This document provides information on a unit related to film studies, including the aims, introduction, learning outcomes, assessment criteria, unit content, and guidance for tutors. The unit aims to develop learners' understanding of how films are created for audiences and make meaning through exploring industry practices and theoretical approaches. Learners will analyze films using different theories and understand the relationships between films, their production contexts, producers and audiences.
Btec creative media production introductionJaskirt Boora
This document provides information about the BTEC Creative Media Production Certificate course, which is equivalent to 1 AS level. The course involves 4 units covering pre-production techniques, communication skills, page layout and design, and photography. Students will learn print-based media skills like magazine design, DSLR photography, and journalistic communication. Examples of print media, student work, and costs are also outlined. Potential future pathways mentioned include journalism, creative media production, and graphics.
Year 12 media coursework g321 evaluation techniquesMediaGeorge
This document provides tips and evaluation criteria for a Year 12 Media coursework presentation. It outlines how to structure the presentation, including introducing yourself and the project, addressing the seven evaluation questions using different multimedia formats, and concluding by thanking the audience. For each question, it suggests spending 1-3 slides analyzing how the media product uses or challenges conventions, represents social groups, might be distributed, who the audience is, how it appeals to audiences, what technologies were learned, and progression from preliminary work. A variety of formats like videos, avatars, blogs, and websites are recommended for responding to the questions.
This document is a course handbook for a Media Studies AS Level course. It outlines the two units that will be studied over the year. Unit 1 is a coursework portfolio where students will produce media pieces in response to briefs and evaluate their work. Unit 2 is an exam covering analyzing a TV drama extract and studying the music industry. The handbook provides details on assignments, deadlines, expectations and assessment criteria to guide students through the course.
This document provides an overview of the AS Media Studies course for the upcoming year. It outlines the two units that will be studied - G321 Foundation Portfolio in Media and G322 Key Media Concepts in TV Drama. For G321, students will produce two media artifacts in response to briefs and evaluate their work. For G322, students will analyze an unseen TV extract and complete a case study on the music industry. The document details the assessment methods, timelines, expectations and resources to support students in successfully completing the course.
This document provides an overview of a dissertation examining the problems in distributing independent films. It begins with an introduction outlining the purpose and objectives of the dissertation, which are to investigate the reasons for the failure of independent films to reach intended audiences.
The literature review covers traditional distribution theories and theories specific to film distribution. It discusses concepts like distribution planning, channels, and intermediaries. It also examines the film distribution process and differences between large studio and independent distribution.
The methodology section outlines the qualitative and quantitative research methods used, including secondary research of articles and primary interviews. The findings chapter analyzes the structure of the film industry, distribution channels, distributors, exhibitors, and the future outlook.
The conclusions
AS Media studies course handbook 2015-16ALEVELFILM
This document provides an overview of the AS Media Studies course for 2015-2016, including assessment details, schedules, resources and policies. The course consists of two units - MS1 on media representations and responses, assessed via exam; and MS2 on media production processes, assessed via coursework. Key deadlines and topics are outlined week-by-week across the academic year. Resources for independent study and the completion of assessed work are also highlighted.
This document outlines the requirements for a media studies unit on media production processes. Students must complete three linked pieces of work: a pre-production outlining research and planning, a production developed from the pre-production, and a 1200-1600 word report. The pre-production and production can cover areas like magazine covers, websites, or film trailers. Students may work individually or in groups of up to four for productions. The report will discuss research, target audiences, and evaluate strengths and weaknesses of the production. The unit assesses planning, production, and evaluation skills and is internally assessed and externally moderated.
This document outlines the requirements and marking criteria for two sections of an exam on critical perspectives in media:
Section A requires students to describe and evaluate their skills development over two coursework productions, and select one production to evaluate in relation to a media concept. Section B requires students to answer one question from six topic areas, demonstrating understanding of contemporary issues, industries and debates within the chosen topic. Marking criteria assess explanation, use of examples, and use of terminology.
Btec creative media production introductionJaskirt Boora
This document provides information about the BTEC Creative Media Production Certificate course, which is equivalent to 1 AS level. The course involves 4 units covering pre-production techniques, communication skills, page layout and design, and photography. Students will learn print-based media skills like magazine design, DSLR photography, and journalistic communication. Examples of print media, student work, and costs are also outlined. Potential future pathways mentioned include journalism, creative media production, and graphics.
Year 12 media coursework g321 evaluation techniquesMediaGeorge
This document provides tips and evaluation criteria for a Year 12 Media coursework presentation. It outlines how to structure the presentation, including introducing yourself and the project, addressing the seven evaluation questions using different multimedia formats, and concluding by thanking the audience. For each question, it suggests spending 1-3 slides analyzing how the media product uses or challenges conventions, represents social groups, might be distributed, who the audience is, how it appeals to audiences, what technologies were learned, and progression from preliminary work. A variety of formats like videos, avatars, blogs, and websites are recommended for responding to the questions.
This document is a course handbook for a Media Studies AS Level course. It outlines the two units that will be studied over the year. Unit 1 is a coursework portfolio where students will produce media pieces in response to briefs and evaluate their work. Unit 2 is an exam covering analyzing a TV drama extract and studying the music industry. The handbook provides details on assignments, deadlines, expectations and assessment criteria to guide students through the course.
This document provides an overview of the AS Media Studies course for the upcoming year. It outlines the two units that will be studied - G321 Foundation Portfolio in Media and G322 Key Media Concepts in TV Drama. For G321, students will produce two media artifacts in response to briefs and evaluate their work. For G322, students will analyze an unseen TV extract and complete a case study on the music industry. The document details the assessment methods, timelines, expectations and resources to support students in successfully completing the course.
This document provides an overview of a dissertation examining the problems in distributing independent films. It begins with an introduction outlining the purpose and objectives of the dissertation, which are to investigate the reasons for the failure of independent films to reach intended audiences.
The literature review covers traditional distribution theories and theories specific to film distribution. It discusses concepts like distribution planning, channels, and intermediaries. It also examines the film distribution process and differences between large studio and independent distribution.
The methodology section outlines the qualitative and quantitative research methods used, including secondary research of articles and primary interviews. The findings chapter analyzes the structure of the film industry, distribution channels, distributors, exhibitors, and the future outlook.
The conclusions
AS Media studies course handbook 2015-16ALEVELFILM
This document provides an overview of the AS Media Studies course for 2015-2016, including assessment details, schedules, resources and policies. The course consists of two units - MS1 on media representations and responses, assessed via exam; and MS2 on media production processes, assessed via coursework. Key deadlines and topics are outlined week-by-week across the academic year. Resources for independent study and the completion of assessed work are also highlighted.
