The small-scale research project for FM3 comprises:
(i) an annotated catalogue of 10-15 items worth 15 marks
(ii) a 1000-1500 word presentation script worth 25 marks. There is no longer a separate evaluation required. The annotations replace the need for a commentary. Candidates cannot choose films they have already specialized in for other parts of the specification. The project should focus on one of the following contexts: star/performer, genre, technology, social/historical/political contexts, auteur, or institution. Examples are provided for possible areas of investigation within each context.
Here are some tips for your first presentation:
- Introduce the critical approach and area of investigation you've chosen
- Provide context on your focus film and related films - why you chose them
- Explain any initial research you've done - key findings, sources used
- Propose 1-2 potential research statements/questions for feedback
- Break down what you hope to cover in each section of the research
- Ask for feedback on your approach, research statement, or areas to explore further
- Consider including a slide on your research process/timeline
- Practice presenting clearly and concisely within the time limit
The goal is to get feedback early on your direction. Focus on explaining your choices and initial findings
The document outlines 8 critical approaches that can be used for a small scale research project on film: star/performer, genre, auteur, social and political contexts, gender issues, ethnicity, institution, and technology. For each approach, it provides examples of potential research areas that could be investigated, focusing films that could be analyzed, and related films.
This document provides an introduction to film genre theory. It discusses genre as a contested area that is open to academic debate. Genre is defined as commercial films that tell familiar stories with familiar characters and situations, though this definition is problematic as it is too broad. The document examines the example of film noir and whether it is a style or genre. It also discusses how genres are not fixed and can adapt or combine elements. The key challenges with defining genres are addressed, such as when elements are unfamiliar or films combine genres.
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
This document provides an introduction to the concept of film genre. It discusses genre as a contested area of film theory with academic debate around its definition and implications. A common definition of genre films as those that tell familiar stories with familiar characters through repetition and variation is examined and found to be problematic as it is too broad. The example of film noir is explored, with arguments that it is a style that can be present in different genres, rather than a distinct genre itself. The concept of genre is noted to be an abstract one rather than something that empirically exists.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
This document discusses different modes or styles of documentary filmmaking as defined by theorists like Bill Nichols and Toni de Bromhead. It outlines six main modes according to Nichols: expository, observational, participatory, performative, reflexive, and poetic. De Bromhead proposes alternative modes like linear, discursive, episodic and poetic. The document provides examples for each mode and notes that some documentaries use hybrid approaches. It encourages filmmakers to consider factors like context, style, technology, practice, and story when choosing a documentary mode.
Here are the key points to discuss in your response:
1. Identify the specific media product you created (e.g. film trailer, magazine spread etc.).
2. Analyze how you used specific micro elements of media language like mise-en-scene, camerawork, editing, sound etc. to construct meanings.
3. Explain the codes and conventions you drew on from the genre/form to communicate your intended messages to the target audience.
4. Discuss how audiences would decode the preferred meanings through their understanding of these media languages.
5. Conclude by arguing that your creative use of media languages effectively achieved your communication goals for this media text.
Here are some tips for your first presentation:
- Introduce the critical approach and area of investigation you've chosen
- Provide context on your focus film and related films - why you chose them
- Explain any initial research you've done - key findings, sources used
- Propose 1-2 potential research statements/questions for feedback
- Break down what you hope to cover in each section of the research
- Ask for feedback on your approach, research statement, or areas to explore further
- Consider including a slide on your research process/timeline
- Practice presenting clearly and concisely within the time limit
The goal is to get feedback early on your direction. Focus on explaining your choices and initial findings
The document outlines 8 critical approaches that can be used for a small scale research project on film: star/performer, genre, auteur, social and political contexts, gender issues, ethnicity, institution, and technology. For each approach, it provides examples of potential research areas that could be investigated, focusing films that could be analyzed, and related films.
This document provides an introduction to film genre theory. It discusses genre as a contested area that is open to academic debate. Genre is defined as commercial films that tell familiar stories with familiar characters and situations, though this definition is problematic as it is too broad. The document examines the example of film noir and whether it is a style or genre. It also discusses how genres are not fixed and can adapt or combine elements. The key challenges with defining genres are addressed, such as when elements are unfamiliar or films combine genres.
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
This document provides an introduction to the concept of film genre. It discusses genre as a contested area of film theory with academic debate around its definition and implications. A common definition of genre films as those that tell familiar stories with familiar characters through repetition and variation is examined and found to be problematic as it is too broad. The example of film noir is explored, with arguments that it is a style that can be present in different genres, rather than a distinct genre itself. The concept of genre is noted to be an abstract one rather than something that empirically exists.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
This document discusses different modes or styles of documentary filmmaking as defined by theorists like Bill Nichols and Toni de Bromhead. It outlines six main modes according to Nichols: expository, observational, participatory, performative, reflexive, and poetic. De Bromhead proposes alternative modes like linear, discursive, episodic and poetic. The document provides examples for each mode and notes that some documentaries use hybrid approaches. It encourages filmmakers to consider factors like context, style, technology, practice, and story when choosing a documentary mode.
Here are the key points to discuss in your response:
1. Identify the specific media product you created (e.g. film trailer, magazine spread etc.).
2. Analyze how you used specific micro elements of media language like mise-en-scene, camerawork, editing, sound etc. to construct meanings.
3. Explain the codes and conventions you drew on from the genre/form to communicate your intended messages to the target audience.
4. Discuss how audiences would decode the preferred meanings through their understanding of these media languages.
5. Conclude by arguing that your creative use of media languages effectively achieved your communication goals for this media text.
This document provides information about the Film Studies course for Year 13. It will cover two units: FM3 - Film Research and Creative Projects, and FM4 - Varieties of Film Experience. FM3 has two sections - a small-scale research project on a focus film and related films, and a creative project with a reflective analysis. FM4 examines world cinema, spectatorship topics, and a single critical film study. Key films mentioned include City of God, La Haine, and Fight Club. The document also prompts students to consider goals and improvements for the year.
The document discusses various media effects and audience theories:
- The effects model viewed audiences as "duped and doped", influenced by media like a hypodermic needle. Later models found audiences were more active and media effects more nuanced.
