in class. May people began humming it and were
further intrigued to what we were actually creating.
Therefore we attracted our audience by releasing small
teasers to make them want to watch it.
12. • Another way in which we attracted our
audience was by making a Twitter an
Instagram account.
• With Instagram having over 300 million
users, it meant we were able to follow as
many similar account and post 'teasers' to
form more publicity.
• Twitter has 310 million monthly users.
Twitter can used for a variety of things.
This has meant we have been able to
follow all the different account to do with
production of different media products.
How did you attract/ address your
audience?
13. What have you learnt about
technologies from the process of
constructing this product?
• In a small section of our media product we printed our
a variety of different images and physically edited
them, then filming them in the Forrest. However in our
final product, we only ended up using 1 of the frames
because they other ones ruined the atmosphere built
up. This shows what I have learnt about the
technologies of photoshop, I had to upload the image,
changing the size and then further printing it. I was
also the editor of the whole product therefore I learnt
about premier.
14. Looking back at your preliminary task,
what do you feel you have learnt in the
progression from it to the full product?
• Comparing my editing with the preliminary task and
the primary task of Dolls Domain, there is a massive
jump of progression which I can personally see. For
example I learnt different techniques to manipulate my
frames, for example learning how to use a vignette
around them. I also learnt how to add something called
'noise' as a type of filter to make it looks like an old
media piece. Additionally, I learnt how to put in key
frames, this enabled me to change factors of my work,
such as slowly zooming in or changing the volume mid
clip. A another factor I learnt how to do is to make
written text roll upwards on the screen.
15. Horror time line
One of the task I done was a
horror timeline, this was key in
the preparing for the media
product. This is because it
shows how our work resembles
2010- and later films in
comparison to the first ever
horror films of Frankenstein.
Films created in 2010 was
insidious and then Annabelle
was made in 2014 which also
resembles our media product.
16. Overall…
• Overall looking at the final cut of Dolls Domain, I am
rather proud of it, I believe it creates and forms the
idea which I originally planned for it, the theme of the
creepy human clockwork doll works in creating that
creepy tension, people are further intrigued and want
to watch the rest- for this I would say it is a success.
However, the thing I would change for this media
product is at the end I put a rolling set of credits to
show my progression, although I do not think it works
very well and don't really like it, I think due to the
credits already being present in the media on the
chalkboard, it isn't really that necessary to be there,
except it is a good example of my progression.