This document outlines the requirements for a media studies unit on media production processes. Students must complete three linked pieces of work: a pre-production outlining research and planning, a production developed from the pre-production, and a 1200-1600 word report. The pre-production and production can cover areas like magazine covers, websites, or film trailers. Students may work individually or in groups of up to four for productions. The report will discuss research, target audiences, and evaluate strengths and weaknesses of the production. The unit assesses planning, production, and evaluation skills and is internally assessed and externally moderated.
This document outlines the requirements and marking criteria for two sections of an exam on critical perspectives in media:
Section A requires students to describe and evaluate their skills development over two coursework productions, and select one production to evaluate in relation to a media concept. Section B requires students to answer one question from six topic areas, demonstrating understanding of contemporary issues, industries and debates within the chosen topic. Marking criteria assess explanation, use of examples, and use of terminology.
This document provides information about Close Study Products (CSPs) that must be analyzed for the A-Level Media Studies course and exam. It outlines that one television program (either Capital and Deutschland 83, Witnesses and The Missing, or No Offence and The Killing), one print magazine, one online/social media product, and one video game must be studied in depth in relation to media language, representations, industries, and audiences. It then provides details about the television series Capital, identifying it as a CSP that requires analysis across all four theoretical frameworks and exploration of its social and political contexts.
The document provides guidance for students taking an exam on critical evaluation of media production work. It discusses how to structure responses for two different exam questions: 1a) and 1b).
For question 1a), it recommends teaching students to structure their evaluation of skills development across different areas of production using a three-stage process: pre-production, production, and post-production. It provides examples of how to structure an answer for some specific areas.
For question 1b), it suggests teaching students to introduce the theoretical concept, outline the production piece, and discuss how it supports or challenges ideas within the concept. It also breaks down guidance for evaluating productions using specific theoretical concepts like genre, narrative, representation, etc.
The document outlines the structure and requirements for a 2 hour examination on critical perspectives in media. It is divided into two sections:
Section A requires candidates to describe their skills development over two portfolios and evaluate one production in relation to a theoretical concept.
Section B focuses on the contemporary issue of media in the online age, requiring candidates to demonstrate understanding via case studies and debates, combining knowledge of at least two media forms.
This document provides guidance for students taking an exam that will ask them to evaluate one of their media productions in relation to a key concept. Students will be asked to analyze their work using one of five concepts: genre, narrative, representation, audience, or media language. They can discuss either a past AS or A2 production. The exam question will focus analysis on applying only one of these concepts. Students should demonstrate knowledge of the chosen concept and analyze how their work relates to or challenges the concept.
This document outlines the marking criteria for an assignment involving creating a film opening. It is divided into three sections: research and planning, construction, and evaluation. For research and planning, marks are awarded based on the depth of research, organization, and presentation. Construction marks are based on technical skills like shot composition, editing, and sound use. The evaluation requires students to analyze audience, representation, media forms, and what they learned through completing the preliminary task and full project.
This document outlines the tasks and assessments for two units - Unit 25: Television and Video Studies and Unit 26: Film Studies - of the BTEC Level Three Diploma in Creative Media Production course. It provides introductions and learning outcomes for each unit before detailing five tasks related to applying analytical approaches, exploring production contexts, relationships between producers/audiences, and the structure of the television industry. Assessment criteria are also described for grading task responses from Pass to Distinction.
The document provides guidance for a student's non-exam assessment assignment to create the front page, contents page, and double-page spread for a new gaming magazine. It includes details on initial research, developing a target reader profile, conducting a questionnaire, creating a media pack, and textual analysis of similar magazines. Research techniques like primary and secondary research, as well as audience, market, and production research are also discussed to inform the student's work.
This document outlines the structure and requirements for a 2-hour media examination. It is divided into two sections:
Section A requires candidates to answer two compulsory questions evaluating their skills development and one of their productions in relation to theoretical concepts.
Section B focuses on the contemporary issue of media in the online age. Candidates must demonstrate understanding of this topic through case studies and debates, combining knowledge of at least two media forms.
This document provides guidance for a media studies exam assessing students' knowledge of contemporary media issues and ability to evaluate their own practical work theoretically.
The exam is divided into two sections - the first requires students to describe and evaluate their skills development and analyze one of their productions using a media concept. The second asks students to answer one question from a choice of topics related to a contemporary issue such as how online media has developed.
The document provides details on what students need to cover for each section, including lists of production practices and media concepts for Section 1, and prompts for each topic area in Section 2. Centers are advised to guide students in ongoing reflective evaluation of their work and ensure topics are studied with historical, contemporary,
This document provides an overview of key concepts for the Creative Digital Media exam, including understanding different media sectors and platforms, how audiences engage with digital media, and different types of audience research. It covers pre-production, production and post-production tasks, passive and active audiences, and techniques for analyzing meaning and narrative in media like mise-en-scene, lighting, color, sound, and story structure. Front cover analysis of a magazine is used as an example to demonstrate these concepts.
This document provides information and tasks for students completing the BTEC Level One/Two Tech Award in Creative Media Production. It outlines 10 tasks for developing digital media production skills related to digital publishing. The tasks involve creating slideshows on digital texts and interactive elements, designing advertisements and tutorials, and developing a digital newsletter. Students are expected to apply skills in software like Photoshop and gather audience feedback to review and improve their work. The final task indicates that students will use feedback to refine their digital newsletter before submission. Completing the tasks helps students learn practical skills while gaining an understanding of digital publishing concepts and processes.
This document provides the specification for AQA's A-Level Media Studies course. It outlines the subject content, assessments, and administration of the course. Key points include:
- The course focuses on close study of media products and the contexts of media through four areas - media language, representation, industries, and audiences.
- Students will complete two written exams and a non-exam assessment creating a cross-media production.
- Exams assess knowledge of unseen media and require analysis and extended responses. The non-exam assessment is coursework.
- Detailed content is provided on theoretical frameworks for studying media language, representation, industries, and audiences. Close study products are also specified for in-depth
The document outlines past exam questions and focus areas for a media studies course over multiple years. It provides examples of question topics for section A, which often involve describing the development of skills like using digital technology, research, and applying conventions from real media. Section B questions typically involve analyzing a coursework production in relation to concepts like genre, narrative, representation, audience, and media language. The document also provides definitions and advice for preparing answers addressing the common skills and concepts.
This document outlines the course requirements and units for a BTEC Level Three Diploma in Creative Media Production. It includes introductions and learning outcomes for four units: Unit 4 on creative media production management, Unit 5 on working to a brief in the creative media industries, Unit 24 on writing for television and video, and Unit 31 on social action and community media production. The document provides guidance to students on their responsibilities, contacting their teacher, and assessment criteria for the different units.