- Uses and gratifications theory saw audiences using media to fulfill needs like diversion, social interaction, and information-seeking.
- Reception theory held that audiences interpret media through their own social positions, with room for dominant, negotiated, and oppositional readings beyond producers' preferred meanings.
This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
This document provides an introduction and overview of the WJEC AS GCE in Film Studies course. It includes the following key points:
- The two-year course is made up of four units assessing a range of film analysis, research, and production skills.
- Unit 1 explores film form and requires analysis of a key scene from a favorite film. Unit 2 examines the British and American film industries and topics like genre.
- Unit 3 involves a research project and creative work. Unit 4 addresses issues and debates in film.
- Assessments include internal and external evaluations of film knowledge and practical projects. The document outlines the course content and expectations.
The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.
This document provides an overview of genre theory and how it can be used to theoretically evaluate a media production piece against this concept for an exam. It defines genre and discusses key aspects like subgenres, common elements across genres, and how genres appeal to audiences and evolve over time. The document also analyzes teaser trailers as a possible genre with evolving conventions and focuses on applying genre theory to evaluate the student's own coursework trailer.
This document provides learning objectives and questions around the concept of genre for a media studies coursework assignment. It introduces several theories on genre from scholars like Derrida, Abercrombie, Goodwin, Metz, Buckingham, and Wales. Students are asked to decide which of their media productions they would analyze in terms of genre for the assignment. They should also consider how their work uses, develops, or subverts generic conventions and codes.
Genre theory provides a framework for categorizing different types of media texts based on common elements and conventions. Genres help producers develop recognizable texts, help audiences decide what to consume, and help scholars analyze texts. While genres provide stability, they are also dynamic and evolve over time reflecting social and cultural changes. Different theorists examine how genres provide audiences with pleasures through emotional, visceral, and intellectual engagement, and how genres are shaped by industries and audiences. Examples show how genres are communicated through visual cues and how genres have changed over time while still retaining core conventions.
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
This document discusses various conventions and modes of documentary filmmaking. It begins by defining documentaries as films that exist within the same historical world as the viewer and depict real events, rather than being fully scripted recreations. It then outlines several common misconceptions about documentaries before reviewing the history of the genre. The bulk of the document categorizes six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode is defined by its relationship between filmmaker and subject as well as examples like Koyaanisqatsi and Salesman. The document stresses documentaries' ability to foster global and cultural awareness.
The document discusses different theories of genres and narratives in filmmaking. It examines the views of several theorists such as Steve Neale, Robert Stan, Rick Altman, Jean-Luc Godard, Claude Levi-Strauss, Tzvetan Todorov, Vladimir Propp, and Roland Barthes. The document also applies some of these theories to the horror genre film "Crow's Field" being produced by Lunar Productions, noting how elements of mystery, tension, symbols, and cultural meaning are used in its plot.
This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.
This document provides guidance on writing an effective documentary treatment. It explains that a treatment conveys the visual mood and story of a project in written form. It should read like a short story to imagine what the documentary will include based on research. Key elements to include are a logline, topic summary, narrative synopsis, and details on style, characters, and distribution. Treatments help secure funding and provide a framework to structure the documentary.
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
This document provides information about a film studies exam on British film topics. It outlines that the exam will focus on the horror genre, with 3 sections examining audience and producers, British film topics, and a US comparative study. For the British film topics section, students will analyze the macro and micro features of horror films, including their narratives, representation issues, audiences, and context. At least two British horror films must be discussed in detail: The Descent (2004), Dog Soldiers (2002), The Woman in Black (2012), and Dracula (1958). Sample exam questions are provided focusing on narrative, representation, and distinctive British elements.
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Genre is an important concept for both media industries and audiences. For distributors and marketers, genre allows them to easily promote, target, and predict audiences for films. Audiences also engage with genre for its familiar conventions that provide expectation, anticipation, and a sense of predictability alongside occasional surprises. Academics study genre as a critical tool to analyze formal similarities and differences between films. While genres provide repetition, they are also dynamic and evolving as elements are challenged over time.
This document provides an introduction to a film studies unit that aims to:
1) Understand how films are made for audiences and create meaning for them
2) Explore industry practices and apply film theory
3) Inform students' own film production
The unit will help students:
1) Analyze films using different approaches
2) Understand film production contexts
3) Grasp the relationship between filmmakers and audiences
To succeed, students should actively watch films, think critically, and recognize multiple valid interpretations. The document also discusses genre theory and conventions, using examples to illustrate how genres communicate and are marketed.
Christian Metz was a French film theorist who believed genres go through four stages over their lifetime: the experimental stage where foundations are built, the classic stage where codes and conventions become iconic, the parody stage where codes can be mocked since they are widely recognized, and the deconstruction stage where genres begin to evolve, merge with others, and have their rules broken.
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
The document provides guidance for students on completing a small-scale research project. It outlines the objectives of developing research skills by investigating a topic area through various sources. Students are expected to produce an organized folder of research, an annotated catalogue of sources, and a 1500-word presentation script to be delivered in a 12-18 minute oral presentation. The document provides advice on choosing an area of investigation, compiling a catalogue of sources, writing annotations, packaging materials, and structuring the presentation script.
WJEC A level Film Studies - Introduction to FM3Mike Gunn
The document outlines the requirements for a small-scale research project in the FM3 Film Research and Creative Projects course. Students must choose an area of investigation related to film that fits within prescribed contexts like genre or social studies. They will produce an annotated catalogue of 10-15 research items and a 1500-word presentation script that references the catalogue and presents findings on the chosen area within a demonstrated context. The project aims to develop research skills in a focused, narrow subject of the student's interest.
This document provides information about the Film Studies course for Year 13. It will cover two units: FM3 - Film Research and Creative Projects, and FM4 - Varieties of Film Experience. FM3 has two sections - a small-scale research project on a focus film and related films, and a creative project with a reflective analysis. FM4 examines world cinema, spectatorship topics, and a single critical film study. Key films mentioned include City of God, La Haine, and Fight Club. The document also prompts students to consider goals and improvements for the year.
The document discusses various media effects and audience theories:
- The effects model viewed audiences as "duped and doped", influenced by media like a hypodermic needle. Later models found audiences were more active and media effects more nuanced.
