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This document provides an analysis of the short film "Flash/Back" by Liam Allan. It belongs to the psychological thriller genre, following an unnamed protagonist through a mental battle involving a false reality and symbolism. The film has a classic horror-like appearance but is shot in a mellow, CCTV-like style featuring plot twists. It is aimed at older audiences and intends to thrill and provoke a critical response. It was produced using a DSLR camera on a tripod in dark locations and edited with color correction, jump cuts, and a mix of paces in post-production.
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Someone drops their keys which are then found by a character who unlocks a door. The character goes inside and the scene transitions to the outside. The proposed film is a fantasy genre piece with roles for a cameraman, two actors, an editor, and locations both outside and in a corridor. The mood starts dark for mystery and then lightens with a transition, using a first person view going through the door.
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A thriller film typically contains elements of tension, danger, and suspense. Common thriller themes involve lone figures, spies, terrorists, assassinations, crimes, and mysteries to solve. The tension often peaks when the main character is placed in immediate danger. Most thrillers also involve conflicts between main characters. Common iconography in thrillers includes cars, guns, police, and dialogue. Thrillers are commonly set in isolated, urban, or arctic locations. Common thriller characters include law enforcement, spies, soldiers, criminals, and stalkers. Subgenres include action thrillers, crime thrillers, psychological thrillers, and science fiction thrillers. Thrillers also combine with other genres like action, sci-fi, west
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The document discusses the thriller and horror genres. It finds that both genres appeal primarily to older audiences due to their age ratings, though younger audiences were also drawn to video nasties in the 1980s. While the genres have largely merged, thrillers aim to excite audiences whereas horrors provoke negative emotions. Successful horrors use subtle, subliminal scares over obvious ones. Production techniques like low lighting and quick cuts are discussed.
Digital Graphics Evaluation
This document summarizes and evaluates a graphic narrative project. It discusses how the final product reflects the original intentions, how images were constructed using techniques like rotoscoping, and how text was used. It evaluates whether the techniques and content were suitable for the target audience of 4-7 year old boys. The document reflects on what aspects worked well and what could be improved, such as giving characters more varied expressions.
Narrative Theory
The document discusses various narrative theories and analyzes how they apply to a children's book. It examines Vladimir Propp's character archetypes like the hero, villain, donor, and helper and finds examples of each in the book's main character George and his quest to defeat the Fun-Taker. It also analyzes Tzvetan Todorov's theories of equilibrium, disequilibrium, and new equilibrium and Claude Levi-Strauss's theory of binary opposition, finding examples of each in the story's plot points. Finally, it addresses different narrative structures and determines the story has a closed narrative structure that reaches a conclusion.
Candle cove Childrens Book
This document appears to be a listing of page numbers, with twelve pages numbered consecutively from one to twelve. The page numbers suggest it is an index or table of contents for a larger work, though no additional context is provided.
LO3 Workbook
The document discusses regulation of the media in the UK by the British Board of Film Classification (BBFC). It provides details on:
- The BBFC's role in classifying and regulating films and videos in the UK.
- How the BBFC was established in 1912 by film producers to self-regulate, and the legal acts that give it power to enforce ratings.
- Two case studies that demonstrate how the BBFC applied ratings to films and considered public opinion over time.
- The student's view that some regulation of media content is necessary to protect children, but it should only apply to those under 16, and regulators should be independent and consider public opinion.
Planning booklet
This document provides planning details for a digital graphic narrative project. It discusses considerations for the project like costs, available resources, audience, and health and safety. A production schedule is included that breaks the project into 10 sessions over 10 weeks. Each session includes specific tasks to complete pages of the graphic narrative, such as starting scenery, adding characters, and including text. Regulations and codes of practice and their importance are also summarized.
Development pro forma
This document contains summaries of different digital graphic narrative assignments completed by Liam Allan, including shaping images, rotoscoping, creating text-based images, comic book style images, photographs exploring themes, and an illustration. For each assignment, Liam provides 1-2 sentences on what he liked about the image and 1-2 sentences on what he would improve if doing it again, focusing on adding more details, cleaning up images, and making proportions and shapes more accurate. The document also includes mind maps and proposals for a new 10-page children's storybook about a boy who dreams of becoming a pirate and wakes up aboard a pirate ship.
Lo2 workbook
This document discusses understanding ethical and legal constraints within the media sector. It covers several topics, including representations in media and how they can influence perceptions; Ofcom categories for offensive words; guidelines from organizations like the NUJ to prevent negative portrayals of groups; accessibility requirements for broadcasters; and various acts like the Broadcasting Act, Official Secrets Act, and Obscene Publications Act. An example is provided of the Obscene Publications Act being used in a 2008 case against a civil servant for a fictional story he wrote online.
Lo1 workbook
This document discusses the structure and ownership of the media sector. It provides definitions and examples of different types of ownership including private, public service broadcasting, multinationals, independents, conglomerates, and voluntary organizations. It also discusses challenges faced by independent and multinational media companies. Finally, it covers topics like cross media ownership, diversification, horizontal and vertical integration, and mergers and acquisitions in the media industry.
File types pro forma
The document discusses different types of digital image file formats including raster graphics like JPEG, TIFF, GIF, and BMP which use pixels and can lose quality when resized, and vector graphics like PSD, AI, and FLA which use lines and paths and maintain quality when resized. It also covers topics like compression, which reduces file sizes but can degrade quality, and image capture methods using scanners, cameras, and graphics tablets. The document concludes with an overview of optimizing images by changing pixel amounts and bit depth to make files more suitable for different purposes.
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Film pitch
- 2. Which Genre? Horror Psychological Thriller
- 3. What is the Plot? Unnamed protagonist Mental battle/s False Reality Symbolism
- 4. Style Classic Horror-like appearance CCTV-like style Mellow feel Plot twist
- 5. Who Are the Audience? High age certificate Evoke negativity Thrill Audience Critical Response
- 6. Production DSLR Tripod Lighting Dark locations
- 7. Post-Production Colour Correction Jump Cuts Mix of paces
- 8. Thank You For Listening