This document outlines two units for a BTEC Level One/Two course in Creative Digital Media Production:
Unit 2 focuses on developing, pitching, and planning digital media product ideas. Students will learn communication skills to understand client needs, develop their own ideas, and create planning portfolios.
Unit 3 covers digital moving image production. Students will learn about different media formats and genres, technical elements like camerawork and editing, and will produce a short film or video. They will explore production stages from pre-planning to distribution.
The document provides learning aims, content, and assessment criteria for evaluating student work for each unit. It also outlines responsibilities and contact information for the course.
Unit 57 photography_and_photographic_practiceJo Lowes
This document provides an overview of the Edexcel BTEC Level 3 Nationals specification for the unit "Photography and Photographic Practice". The unit aims to develop learners' knowledge and practical skills in photography through investigating different areas of photography and producing their own practical examples. Learners will explore both digital and traditional photographic techniques and equipment, and develop an understanding of different applications of photography as well as planning, producing, and reflecting on photographic work for a specified purpose. The unit content and assessment criteria are also outlined.
There are many ways to analyze films and their genres, including considering codes and conventions. An auteur director breaks conventions by adding their own style. Francis Ford Coppola is an example, breaking conventions in Apocalypse Now by having a village attacked without warning. Napoleon Dynamite has no narrative structure with a clear beginning, middle and end. Sixth Sense is a narrative film with a twist ending. Some films objectify women as in Quantum of Solace, while Leon takes risks by having a young girl develop feelings for the main character. Francis Ford Coppola is renowned for films like The Godfather, while Rian Johnson mixes genres in original films. Auteur directors stand out by putting their individual style and twists
Unit 26 film studies Marketing assignment 3 ASFC-Steph
This document discusses various aspects of film distribution, including:
- Connecting audiences to films through publicity, marketing, and delivering copies of the film.
- Studying audiences through test screenings to understand if they like and recommend a film.
- Marketing through expensive worldwide promotion campaigns, press junkets, and merchandising.
- Classifying films for certain age ratings to target wider audiences.
- Releasing films in cinemas, art houses, or on DVD and television.
This document provides an overview and funding plan for the film "You Only Live Once" about a group of British teenagers who skip school. It discusses that the film will be produced by Film 4 Productions, funded through Film 4, the BFI Film Fund, and the National Lottery. The target audience is 16-25 year old fans of similar comedy dramas, and the film will feature actors from shows like Skins, The Inbetweeners, and Misfits. The advertising campaign will include trailers, posters, social media to promote to this demographic in London and elsewhere.
This document contains information about the themes, locations, actors, crew, finances, distribution, and advertisement for an unspecified film project. The themes include hope, friendship, abuse, injustice, greed, poverty, and corruption, while the locations focus on areas in and around London. It also lists the main actors and producers involved, and describes the sources of finances and plans for distribution and advertising the film.
The document discusses the issues around censorship and regulation of films in the UK and US. It outlines the key viewpoints of advocates who argue censorship protects societal morality, versus critics who say it imposes viewpoints. The US system relies on ratings while the UK uses the British Board of Film Classification. Contemporary examples of censorship controversies are given, like reactions to Life of Brian and films addressed religious topics. Case studies of specific films are mentioned to illustrate these issues but not analyzed in depth. The conclusion questions if censorship will ever change given new media like the internet challenges imposed views of suitability.
The Great Escape is a 1963 war film directed by John Sturges that tells the true story of a mass escape by Allied prisoners of war from a German camp during World War II. The film follows the planning and execution of the escape by the prisoners, as well as the Germans' response as they hunt the escapees down. It features an ensemble cast including Steve McQueen and Richard Attenborough. Upon its release, The Great Escape was nominated for several Academy Awards and has endured as a classic thriller.
This document provides information about Close Study Products (CSPs) that must be analyzed for the A-Level Media Studies course and exam. It outlines that one television program (either Capital and Deutschland 83, Witnesses and The Missing, or No Offence and The Killing), one print magazine, one online/social media product, and one video game must be studied in depth in relation to media language, representations, industries, and audiences. It then provides details about the television series Capital, identifying it as a CSP that requires analysis across all four theoretical frameworks and exploration of its social and political contexts.
The document provides guidance for students taking an exam on critical evaluation of media production work. It discusses how to structure responses for two different exam questions: 1a) and 1b).
For question 1a), it recommends teaching students to structure their evaluation of skills development across different areas of production using a three-stage process: pre-production, production, and post-production. It provides examples of how to structure an answer for some specific areas.
For question 1b), it suggests teaching students to introduce the theoretical concept, outline the production piece, and discuss how it supports or challenges ideas within the concept. It also breaks down guidance for evaluating productions using specific theoretical concepts like genre, narrative, representation, etc.
The document outlines the structure and requirements for a 2 hour examination on critical perspectives in media. It is divided into two sections:
Section A requires candidates to describe their skills development over two portfolios and evaluate one production in relation to a theoretical concept.
Section B focuses on the contemporary issue of media in the online age, requiring candidates to demonstrate understanding via case studies and debates, combining knowledge of at least two media forms.
This document provides guidance for students taking an exam that will ask them to evaluate one of their media productions in relation to a key concept. Students will be asked to analyze their work using one of five concepts: genre, narrative, representation, audience, or media language. They can discuss either a past AS or A2 production. The exam question will focus analysis on applying only one of these concepts. Students should demonstrate knowledge of the chosen concept and analyze how their work relates to or challenges the concept.
This document outlines the marking criteria for an assignment involving creating a film opening. It is divided into three sections: research and planning, construction, and evaluation. For research and planning, marks are awarded based on the depth of research, organization, and presentation. Construction marks are based on technical skills like shot composition, editing, and sound use. The evaluation requires students to analyze audience, representation, media forms, and what they learned through completing the preliminary task and full project.
This document outlines the tasks and assessments for two units - Unit 25: Television and Video Studies and Unit 26: Film Studies - of the BTEC Level Three Diploma in Creative Media Production course. It provides introductions and learning outcomes for each unit before detailing five tasks related to applying analytical approaches, exploring production contexts, relationships between producers/audiences, and the structure of the television industry. Assessment criteria are also described for grading task responses from Pass to Distinction.
The document provides guidance for a student's non-exam assessment assignment to create the front page, contents page, and double-page spread for a new gaming magazine. It includes details on initial research, developing a target reader profile, conducting a questionnaire, creating a media pack, and textual analysis of similar magazines. Research techniques like primary and secondary research, as well as audience, market, and production research are also discussed to inform the student's work.