- Uses and gratifications theory saw audiences using media to fulfill needs like diversion, social interaction, and information-seeking.
- Reception theory held that audiences interpret media through their own social positions, with room for dominant, negotiated, and oppositional readings beyond producers' preferred meanings.
This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
This document provides an introduction and overview of the WJEC AS GCE in Film Studies course. It includes the following key points:
- The two-year course is made up of four units assessing a range of film analysis, research, and production skills.
- Unit 1 explores film form and requires analysis of a key scene from a favorite film. Unit 2 examines the British and American film industries and topics like genre.
- Unit 3 involves a research project and creative work. Unit 4 addresses issues and debates in film.
- Assessments include internal and external evaluations of film knowledge and practical projects. The document outlines the course content and expectations.
The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.
This document provides an overview of genre theory and how it can be used to theoretically evaluate a media production piece against this concept for an exam. It defines genre and discusses key aspects like subgenres, common elements across genres, and how genres appeal to audiences and evolve over time. The document also analyzes teaser trailers as a possible genre with evolving conventions and focuses on applying genre theory to evaluate the student's own coursework trailer.
This document provides learning objectives and questions around the concept of genre for a media studies coursework assignment. It introduces several theories on genre from scholars like Derrida, Abercrombie, Goodwin, Metz, Buckingham, and Wales. Students are asked to decide which of their media productions they would analyze in terms of genre for the assignment. They should also consider how their work uses, develops, or subverts generic conventions and codes.
Genre theory provides a framework for categorizing different types of media texts based on common elements and conventions. Genres help producers develop recognizable texts, help audiences decide what to consume, and help scholars analyze texts. While genres provide stability, they are also dynamic and evolve over time reflecting social and cultural changes. Different theorists examine how genres provide audiences with pleasures through emotional, visceral, and intellectual engagement, and how genres are shaped by industries and audiences. Examples show how genres are communicated through visual cues and how genres have changed over time while still retaining core conventions.
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
This document discusses various conventions and modes of documentary filmmaking. It begins by defining documentaries as films that exist within the same historical world as the viewer and depict real events, rather than being fully scripted recreations. It then outlines several common misconceptions about documentaries before reviewing the history of the genre. The bulk of the document categorizes six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode is defined by its relationship between filmmaker and subject as well as examples like Koyaanisqatsi and Salesman. The document stresses documentaries' ability to foster global and cultural awareness.
The document discusses different theories of genres and narratives in filmmaking. It examines the views of several theorists such as Steve Neale, Robert Stan, Rick Altman, Jean-Luc Godard, Claude Levi-Strauss, Tzvetan Todorov, Vladimir Propp, and Roland Barthes. The document also applies some of these theories to the horror genre film "Crow's Field" being produced by Lunar Productions, noting how elements of mystery, tension, symbols, and cultural meaning are used in its plot.
This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.
This document provides guidance on writing an effective documentary treatment. It explains that a treatment conveys the visual mood and story of a project in written form. It should read like a short story to imagine what the documentary will include based on research. Key elements to include are a logline, topic summary, narrative synopsis, and details on style, characters, and distribution. Treatments help secure funding and provide a framework to structure the documentary.
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
This document provides information about a film studies exam on British film topics. It outlines that the exam will focus on the horror genre, with 3 sections examining audience and producers, British film topics, and a US comparative study. For the British film topics section, students will analyze the macro and micro features of horror films, including their narratives, representation issues, audiences, and context. At least two British horror films must be discussed in detail: The Descent (2004), Dog Soldiers (2002), The Woman in Black (2012), and Dracula (1958). Sample exam questions are provided focusing on narrative, representation, and distinctive British elements.
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Genre is an important concept for both media industries and audiences. For distributors and marketers, genre allows them to easily promote, target, and predict audiences for films. Audiences also engage with genre for its familiar conventions that provide expectation, anticipation, and a sense of predictability alongside occasional surprises. Academics study genre as a critical tool to analyze formal similarities and differences between films. While genres provide repetition, they are also dynamic and evolving as elements are challenged over time.
This document provides an introduction to a film studies unit that aims to:
1) Understand how films are made for audiences and create meaning for them
2) Explore industry practices and apply film theory
3) Inform students' own film production
The unit will help students:
1) Analyze films using different approaches
2) Understand film production contexts
3) Grasp the relationship between filmmakers and audiences
To succeed, students should actively watch films, think critically, and recognize multiple valid interpretations. The document also discusses genre theory and conventions, using examples to illustrate how genres communicate and are marketed.
Christian Metz was a French film theorist who believed genres go through four stages over their lifetime: the experimental stage where foundations are built, the classic stage where codes and conventions become iconic, the parody stage where codes can be mocked since they are widely recognized, and the deconstruction stage where genres begin to evolve, merge with others, and have their rules broken.
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
The document provides guidance for students on completing a small-scale research project. It outlines the objectives of developing research skills by investigating a topic area through various sources. Students are expected to produce an organized folder of research, an annotated catalogue of sources, and a 1500-word presentation script to be delivered in a 12-18 minute oral presentation. The document provides advice on choosing an area of investigation, compiling a catalogue of sources, writing annotations, packaging materials, and structuring the presentation script.
WJEC A level Film Studies - Introduction to FM3Mike Gunn
The document outlines the requirements for a small-scale research project in the FM3 Film Research and Creative Projects course. Students must choose an area of investigation related to film that fits within prescribed contexts like genre or social studies. They will produce an annotated catalogue of 10-15 research items and a 1500-word presentation script that references the catalogue and presents findings on the chosen area within a demonstrated context. The project aims to develop research skills in a focused, narrow subject of the student's interest.
The document analyzes how performance and cinematography create meaning for the audience in a scene from the film "Into the Wild." It discusses how close-up shots of the main character Christopher McCandless show his gaunt and ill appearance. Point-of-view camera work makes the audience feel like they are experiencing his weakness. The cinematography and the actor's performance convey that McCandless is alone and getting weaker, eliciting sympathy from the audience for his struggle.
This document provides guidance on conducting and presenting a research project. It outlines the key elements to include: a catalogue of 10-15 sources with explanations of how each was useful; a 1500 word script that references the sources and films. It discusses choosing a title and critical framework/topic area, and suggests focusing on one "key film". Suggestions are provided for structuring the script, including using headings, notes and bullet points. Sources can include DVD extras, books, websites and more. The goal is to communicate research findings succinctly and highlight the critical analysis involved.
The document provides guidance for students on completing a small-scale research project for an FM3 course. It discusses the objectives of developing research skills and presenting an analysis of a film using a critical approach. Students must focus their research on one film but include at least two others for comparison. The document offers advice on compiling an annotated catalogue of research materials and writing a 1500-word presentation script to communicate findings. Assessment is based on the annotated catalogue (15 marks) and presentation script (25 marks).
Revision of micro features: CinematographyBelinda Raji
This document discusses micro features in film and how they are used to communicate meaning and tell a story. It defines various camera shots and angles like close-ups, long shots, and point-of-view shots. It also explains different camera movements such as pans, tilts, zooms, and tracking shots. Students are encouraged to analyze how these techniques are used in film trailers to understand the director's intentions and how they impact the audience.
This document provides guidance for students completing their A2 Film Studies coursework, which is worth 25% of their overall grade. It outlines the two tasks that must be completed: 1) a small-scale research project focusing on one film and referencing two others, and 2) a creative project such as a short film, screenplay, or documentary outline. Examples of potential areas of focus for the research project are also provided, such as genre, auteur, social/political contexts, gender, and ethnicity. Students are instructed on how to document their research and structure their presentation.
This document provides an introduction to analyzing films through their language. It discusses macro and micro elements of film language, including genre, narrative, cinematography, sound, editing, and mise en scene. Specific techniques are described for cinematography like shots, movement, color, framing and focus. Editing techniques include shot transitions, montage, continuity and parallel action. Mise en scene covers lighting, color, and special effects discusses CGI, stunts, and animatronics.
AS Film Studies Reflective Analysis Guidance bookletNaamah Hill
This document provides guidelines for a reflective analysis assignment for an AS Film Studies course. It must be completed individually, use correct film terminology to analyze specific techniques, and explain their effect on the audience. It should be 600-800 words and can include screenshots. An example is provided that analyzes music, sound effects, volume, and editing techniques used in a student film sequence and explains how they impact meaning and audience understanding. Technical terms, explanations, and reasons for creative choices must be included.
This is a presentation explaining the process of writing reflective essays. It includes structuring the essay using a reflective model and suggestions for introductions and conclusions.
The Small Scale Research Project involves researching a focused film-related topic using a primary focus film and two secondary films. Students must submit an area of investigation, their focus and related films. They must then compile a catalogue of 10-15 research sources on the topic with references and explanations. Finally, they write a 1000-1500 word script presenting their research findings, referencing sources from their catalogue. The script should communicate research effectively for an oral presentation, potentially using tools like PowerPoint.
The document outlines 8 critical approaches for analyzing films in small research projects: star/performer, genre, auteur, social/political contexts, gender issues, ethnicity, institution, and technology. For each approach, it provides examples of potential research topics that focus on a specific film and related films. The critical approaches allow for investigating elements such as individuals, genres, directors' styles, representations and contexts, industries, and technological developments in cinema.
The document outlines 8 critical approaches that can be used to analyze films: star/performer, genre, auteur, social/political contexts, gender issues, ethnicity, institution, and technology. For each approach, it provides examples of potential areas of investigation that focus on a specific film and related films. It also includes examples of past student's areas of investigation applying the different approaches. The critical approaches provide frameworks for analyzing films from various perspectives like the director, social contexts, representations, and industry influences.
FRANCIS PHAN VINH PHUC Film making textbook Phúc Phan Vĩnh
The document provides an overview of the history of filmmaking and the movie industry. It discusses the development of techniques from early silent films to the introduction of sound. It describes the rise of the major Hollywood studio system between the 1930s-1940s and its decline due to factors like the emergence of television and changing business models. The text also outlines the seven ages of film and provides a case study on the production process involved in making a movie.
THẦY FRANCIS PHAN VĨNH PHÚC Film making textbook Phúc Phan Vĩnh
THẦY FRANCIS PHAN VĨNH PHÚC Film making textbook
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- Giám đốc điều hành Hoa Hậu Hoàn Vũ Việt Nam
This document discusses how understanding films through their contexts is important. It provides examples of how societal attitudes, politics, censorship, artistic conventions, financial constraints, and technological developments have influenced filmmaking. Understanding these contextual factors helps viewers more accurately comprehend and judge the films.
The document provides guidance for an independent study assignment on documentary film for students. It outlines requirements such as choosing a topic related to film theory or history, studying films from multiple countries, and presenting research in a script for a short documentary targeted at film students ages 14 to 18. The document also provides background on the history and genres of documentary film, from early actuality films to propaganda and contemporary blockbuster documentaries. It discusses styles of storytelling in documentaries such as expository, observational, interactive, and reflective forms.
The document outlines the requirements for an independent study project on documentary filmmaking, requiring students to research a topic, analyze films from multiple countries, and produce a script for a short documentary targeted at film students ages 14 to 18. Guidance is provided on researching the topic, developing an argument, and organizing materials to present findings through a documentary script that explores aspects of film theory or history.
The document discusses the film industry and media conglomerates. It provides context on the 1967 and 2016 adaptations of The Jungle Book, including the Hollywood studio system and changes in the film industry between those time periods. It also discusses how large media companies integrate vertically and horizontally, controlling various parts of the filmmaking and distribution process.
The document provides information on various graphic designers and filmmakers that could provide inspiration for a project. It summarizes the work and style of graphic designers David Carson, Saul Bass, and Paula Scher, noting aspects like experimental typography, simplistic yet detailed designs, and placement of text and imagery. For filmmakers, it outlines the cinéma verité style of Kirby Dick and focuses on the documentary work of Sebastian Junger and George Lucas chronicling war. It also includes brief sections on graphic design theory and film theory. The bibliography cites sources for further information on each artist.