This document outlines the structure and requirements for a 2-hour media examination. It is divided into two sections:
Section A requires candidates to answer two compulsory questions evaluating their skills development and one of their productions in relation to theoretical concepts.
Section B focuses on the contemporary issue of media in the online age. Candidates must demonstrate understanding of this topic through case studies and debates, combining knowledge of at least two media forms.
This document provides guidance for a media studies exam assessing students' knowledge of contemporary media issues and ability to evaluate their own practical work theoretically.
The exam is divided into two sections - the first requires students to describe and evaluate their skills development and analyze one of their productions using a media concept. The second asks students to answer one question from a choice of topics related to a contemporary issue such as how online media has developed.
The document provides details on what students need to cover for each section, including lists of production practices and media concepts for Section 1, and prompts for each topic area in Section 2. Centers are advised to guide students in ongoing reflective evaluation of their work and ensure topics are studied with historical, contemporary,
This document provides an overview of key concepts for the Creative Digital Media exam, including understanding different media sectors and platforms, how audiences engage with digital media, and different types of audience research. It covers pre-production, production and post-production tasks, passive and active audiences, and techniques for analyzing meaning and narrative in media like mise-en-scene, lighting, color, sound, and story structure. Front cover analysis of a magazine is used as an example to demonstrate these concepts.
This document provides information and tasks for students completing the BTEC Level One/Two Tech Award in Creative Media Production. It outlines 10 tasks for developing digital media production skills related to digital publishing. The tasks involve creating slideshows on digital texts and interactive elements, designing advertisements and tutorials, and developing a digital newsletter. Students are expected to apply skills in software like Photoshop and gather audience feedback to review and improve their work. The final task indicates that students will use feedback to refine their digital newsletter before submission. Completing the tasks helps students learn practical skills while gaining an understanding of digital publishing concepts and processes.
This document provides the specification for AQA's A-Level Media Studies course. It outlines the subject content, assessments, and administration of the course. Key points include:
- The course focuses on close study of media products and the contexts of media through four areas - media language, representation, industries, and audiences.
- Students will complete two written exams and a non-exam assessment creating a cross-media production.
- Exams assess knowledge of unseen media and require analysis and extended responses. The non-exam assessment is coursework.
- Detailed content is provided on theoretical frameworks for studying media language, representation, industries, and audiences. Close study products are also specified for in-depth
The document outlines past exam questions and focus areas for a media studies course over multiple years. It provides examples of question topics for section A, which often involve describing the development of skills like using digital technology, research, and applying conventions from real media. Section B questions typically involve analyzing a coursework production in relation to concepts like genre, narrative, representation, audience, and media language. The document also provides definitions and advice for preparing answers addressing the common skills and concepts.
This document outlines the course requirements and units for a BTEC Level Three Diploma in Creative Media Production. It includes introductions and learning outcomes for four units: Unit 4 on creative media production management, Unit 5 on working to a brief in the creative media industries, Unit 24 on writing for television and video, and Unit 31 on social action and community media production. The document provides guidance to students on their responsibilities, contacting their teacher, and assessment criteria for the different units.
This document outlines two units for a BTEC Level One/Two course in Creative Digital Media Production:
Unit 2 focuses on developing, pitching, and planning digital media product ideas. Students will learn communication skills to understand client needs, develop their own ideas, and create planning portfolios.
Unit 3 covers digital moving image production. Students will learn about different media formats and genres, technical elements like camerawork and editing, and will produce a short film or video. They will explore production stages from pre-planning to distribution.
The document provides learning aims, content, and assessment criteria for evaluating student work for each unit. It also outlines responsibilities and contact information for the course.
Unit 57 photography_and_photographic_practiceJo Lowes
This document provides an overview of the Edexcel BTEC Level 3 Nationals specification for the unit "Photography and Photographic Practice". The unit aims to develop learners' knowledge and practical skills in photography through investigating different areas of photography and producing their own practical examples. Learners will explore both digital and traditional photographic techniques and equipment, and develop an understanding of different applications of photography as well as planning, producing, and reflecting on photographic work for a specified purpose. The unit content and assessment criteria are also outlined.
There are many ways to analyze films and their genres, including considering codes and conventions. An auteur director breaks conventions by adding their own style. Francis Ford Coppola is an example, breaking conventions in Apocalypse Now by having a village attacked without warning. Napoleon Dynamite has no narrative structure with a clear beginning, middle and end. Sixth Sense is a narrative film with a twist ending. Some films objectify women as in Quantum of Solace, while Leon takes risks by having a young girl develop feelings for the main character. Francis Ford Coppola is renowned for films like The Godfather, while Rian Johnson mixes genres in original films. Auteur directors stand out by putting their individual style and twists
Unit 26 film studies Marketing assignment 3 ASFC-Steph
This document discusses various aspects of film distribution, including:
- Connecting audiences to films through publicity, marketing, and delivering copies of the film.
- Studying audiences through test screenings to understand if they like and recommend a film.
- Marketing through expensive worldwide promotion campaigns, press junkets, and merchandising.
- Classifying films for certain age ratings to target wider audiences.
- Releasing films in cinemas, art houses, or on DVD and television.
This document provides an overview and funding plan for the film "You Only Live Once" about a group of British teenagers who skip school. It discusses that the film will be produced by Film 4 Productions, funded through Film 4, the BFI Film Fund, and the National Lottery. The target audience is 16-25 year old fans of similar comedy dramas, and the film will feature actors from shows like Skins, The Inbetweeners, and Misfits. The advertising campaign will include trailers, posters, social media to promote to this demographic in London and elsewhere.
This document contains information about the themes, locations, actors, crew, finances, distribution, and advertisement for an unspecified film project. The themes include hope, friendship, abuse, injustice, greed, poverty, and corruption, while the locations focus on areas in and around London. It also lists the main actors and producers involved, and describes the sources of finances and plans for distribution and advertising the film.
The document discusses the issues around censorship and regulation of films in the UK and US. It outlines the key viewpoints of advocates who argue censorship protects societal morality, versus critics who say it imposes viewpoints. The US system relies on ratings while the UK uses the British Board of Film Classification. Contemporary examples of censorship controversies are given, like reactions to Life of Brian and films addressed religious topics. Case studies of specific films are mentioned to illustrate these issues but not analyzed in depth. The conclusion questions if censorship will ever change given new media like the internet challenges imposed views of suitability.
The Great Escape is a 1963 war film directed by John Sturges that tells the true story of a mass escape by Allied prisoners of war from a German camp during World War II. The film follows the planning and execution of the escape by the prisoners, as well as the Germans' response as they hunt the escapees down. It features an ensemble cast including Steve McQueen and Richard Attenborough. Upon its release, The Great Escape was nominated for several Academy Awards and has endured as a classic thriller.