The Hollywood film industry has had a profound global influence since the early 20th century. It began emerging in Hollywood, California in the early 1900s and truly flourished in the 1920s with the rise of movie stars and studios like Paramount, Warner Bros., RKO, and Columbia establishing themselves in Hollywood. The classical Hollywood era from 1917-1960 developed the dominant style of narrative filmmaking still used today. The 1960s-1980s New Hollywood era saw a shift towards more unconventional narratives and an emphasis on realism and location shooting. Major studios like Universal, Paramount, Columbia, and Warner Bros. have produced many successful and influential films over the decades.
This document provides an overview of a film English course taught in Taiwan. The course objectives are to strengthen students' English communication skills through analyzing films from a cross-cultural perspective and having students do short film projects. The course will introduce film history, analyze adaptations of English novels into films and their source materials, compare Taiwanese and Western films, and have students make their own short films in groups. It provides details on the course content, evaluation methods, required viewings and readings. Literary and cinematic techniques explored include shots, scenes, sequences, camera angles, and sound design.
South Korean Cinema (Finalized Presentation)Brian McDaniel
South Korean cinema has a long history dating back to the early 1900s during Japanese occupation. It experienced a golden age in the post-war decades but declined in the 1970s. A renaissance began in the late 1990s, sparked by films like Shiri that had higher production values. This period saw Korean films overtake American films at the box office. Hybridity theory holds that South Korean cinema incorporated techniques from other countries like the US while highlighting local culture. Major hits during this time dealt with Korea's relations with other nations.
This document provides an overview of the history of cinema and its development over time. It describes the early pioneering age from 1896-1912, which saw the emergence of early film technologies and the establishment of cinema as an art form. It then outlines the major periods and developments in cinema, including the silent age from 1913-1927 which saw the rise of Hollywood, the transition to sound films from 1928-1932, and the classical Hollywood studio era from 1932-1946 dominated by the major studios. The document discusses the decline of the studios, the rise of television, and new international cinemas and styles from the late 1940s onward. It traces cinema's evolution from early one-shot films to narrative storytelling and increasing cinematic
The midterm will cover chapters 1-7, 14, class lecture, and films .docxcherry686017
The midterm will cover chapters 1-7, 14, class lecture, and films we have watched or discussed in class. It will consist of multiple choice, matching, and true and false questions.
Important information and terms you might want to study for the exam… just knowing the definition will not get you far. Make sure you understand the whole concept so you do not miss a question for memorizing a term. It might be worded in a different way than you studied for.
-Directors of the films we have watched and famous directors we’ve discussed in class
-Films we have watched or discussed in class
-The different ways how to write about films
-auteur -avant-garde film
-closure -composition
-voice-over -parallels
-cut -turning points
-camera tracks -intertextual references
-compilation films -plot summary
-establishing shot -re-establishing shot
-long shot -pans
-reverse shot -backstory
-narrative form -narrative sequencing
-fade-outs/fade-ins -protagonist
-antagonist -Hollywood “rules” of narrative (ch. 4)
-point-of-view shot -CGI
-cameos -character actors
-morphing -lenses
-Lighting: hard, soft, available, high-key, low-key -scene
-shot -storyboard
-long takes -out-takes
-time-lapse photography -frozen time moment
-high-/low-angle shots -extreme close-up
-close-up -tracking shot
-pan -swish pan
-crane -ariel shot
-steadicam -wide-angle shot
-depth of field -filters
-tinting -toning
-exposures -rear projection
-matte shot/paintings -double exposure
-dissolve -blue screen
-graphic match -wipe
-parallel editing -cutaways
-180-degree rule -match on action
-montage -Cahiers du Cinema (ch 14)
Film TermsThe “Auteur” Directors· Terry Gilliam
· First known for the bizarre animation sequences in “Monty Python’s Flying Circus” (1969), using cutout pictures and photographs.· If you’re searching for weird films, then look no further than Terry Gilliam films
· Often begins and ends his films with the same shot
· Heavy use of wide angle lensesHis breakthrough picture, Time Bandits, 1974
· Finding that his bedroom contains a hole in time, a boy ventures through it and emerges in different historical periods, teaming up with a band of diminutive time-traveling outlaws on the lookout for loot.The Zero Theorem (2013)
· A computer hacker's goal to discover the reason for human existence continually finds his work interrupted thanks to the Management; this time, they send a teenager and lusty love interest to distract him.
The Man Who Killed Don Quixote
· unfinished film project directed and co-written by Gilliam - began shooting 2000, Jean Rochefort as Quixote and Depp as Toby Grisoni
· never finished thanks to bad luck - weather, health issues, and insurance problems
· in 2010, Gilliam finally announced that the funding had collapsed.
· In January 2014, Gilliam said filming has begun again.
Tideland (2005)
· Sch ...
SYLLABUS FILM APPRECIATION COURSE
Five-day syllabus for a film appreciation class focusing on the origin of cinema and its evolution is an exciting task. This curriculum will provide students with a comprehensive understanding of the birth and development of cinema, its technological advancements, and its cultural impacts.
Day 1: The Birth of Cinema and Early Film Technology
• Morning Session: Introduction to Cinema
• The Magic Lantern and early visual storytelling
• Eadweard Muybridge and the study of motion
• Thomas Edison and the Kinetoscope
• The Lumière Brothers and the Cinématographe
• Key differences between the Kinetoscope and Cinématographe
• Afternoon Session: The Silent Era and the Language of Film
• Early narrative films and the birth of storytelling in cinema
• The impact of Georges Méliès – fantasy and special effects
• D.W. Griffith and the evolution of editing and cinematic language
• Screening: "A Trip to the Moon" (Méliès, 1902) and selected scenes from "The Birth of a Nation" (Griffith, 1915)
• Discussion: Understanding early film narratives and techniques
Day 2: The Transition to Sound and the Golden Age of Hollywood
• Morning Session: The Advent of Sound in Cinema
• The development of the Vitaphone system
• "The Jazz Singer" (1927) and its impact
• The transition from silent to sound films
• Afternoon Session: The Studio System and Classical Hollywood Cinema
• The rise of major studios: MGM, Warner Bros., Paramount, 20th Century Fox, and RKO
• Key elements of Classical Hollywood style
• The star system and its influence on cinema
• Screening: Selected scenes from "Gone with the Wind" (1939)
• Discussion: The influence of the studio system on film production and culture
Day 3: Post-War Cinema and the Rise of International Movements
• Morning Session: Italian Neorealism and French New Wave
• Post-WWII cinema and the shift in narrative and style
• Key characteristics of Italian Neorealism
• Major directors: Roberto Rossellini, Vittorio De Sica, and Federico Fellini
• French New Wave: Auteur theory and stylistic innovations
• Major directors: François Truffaut, Jean-Luc Godard, and Agnès Varda
• Afternoon Session: Screening and Analysis
• Screening: "Bicycle Thieves" (De Sica, 1948) and "Breathless" (Godard, 1960)
• Discussion: Analyzing the impact of these movements on global cinema
Day 4: Modern Cinema and Technological Advancements
• Morning Session: The Evolution of Film Technology
• Introduction to color film and widescreen formats
• The transition from analog to digital cinema
• The impact of CGI and digital effects on filmmaking
• Afternoon Session: Contemporary Filmmaking and Styles
• The rise of independent cinema
• The influence of blockbuster and franchise films
• Screening: Selected scenes from "Jurassic Park" (Spielberg, 1993) and "Pulp Fiction" (Tarantino, 1994)
• Discussion: The impact of technology and modern styles on contemporary storytelling
Day 5: The Future of Cinema and Wrap-up
• Morning Session: The Chan
A2 film fm4 b spectatorship introductory film clips (examples)aealey
This document discusses spectatorship studies and how film elicits emotional responses from viewers. It explores several theories of how film is an affective medium, from the development of continuity editing techniques that suspend disbelief, to intentional uses of propaganda. Several examples are provided of how director and screenwriter intentions, star performances, narrative structure, and historical context can all influence a viewer's emotional response both during and after watching a film. Popular themes from previous exam questions on this topic are also listed.
This course covers the history and development of documentary film from its beginnings to present day. It examines major films, movements, filmmakers and types of documentaries from various national and cultural contexts. The course aims to both explore the skills of producing an audio-visual documentary and analyze such texts in relation to debates over epistemology, ethics, power relations, and ideology. Students will build documentary production skills, develop an understanding of documentary theory and history, and learn to relate theory and practice through a documentary video project and critique. Assessment includes attendance, a midterm, a documentary criticism exercise, and a final documentary video.
The Art Cinema As A Mode Of Film Essay
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The history of cinema can be broken down into seven ages:
1) The Pioneering Age from 1896-1912 saw the development of early motion picture technology and short films without narratives.
2) The Silent Age from 1913-1927 featured the emergence of Hollywood and use of techniques like camera movement to develop stories.
3) The Transition Age from 1928-1932 was when films moved from silent to adding synchronized sound.
4) The Hollywood Studio Age from 1932-1946 was dominated by major studios producing genre films.
5) The Internationalist Age from 1947-1959 saw the decline of studios and rise of challenges from foreign films and television.
6) The New Wave Age from 1960-1980 was defined
The document summarizes the media facilities, curriculum, staff, results, and career opportunities available at Glenthorne Media Academy. It provides details of the equipment and software available, courses ranging from GCSE to A-Level and BTECs in media and film. Students are taught by experienced media teachers and technicians and have worked on professional film and theater projects. The academy aims to prepare students for careers in media through practical skills-based projects in areas like music video production, TV ident design, and working to a brief for external clients.
The document provides guidance for secondary audience research. It outlines three research tasks: 1) Find the most expensive music videos ever made and the most expensive from 2008-present. 2) Research the target genre to understand the typical audience. Use uktribes.com to profile the audience of related artists. 3) Identify the most important ways the target audience is marketed to, such as those listed on the provided artistshousemusic.org link. Extra challenges are also provided to gain deeper industry insights.
This document provides guidance for secondary audience research. It outlines three research tasks: 1) Find information on the most expensive music videos ever made, noting when many were released and the most expensive in the last 5 years, and factors that could explain budget differences. 2) Research the target genre to find indications of the target audience. Profile the artist and their audience. 3) Identify the most important ways the target audience is targeted, such as different marketing strategies listed at a provided website link. Extra challenges are included to further connect the research.
The talent release form allows a production company to use video, images, and recordings of a talent's voice, performance, or written work for their media project. The production will be distributed online and screened publicly. The talent agrees to allow use of the content for the project and retains rights to use portions for self-promotion. The talent and guardian if underage sign to consent to the terms.
This document discusses various film editing techniques including match on action, jump cuts, ellipses, insert shots, cut aways, cross cutting, and inserts that can be used to edit together scenes and tell a story in a film or video.
This document provides a checklist of tasks for research and planning blogs related to music videos. It includes 16 tasks in the research section focusing on analyzing different genres of music videos, conventions, theories, audience research, and more. It also includes 14 tasks in the planning section related to developing initial ideas, roles, song details, storyboards, schedules, designs, plans, and permission forms. Students are advised to include visual materials in their blogs and that higher effort will be rewarded with a higher grade.
This document provides guidance on conducting primary research through questionnaires to identify a target audience for a music video. It recommends asking for gender, age, and location information from participants. Sample music-related questions are given to understand preferences like music consumption habits, favorite artists and genres, and what participants prefer to see in music videos. The document advises analyzing questionnaire results through graphs and written analysis to inform the design of the music video promotional package based on the target audience's wants.
Formatting Your Presentation Script provides guidelines for formatting a presentation script including: writing actions between brackets, identifying speakers before dialogue, and citing sources in brackets. Actions, quotes, and sources should be formatted consistently to create a clear and organized final script.
This document provides instructions for a CD cover design assignment. Students are asked to design an album cover for a fictional artist considering the music genre, title font, target audience, and artist connotations conveyed through props, locations, and costumes. The assignment aims to challenge students' skills and test what they are able to do rather than make them experts in album cover design. Students must include at least one original photo/image and draw out a design to stick to. They are advised to take multiple photos from different angles with consideration for framing and lighting.
This document provides guidelines for a Film Studies Reflective Analysis assignment due on March 29th. It should be approximately 1,000 words and can take the form of a production blog, DVD commentary, or written analysis, though a written analysis is recommended. The analysis should focus on 5 scenes from the production and discuss creative decisions, their effectiveness, and how they relate to the aims and context. It will also require reflecting on the student's role within the production. The marking criteria emphasize a detailed account of the creative process and critical consideration of the production's success relative to its goals for different audiences.