This document outlines several narrative structure theories: Tzvetan Todorov's theory identifies 5 stages in narrative structure - equilibrium, disruption, recognition of disruption, attempt to repair, new/return equilibrium. Vladimir Propp identified 8 character roles and 31 narrative functions that commonly appear in folktales. Roland Barthes identified 5 narrative codes that readers use to interpret texts - action, enigma, semic, symbolic, cultural. The document applies these theories to films and tasks students with analyzing sample narratives using these conceptual frameworks.
1) The document discusses how different demographic audiences engage with and interpret the thriller film genre through the application of three film theories: Uses & Gratifications theory, Reception theory, and Lacey's repertoire of elements.
2) Reception theory, proposed by Stuart Hall, focuses on the relationship between the text (film) and audience. It acknowledges that audiences can have preferred, negotiated, or oppositional readings of films based on their identity, circumstances of viewing, and social/historical context.
3) In analyzing three thriller films - Taken, London Has Fallen, and Prisoners - the author believes their interpretation was influenced by contextual factors like their demographic identity and comfortable viewing circumstances, leading to a preferred
Film producers conduct research to identify a target demographic audience for their films. They examine social demographic profiles defined by factors like age, gender, interests and income. Producers analyze data from surveys, focus groups, online reviews and other sources to understand their audience. Effective market research allows producers to tailor their marketing campaign, such as placing ads in magazines aimed at the target demographic, to attract the intended audience and maximize box office profits.
The document discusses various concepts related to analyzing the form and structure of films and how they create meaning, including:
1) It examines different types of conflicts that can be presented in films such as man vs man, man vs society, etc. and how they focus audience attention.
2) It outlines several themes commonly explored in films such as morality, human nature, social problems, human dignity, and complexity of relationships.
3) It describes different types of meaning that can be conveyed in films such as emotional, referential, explicit, and implicit meanings.
The document discusses auteur theory in film, which proposes that the director is the primary author or 'auteur' of a film, with a recognizable and distinctive personal style. It originated with French New Wave directors like Truffaut, Chabrol, and Godard in the 1960s. Auteur films tend to be more stylistically sophisticated and give the director almost complete control over the filmmaking process. Critics argue it ignores the collaborative nature of filmmaking, but proponents believe successful auteur directors can withstand commercial pressures to impose their personal artistic visions. The document tasks analyzing films by Tim Burton to determine if they can be considered auteur films based on his distinctive style, recurring themes of misfits, and other signature
This document discusses how genre and audience understanding impact the relationship between films and audiences. It analyzes two comedy films, Tammy (2014) and Identity Thief (2013), using reception theory, uses and gratifications theory, and Lacey's repertoire of elements. Reception theory examines how audiences decode media texts based on their own contexts and circumstances. Uses and gratifications theory explores how audiences are attracted to films for diversion, relationships, identity, and learning. Lacey's elements analyzes characters, narratives, settings, iconography, and technical codes to determine a film's genre. The document concludes these theories help understand how audiences interact with and form relationships to films.
This document discusses film marketing and the relationship between producers and audiences. It analyzes how producers use various types of research like primary, secondary, qualitative and quantitative to understand their target audience. This informs the marketing process which uses advertising, publicity and promotion techniques. Advertising includes film posters, trailers in different formats, and press articles. Publicity can come from stars or viral sharing online. Promotion uses merchandise, product placement, and tie-ins. The document analyzes specific examples from the film Spectre to illustrate how research informed its marketing to a target male audience through posters and trailers designed to appeal to masculine interests.
This document discusses reasons why films may be remade, using several film examples to illustrate different factors. Technological advances allow remakes to have improved visual effects and scale compared to originals, as seen in King Kong. Trends in popular genres may also drive remakes, like found footage films after The Blair Witch Project. Stars can increase interest in remakes, such as Chloe Grace Moretz in Carrie. Social and political contexts may impact remakes, like different implications of aliens in War of the Worlds adaptations. Remakes can also benefit from synergies and corporate ownership structures. Overall, the document analyzes commercial, technological and cultural motivations for remaking films.
The document discusses the history and challenges of regulating media in the UK. Historically, regulation was medium-specific but the internet has complicated this approach. There is a debate between censorship and self-regulation, with moves toward the latter. However, regulating the internet is difficult due to its global nature and borderless sharing of content. The future of regulation may focus more on interactive and video game media as these mediums continue to blur boundaries between platforms.
The document analyzes and summarizes the key elements and intended meanings conveyed by the posters of 5 different films. Each poster summary highlights the main image, title design, and contextual clues about the genre and storyline based on visual cues like characters, backgrounds, colors and fonts used. Common techniques discussed across posters include using colors, placement of title/names and imagery to provide context and intrigue audiences before viewing the films.
This document discusses how to analyze films and defines a film auteur. It provides several examples of films and directors that could be considered auteur works because they diverge from conventions of their genres. These include Pulp Fiction by Quentin Tarantino, which mixes comedy and violence in a crime film, and Looper by Rian Johnson, a sci-fi film that explores complex themes through a unique time travel story in a believable future setting. The document argues that auteurs prioritize their artistic vision over commercial success, sometimes resulting in films that flop but later gain cult followings.
Avatar is a 2009 film directed by James Cameron that addresses issues of industrialization, pollution, imperialism, and capitalism. It is set in the 22nd century when humans are mining the valuable mineral Unobtanium on the alien moon Pandora, threatening the indigenous Na'vi tribe. The Na'vi live in harmony with the living ecosystem of Pandora and have a spiritual connection to the planet. They come into conflict with the human miners who are destroying the land for profit and see the Na'vi as obstacles. The film criticizes the destruction caused by unrestrained industrialization and capitalism's prioritization of profits over environmental and social impacts.
The document outlines the structure and content of an upcoming film studies exam, which will consist of 3 sections focusing on different areas of film production, distribution, and audiences. Students will need to demonstrate their understanding of these areas through analyzing films and the film industry. The exam aims to test students' critical skills and knowledge of how films are made and consumed.
The document discusses the Auteur Theory in film and music videos. It provides background on the theory, noting it was introduced in the 1950s and focuses on the director's creative vision and style. An auteur is a director who brings a personal style to their work and maintains creative control. The document then analyzes several music video directors as potential auteurs, including Chris Cunningham and Samuel Bayer. It examines some of their music videos in detail, identifying signature techniques like fast editing, horror influences, and unusual imagery, locations, and characters.
This unit aims to develop learners' understanding of how films are created for specific audiences and how they make meaning through exploration of industry practices and theoretical approaches. Learners will develop an understanding of analytical approaches to film and apply them to specific films. They will also explore how films are influenced by their production context as well as the complex relationships between producers, audiences, and films. The unit provides opportunities for practical audience research and helps contextualize production work done in other units.
This document provides guidance and activities for teaching a unit on the film industry as part of a media studies course. It begins with an introduction to the unit's learning objectives and key concepts. Section 1 guides students through introductory activities to experience different stages of film production and distribution. These activities have students plan, film, and market a short parody film called a "swede." Section 2 will explore real film industry examples as case studies. Section 3 will involve constructing arguments using the case studies and unit concepts. The activities aim to help students understand and apply terminology as well as analyze institutional and audience relationships in the film industry.
This document provides information on a unit related to pre-production techniques for creative media industries. The unit aims to develop learner's understanding and skills in planning for production and post-production by covering requirements like resources, health and safety issues, and organizing deployment. Successful pre-production requires research and planning to ensure all elements are in place for production.
This document provides guidance for studying the film industry section of a media studies exam. It discusses key topics students should be prepared to write about, including film production, distribution, and audience consumption as related to contemporary media institutions. The nature of technological convergence and its impact on the film industry is emphasized. Students are advised to choose a specific studio or production company to use as a case study and consider how its films are produced, distributed, exhibited, and consumed by audiences. The impact of digital technologies and changing formats are areas of focus. Sample exam questions are provided that may ask students to discuss issues around targeting audiences or responding to changes in the media industry.
The document provides information about a BTEC course in Creative Media Production. It outlines the course structure, responsibilities of students, and the components that will be assessed, including Component 1 which focuses on exploring existing media products. Students will investigate products across audio/visual, publishing, and interactive media sectors. They will examine how genre, narrative, representation and production techniques are used to engage audiences and create meaning. The assessment criteria covers identifying, outlining, describing, discussing and analyzing various aspects of media products and their relationship to audiences.
This document provides information on a unit related to film and video editing techniques. It discusses the aims of developing learners' skills in and understanding of post-production processes through exploring professional editing practice and developing their own technical and creative abilities. Key topics covered include understanding the development and principles of editing, preparing moving image material for editing, and applying editing techniques to moving image material. Learning outcomes and assessment criteria are also outlined.
This document provides information on a unit related to pre-production techniques for creative media industries. The unit aims to develop learners' understanding and skills in planning media productions, including locating resources, organizing deployment of resources, and health and safety issues. Key aspects of pre-production covered include research, planning, budgets, scheduling, risk assessments and legal requirements. Learners will learn how to identify production requirements and plan to fulfill these within time and budget constraints.
The document provides the marking scheme for the GCE Media Studies exam from Summer 2012. It includes four levels for assessing answers with descriptions of what students need to demonstrate at each level for different assessment objectives. For example, at Level 3 students are expected to have a sound understanding of media concepts and apply appropriate terminology in their analysis. The marking scheme also provides potential points students could discuss for each question to help examiners apply the levels consistently.
Unit 3 research_techniques_for_the_creative_media_industriesnigelcollege
This unit focuses on research techniques for the creative media industries. The unit aims to develop learner's understanding and skills in research relevant to creative media production. Learners will present their findings both orally and in writing, and will learn how to cite and reference sources. Research is fundamental to all aspects of creative media and is used to determine viability, gather content information, and assist with planning. Learners will apply both primary and secondary research methods and techniques to conduct audience, market, and production research. They will then present the results of their research in written reports, oral presentations, and with illustrations.
This document outlines the assessment objectives and structure for a 2-hour exam in Critical Perspectives in Media. The exam consists of two sections. Section A involves a theoretical evaluation of a student's own media production work and accounts for 50 marks. Section B covers contemporary media issues and also accounts for 50 marks. Students will choose one question from a selection related to "Media in the Online Age" that involves discussing the historical, contemporary, and future aspects of specified online media forms or issues. The document provides examples and definitions to help students prepare for the different question types and topics that may appear. It stresses the importance of using correct terminology, applying concepts from the course, and drawing from up-to-date examples and evidence in exam
Unit 7 understanding_the_creative_media_sectornigelcollege
This unit aims to give learners an understanding of the creative media sector, including its industries and ownership structures, legal and regulatory issues, and employment opportunities. Learners will develop knowledge of the diverse media organizations that operate locally, nationally, and globally. They will also gain essential understanding of the various job roles in the sector and how to develop skills for employment through training and experience. The unit enables learners to understand their professional roles and responsibilities within legal and ethical constraints.
This document provides an overview and expectations for an A-Level Media Studies course. It includes:
- Key contact details and the course blog address.
- 10 expectations for student participation and performance in the course.
- An outline of the three assessment objectives focusing on media knowledge, analysis, and creation.
- An overview of the three exam components, including focus areas, question types, and assessments.
- Details on the non-exam assessment coursework component involving an individual cross-media production.
- Key concepts that underpin the course, including media language, representation, industries, and audiences.
IDS 400 Final Project Part Two Guidelines and Rubric
Overview
This course explores diversity and its impact on the world around us. Diversity influences society, and society influences diversity, creating a feedback loop
between them. We will critically analyze this feedback loop in this course through social, historical, and theoretical approaches to diversity as well as the four
general education lenses: history, humanities, natural and applied sciences, and social sciences. Each of these four perspectives allows us to better understand
the construction of diversity and its interrelation with society. From this enhanced understanding, you will be equipped to draw connections between popular
culture and your personal and professional lives, helping you to become a better-informed citizen who can make a positive difference in the world.
Issues and events in diversity have a pervading influence on many aspects of society, and how they are dealt with requires diverse knowledge and perspectives to
investigate and change. The purpose of this project is to examine a specific issue or event in diversity and how that event or issue impacts individuals and society.
You will do this through the development of a critical analysis portfolio and a presentation in which you will demonstrate your ability to think critically,
investigate, and communicate clearly. These skills are often necessary to achieve personal and professional goals across many disciplines.
In this assignment, you will demonstrate your mastery of the following course outcomes:
Analyze the relationships among culture, diversity, and self by investigating their influence on one’s discipline of study or chosen profession
Integrate interdisciplinary approaches for determining how issues of diversity affect modern societies in both personal and professional contexts
Describe the cultural and social influences on the development of personal identity by employing appropriate research strategies
Recommend strategies for overcoming obstacles in diversity to meet personal and professional goals
Articulate informed viewpoints on how to ensure cultural responsiveness in personal and professional contexts using effective communication skills
Assess the challenges of overcoming issues in diversity through the incorporation of diverse perspectives and viewpoints informed by relevant literature
and peer experiences
Prompt
For Final Project Part Two, you will develop a multimedia presentation in which you will have a chance to reflect on what you have learned about your issue or
event, yourself, and society through analyzing your event or issue’s impact on diversity. You will also be able to apply your communication skills and integrate
multimedia elements to communicate your message to an audience
In developing this presentation, you will be able to use your analyses from Final Project Part One as a starting point. The reflective nature of th ...