This document provides guidance for students on evaluating their G321 media project. It outlines that evaluations must:
1) Answer set questions about how the media product uses or challenges conventions, represents social groups, and might be distributed.
2) Be presented using digital technology rather than just a written response. Suggested forms include PowerPoint, a blog, podcast or DVD with extras.
3) Have no word limit as students are encouraged to use multimedia to reduce reliance on words. The evaluation is due by April 8th and students have class time to work on answering the questions creatively before revising their work the final week.
Creative film making for the Creatively Challengedguidedbyboognish
The document provides 5 tips for film students to make creative short films without needing to be "tortured artists". The tips are:
1. Know the rules and conventions of your genre before breaking them to challenge audiences.
2. Thoroughly plan your film through a script, storyboard, and attention to mise-en-scène elements. Lack of planning leads to uncreative work.
3. Use narrative structures and name your characters and film to give the project identity.
4. Draw on your own experiences and influences to give the film authentic personality.
5. Film what you know about to make the creative work feel genuine.
Creative film making for the creatively challengedguidedbyboognish
The document provides 5 tips for film students to make creative short films without needing to be "tortured artists". The tips are:
1. Know the rules and conventions of your genre before breaking them to challenge audiences.
2. Thoroughly plan your film through a script, storyboard, and attention to mise-en-scène elements. Lack of planning leads to uncreative work.
3. Use narrative structures and name your characters and film to give the project identity.
4. Draw on your own experiences and influences to give the film authentic personality.
5. Film what you know about to make the creative work feel genuine.
The document provides guidance for a media evaluation assignment worth 20% of students' coursework grade. It outlines four questions students must answer in their evaluation, focusing on how their media product used or challenged conventions, the synergy between the main product and ancillary texts, learning from audience feedback, and use of new media technologies. It recommends approaches like a filmed PowerPoint presentation or audio commentary that engage with technology. Students will receive feedback and are instructed to create a plan and timeline for their evaluation.
This document provides guidelines for students to create a film magazine cover promoting their film project. It must be completed by December 10th and is worth 10% of the total project marks. The cover should be in the style and genre of the student's film. It must include the key elements and conventions of a magazine cover, using an appropriate layout, mix of fonts, images, and text. Examples of magazine covers are available to help students. The cover will be evaluated on its appropriate use of design, images, and language to effectively promote the featured film. Students are also expected to continue regularly blogging about their project's progress and influences.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise boosts blood flow, releases endorphins, and promotes changes in the brain which help regulate emotions and stress levels.
The document discusses leadership and provides context about the novel "Lord of the Flies" by William Golding. It explains that a manifesto outlines a leader's vision and priorities so people can decide who to vote for. Students are tasked with writing an introductory paragraph and 5 key statements for the manifesto of one of the main characters (Ralph, Jack, Simon, Piggy, or Roger) based on their role and Golding's portrayal of them in the story.
The document provides guidance and prompts for students to write manifestos for different characters from Lord of the Flies, including Ralph, Jack, Simon, Piggy, and Roger. It explains that a manifesto outlines a leader's vision and priorities so people know what kind of leader they are voting for. Students are tasked with writing an introduction and 5 key statements for their chosen character's manifesto addressing what they would do first as leader, plans for rescue, daily life under their rule, and what Golding's intentions were for including that character.
The document provides guidance for students to write manifestos for characters from the novel "Lord of the Flies" by William Golding. It explains that a manifesto outlines a leader's vision and priorities to inform voters. Students are assigned a character and asked to write an intro and 5 key statements describing what their character's priorities and leadership style would be if elected based on their role in the story. The document prompts students to consider what the character's first actions and plans for rescue would be, daily life under their rule, and what Golding's intentions were in including that character.
This document defines and explains the dramatic meanings of various cinematic editing techniques. It discusses shot/reverse shot which cuts between characters in conversation to provide a break from two-shots. Eyeline match cuts from a character to what they are looking at to allow audiences to empathize. Graphic match dissolves between objects of the same shape to smooth transitions and imply metaphorical associations. Action match continues the actions of a character in the following shot to add variety and dynamism. Jump cuts break continuity to suggest a character's ruminations. Cross-cutting and parallel editing link connected stories that run simultaneously or over time. Cutaways and inserts link characters at a distance or with close-ups. Long and short takes
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UP
Fm3 Project Guidance
1. FM3 Small-Scale Research Project: Guidance
Freddie Gaffney, Principal Moderator
The requirements (see pages 17 - 18 of the AS/A Film Studies Specification,
Examinations from 2009)
The small-scale research project, worth 40% of FM3, comprises:
(i) an annotated catalogue (approximately 10 to 15 items) – 15 marks
(ii) a presentation script (1000 – 1500 words) – 25 marks
Please note:
(a) there is no longer any requirement for a separate evaluation.
(b) No commentary accompanies the catalogue (as was the case up to and including the 2006
examination series). The annotations replace the need for a commentary.
(c) Candidates may not choose as a focus film any films they have specialised in elsewhere in
the specification (i.e., either at AS or A2).
(d) There is a misprint on page 37 of Specification, relating to the total marks for FM3:
Level 1 mark range is '0-39' and not '0-31'.
2. What needs to be produced for the Small-Scale Research Project?
The Small-Scale Research Project should either be stimulated by a single film (such as Die Hard:
With A Vengance as an example of an industrialised franchise) or stem from a topic-based
concept (such as ‘Cinéma Déraciné – French Film of the 90s’). Whichever approach is taken,
paramount should be student involvement, excitement, passion and enthusiasm.
Small-Scale Research Project
This is designed to allow students to develop research skills within a contained and
manageable structure (that does not encourage unwieldy or unfocused approaches) through
reference to one of the following contexts:
Star/performer – focusing on an individual or group of individuals. It is envisaged that this will
allow ‘star-study’ but will also engage with historical developments, cultural features, fandom
as well as issues of performance.