1. Picturehouse Cinemas aims to provide an alternative to multiplex cinemas by showing both independent and mainstream films in city center locations. As part of the Digital Screen Network, Picturehouse cinemas are required to show specialized films and have access to digital projection technologies.
2. Warp Films is an independent production company that produces low-budget films through its Warp X initiative. It is funded through various sources including FilmFour and collaborates with distributors like Madman Entertainment. While independent, it benefits from synergies with its sister companies Warp Records and Bleep.
3. Working Title Productions retains creative control over its films despite being owned by NBCUniversal. This ownership provides stability
This document provides instructions and assessment criteria for an A2 coursework assignment on planning and creating a promotional package for an unsigned British band. It includes:
- An overview of the assignment which involves creating a music video, album cover, and magazine advertisement to promote a band.
- Details on the written research and planning components, including researching music videos, album covers, advertisements, audiences and aspects of the music industry.
- Criteria for the practical constructions of the music video, album cover, and advertisement. Emphasis is placed on creative use of conventions, visual links between pieces, and appeal to the target audience.
- Guidelines for setting up blogs to document the planning, research, and evaluations
This document provides information about Section A and Section B of the AS G322 exam on key media concepts related to TV drama.
Section A involves analyzing an unseen TV drama extract through discussion of its technical elements like camerawork, editing, sound and mise-en-scene and how they create representations of characters. Section B involves answering a question about a chosen media industry by discussing its production, distribution, marketing and audience reception using case studies. The exam is 2 hours including 30 minutes to view and note take on the extract.
Cheetham elfie level 3 unit 01 - student record sheetelfiecheetham
The document is an assessment record for a student named Elfie Cheetham. It summarizes 5 tasks completed as part of a Media studies course focusing on analyzing media products and audiences. For each task, the document provides the assessment criteria, teacher feedback, and grades for elements assessed at Pass, Merit, and Distinction level. The tasks included a case study of Disney Studios, an analysis of the film Star Wars: The Force Awakens, audience research about the film's target demographic, an investigation of the film's production and distribution process, and a report on legal and ethical considerations in its creation. The student received a overall grade of Pass for the assessment.
This document outlines the specification for WJEC's GCSE Media Studies qualification. It provides an overview of the subject content, assessment, and key information. The specification is based on a theoretical framework covering media language, representation, industries, and audiences. Learners will study a range of media forms and contexts through three components: exploring media; understanding forms and products; and creating a media product.
IDS 400 Final Project Part Two Guidelines and Rubric
Overview
This course explores diversity and its impact on the world around us. Diversity influences society, and society influences diversity, creating a feedback loop
between them. We will critically analyze this feedback loop in this course through social, historical, and theoretical approaches to diversity as well as the four
general education lenses: history, humanities, natural and applied sciences, and social sciences. Each of these four perspectives allows us to better understand
the construction of diversity and its interrelation with society. From this enhanced understanding, you will be equipped to draw connections between popular
culture and your personal and professional lives, helping you to become a better-informed citizen who can make a positive difference in the world.
Issues and events in diversity have a pervading influence on many aspects of society, and how they are dealt with requires diverse knowledge and perspectives to
investigate and change. The purpose of this project is to examine a specific issue or event in diversity and how that event or issue impacts individuals and society.
You will do this through the development of a critical analysis portfolio and a presentation in which you will demonstrate your ability to think critically,
investigate, and communicate clearly. These skills are often necessary to achieve personal and professional goals across many disciplines.
In this assignment, you will demonstrate your mastery of the following course outcomes:
Analyze the relationships among culture, diversity, and self by investigating their influence on one’s discipline of study or chosen profession
Integrate interdisciplinary approaches for determining how issues of diversity affect modern societies in both personal and professional contexts
Describe the cultural and social influences on the development of personal identity by employing appropriate research strategies
Recommend strategies for overcoming obstacles in diversity to meet personal and professional goals
Articulate informed viewpoints on how to ensure cultural responsiveness in personal and professional contexts using effective communication skills
Assess the challenges of overcoming issues in diversity through the incorporation of diverse perspectives and viewpoints informed by relevant literature
and peer experiences
Prompt
For Final Project Part Two, you will develop a multimedia presentation in which you will have a chance to reflect on what you have learned about your issue or
event, yourself, and society through analyzing your event or issue’s impact on diversity. You will also be able to apply your communication skills and integrate
multimedia elements to communicate your message to an audience
In developing this presentation, you will be able to use your analyses from Final Project Part One as a starting point. The reflective nature of th ...
The document discusses different types of employment status in the creative media sector including full-time, part-time, voluntary, and self-employment. It describes legal and tax differences such as freelancers handling their own contracts and taxes. The implications of employment status are explained in relation to job security, flexibility, and working patterns. Prospective employers in video/film are profiled and choosing an employer based on personal interests, knowledge, and skills is advised. Creating a professional CV with examples and discussing strengths and weaknesses for a specific job application is also covered.
The document outlines the pre-production requirements and planning for live music lounge recordings, including securing acts to perform, a sound technician and equipment to record audio, 5 cameras with a variety of shots, lighting, a location venue that has been previously used, and a jib camera. A floor plan was generated showing where the cameras, lights, and acts would be positioned. The majority of the planning went according to the documentation, except some acts cancelled last minute and had to be rescheduled.
This document describes key terms related to sound and picture relationships in soundtrack production for moving images. It defines Automatic Dialogue Replacement (ADR) as re-recording audio to replace bad audio, such as an actor re-recording lines in a studio. It also defines diegetic sound as existing within the story or environment, ambient sound as background noise in a location, and foley as mimicking sounds by re-recording effects like footsteps. Finally, it outlines non-diegetic sound, hyper-real sound, sound motifs, and walla.
Emmie documents her process for creating a video project at RedDreams. She shows screenshots of the project timeline, file size and location, replacement of dead batteries while filming, and metadata for video clips. The footage and audio files are organized into separate folders by memory card on the video network for easy access. While RedDreams does not formally record all footage, larger companies do to manage large libraries.
Plan a test for exploiting converging technologyRedDreamsJosh
The document discusses testing the use of a webcam to record a guitar performance. The author wanted a convenient way to record some songs on guitar. They decided to use their computer's webcam, which allows convergence of technologies. They were able to record both video and audio of their performance using the webcam's built-in camera and microphone. While the quality of the sound and video were poor, the author could still hear the guitar, fulfilling the purpose of the test. The test showed that converging technologies through a webcam allow for convenient recording capabilities not possible in the past.
We filmed a live music event using 5 cameras from different angles to capture performances. A digital camera approach was chosen for higher quality footage that could be easily transferred and edited. Stage lighting from the front and back was used to illuminate the performers. Footage was safely downloaded, stored in labeled folders, and supporting information like permissions were recorded.
The document discusses planning a live music recording project. It outlines creating a floor plan that considered safety, contacting performers within a short timeline, prioritizing tasks, using the venue's stage and lighting, not needing additional permissions, using the company's equipment, maintaining planning records, resolving questions as a team, following appropriate conduct, addressing legal and ethical issues, and minimizing safety risks like trips and fires.
The document provides guidance on preparing camera equipment for a shoot. It discusses identifying key characteristics of equipment, testing equipment like cameras, SD cards, and batteries. It emphasizes safely storing, charging, and ordering equipment. Proper handling and maintenance like formatting cards and cleaning lenses is covered. Setting up a shoot involves liaising with parties, checking requirements are met, interpreting call sheets, testing gear, and assessing the shooting environment. Safety procedures and securing unattended equipment are also addressed.
Capturing equipment such as video cameras and audio recorders are used to record moments that can then be viewed and edited multiple times. There are several reasons for capturing materials, including watching past events, creating videos/films, and editing for quality. Different logs are used to track captured materials and edits. Considerations like format, aspect ratio, resolution, and compression depend on if materials will be used online or offline. Problems may occur when working with high definition footage due to processing times. Standard definition footage can be included in high definition projects after conversion.
This document discusses health and safety regulations and practices for the creative media sector. It describes key elements of health and safety regulations including policies, organizing, planning, measuring performance, and reviewing performance. Safe working practices for filmmakers are discussed, such as ensuring tri-pods and wires don't pose trip hazards. Employer responsibilities under the Health and Safety at Work Act include ensuring employee safety, conducting risk assessments, informing employees of risks, and consulting on health and safety matters. Risk assessments are carried out for recording live performances, identifying hazards from tri-pods, wires, lighting, electricity, and microphones. Identified hazards and risks should be reported to the appropriate parties. Risks can be reduced for filmmakers by safely
The document describes the Creative Media sector and focuses on a charity called Red Dreams. It discusses the 12 industries within the sector, including advertising, architecture, arts, and film. It also explains cross-industry ownership and how industries relate to each other. Red Dreams aims to help disadvantaged youth through creative arts and media. It is funded through donations, fundraising, and government funding. The roles of the filmmakers and their relationship with other teams at Red Dreams are also outlined. Finally, the document uses the example of creating WW1 videos to illustrate team roles and interdependence between team members.
The document outlines an individual's personal development plan to improve skills in video editing software like After Effects and Premiere Pro, as well as camera operation skills like static and handheld camera use. The plan identifies objectives, activities to achieve objectives like practicing skills and seeking advice, required resources like online tutorials, and target dates by the end of an apprenticeship to improve skills beneficial to their current and future role in the creative media industry.
1) The document outlines key health and safety responsibilities and procedures for an individual working in film production. It defines hazards and risks, and identifies some specific risks in the workplace like electrical equipment and overcrowding.
2) It describes responsibilities for setting up equipment safely and reporting issues outside one's control. Potentially unsafe practices that present the highest risks are identified as obstructing fire exits, tampering with circuitry, and wielding dangerous equipment unsafely.
3) The document stresses the importance of following safety instructions, assessing risks through procedures like creating risk assessments, and suggesting ways to reduce risks through proper training.
This document outlines best practices for maintaining good working relationships in a team production environment. It discusses identifying roles for team members based on their skills, having meetings to clarify roles and plans, balancing workload needs with individual abilities, sharing complete information with the team, and resolving conflicts constructively. Productivity relies on clear communication, utilizing everyone's strengths, and working through issues together to find agreeable solutions. The example describes filming a band concert with a three-person crew. They delegated camera roles based on skills, resolved a role dissatisfaction through discussion, and communicated during setup to coordinate their work.
This document discusses professional behavior and time management in creative media workplaces. It describes how workplace cultures can vary in their policies. Challenging behaviors like aggression, bullying, or refusing work can negatively impact performance. Human resources and management address issues internally, but serious crimes may require legal action. Effective time management includes planning, prioritizing tasks, and estimating durations. Project planning involves setting goals, breaking tasks into a schedule, and creating contingency plans for unexpected events. Proper file storage, version control, and naming conventions help organization and prevent data loss on projects.
This document discusses communication techniques for creative media projects. It describes emails, texts, phone/video calls, and face-to-face meetings as common techniques, noting that face-to-face is best for persuading others or presenting ideas. It emphasizes establishing trust and personal connections with clients. When receiving feedback, listening without defensiveness and incorporating criticism is important. Technical communications should consider the audience's expertise level. Effective presentations use visual aids like slideshows with minimal text and key points to engage the audience. Handouts can reinforce an idea if not overused.
The document compares types of employment and differences between employed and self-employed workers. Employed workers have their hours, roles, and holiday entitlements set by their employer. Their employer also deducts taxes and they receive guaranteed income and potential employment benefits. Self-employed workers set their own hours and roles based on client needs and have responsibility for managing their own taxes and do not receive benefits or paid holiday/maternity leave. Their income depends on how many jobs they obtain.
The document shows pictures and descriptions of setting up various equipment for video and audio recording. It details inserting an SD card and battery into a camera to record data and power it. It also shows mounting a camera and lights onto tripods to stabilize them, as well as connecting a microphone to an audio recorder with an XLR cable and headphones to monitor audio levels. The final setup has the microphone attached to a boom stand to capture distant sounds outside the camera frame while recording.
The document is a self-evaluation by the author of a film studies presentation they created and delivered with a partner. The author believes the presentation provided a lot of in-depth information but went on too long. Feedback indicated the author appeared unprofessional by sitting on the desk and keeping their hands in their pockets. However, the visuals were good, the information was well analyzed and linked to the audience, and the presenters kept attention for 20 minutes despite nerves by being well prepared.
Joshua Martin provides his curriculum vitae, including his education history and grades. He attended Dyke House Sports & Technology College and Hartlepool Sixth Form College. His work experience includes a digital media apprenticeship at Red Dreams Charity where he filmed and edited videos for clients. His interests are not specified. References are provided from his former headmaster and the head visual technician from Red Dreams.