Genre – this may focus on a single genre or a range of genres and is designed to develop
investigations that consider film as a structured product that is designed to relate to other
similar films. Approaches here may include genre-study (codes, conventions, stars, etc.),
genre as a tool of industry, evolution in genres, genre as national cinema and genre as a
cultural product.
Technology – focusing on the impact or development of a particular technology. This will
include direct approaches such as the development of CGI, the coming of “the talkies”, or the
attempts at realising the world through colour as well as indirect approaches such as tracing
Early Cinema’s use of the Close Up, following the impact of bullet-time editing or the adoption
by Hollywood of wire-flying techniques.
Social, Historical and Political Contexts – focuses either on the social and political contexts
of production (such as McCarthy era films) or on the commentary offered by films on particular
social and political contexts (such as the Iraq war). Topics dealing with representation issues
most obviously suggest a social, historical and/or political context.
Auteur – focusing on the auteur (in the broadest sense) either individual, collaborative, or any
less conventional approaches. It is important to realise that ‘auteur’ is the context for an area
of investigation and not an area of investigation in itself. Thus, being an auteur affects the way
‘auteurs’ perform their creative role and it is an aspect of this creative role that may become
the area for investigation (such as Hitchcock’s continual use of the blonde). Themes and
representations are easily addressed by the context.
Institutional – this may focus on a national cinema context (particularly one that is directly
controlled or sponsored), a Studio context or a body of work produced ‘institutionally’ such as
the films of the Empire Marketing Board.
3. The Area of Investigation
The range of areas of investigation is deliberately as wide as possible to encourage candidate
ownership and enable candidates to feel their interests and passions can lead to a project that will
be lively, engaged, manageable and successful. It is recommended that the area of investigation
is expressed in terms of a statement, as opposed to a question, to enable candidates to research
in an open way. From the candidate’s point of view, projects can be anchored by starting with
detailed exploration of relevant extracts from the ‘Focus film’ and ‘related films’. Examples of
such areas of investigation include:
star/performer
• Area of Investigation: the characteristics of Rhys Ifan’s performance across different
directors and production contexts
• Focus film: Enduring Love (Film Four/Film Council/Pathe/Free Range/Inside
Track/Ridgeway 2004, Dir: Roger Michell)
• Related films: Twin Town (Polygram/Figment/Agenda/Animimage, UK 1997, Dir: Kevin
Allen), Notting Hill (Polygram/Working Title, US/UK 1999, Dir: Roger Michell), The
Shipping News (Buena Vista/Miramax, US 2001, Dir: Lasse Hallström).
• Area of Investigation: meaning(s) brought to a film by Juliet Binoche
• Focus film: The Unbearable Lightness of Being (Saul Zaenetz, US 1987, Dir: Philip
Kaufman)
• Related films: Les Amants du Pont Neuf (Artificial Eye/Christian Fechner, Fr 1991, Dir:
Leos Carax), The English Patient (Buena Vista/Tiger Moth/ Miramax, US 1996, Dir:
Anthony Minghella), Chocolat (Brown/Golden/Holleran, US 2000, Dir: Lasse Hallström).
genre
• Area of Investigation: the shaping of the gangster genre by the films of Martin Scorsese.
• Focus film: Mean Streets (Taplin-Perry-Scorsese, US 1973, Dir: Martin Scorsese)
• Related films: Goodfellas (Warner, US 1990, Dir: Martin Scorsese), Casino
(Universal/Sylalis/Legende/De Fina/Cappa, US 1995, Dir: Martin Scorsese).
• Area of Investigation: the perceived Communist threat and the rise of the American
Science Fiction film
• Focus film: The Day the Earth Stood Still (TCF, US 1951, Dir: Robert Wise)
• Related films: Plan 9 from Outer Space (Wade Williams Productions, US 1958, Dir: Ed
Wood), On the Beach (UA/Stanley Kramer, US 1959, Dir: Stanley Kramer).
technology
• Area of Investigation: development of CGI in animation and its impact on audiences
• Focus film: Toy Story (Buena Vista/Walt Disney/Pixar, US 1995, Dir; Jerry Hopper)
• Related films: Toy Story 2 (Buena Vista/Walt Disney/Pixar, US 1999, Dir; John
Lasseter/Pete Docter/Ash Brannon), Shrek (DreamWorks/PDI, US 2001, Dir: Andrew
Adamson/Vicky Jenson).
• Area of Investigation: the development of colour film techniques
• Focus film: Gone With the Wind (MGM/Selznick International, US 1939, Dir: Victor
Fleming)
• Related films: The Black Pirate (Technicolor, US 1926, Dir: Albert Parker), Flowers and
Trees (Walt Disney, US 1932, Dir: Burt Gillet), The Sheltering Sky
(Palace/Sahara/TAO/RPC/Aldrich Group, UK/It 1990, Dir: Bernardo Bertolucci).
4. Social, Historical and Political Contexts
• Area of Investigation: German film’s reflection of Germany before and after reunification
• Focus film: Kings of the Road (Im Laufe der Zeit) (Wim Wenders Prod, W.Ger, 1975, Dir:
Wim Wenders)
• Related films: Run Lola Run (Lola Rennt) (Columbia TriStar/Bavaria/German
Independents/X Filme, Ger 1998, Dir: Tom Tykwer), Downfall
(Momentum/Constantin/Bernd Eichinger, Ger/Au/It 2004, Dir: Oliver Hirschbiegel)
• Area of Investigation: films dealing with the Vietnam war as a symptom of modern
America
• Focus film: Platoon (Hemdale/Arnold Kopelson, US 1986, Dir: Oliver Stone)
• Related films: Forrest Gump ( Panavision, US 1994, Dir: Robert Zemeckis), Hamburger
Hill (Paramount/RKO, US 1987, Dir: John Irvin), The Deer Hunter (Universal/EMI, US
1978, Dir: Michael Cimino)
institution
• Area of Investigation: the Ealing Studio’s ‘signature’
• Focus film: Kind Hearts and Coronets (Ealing, UK 1949, Dir: Robert Hamer)
• Related films: The Man in the White Suit (Ealing, UK 1951, Dir: Alexander Mackendrick),
The Lavender Hill Mob ( Ealing, UK 1951, Dir: Charles Crichton).
• Area of Investigation: Goldcrest’s rise and fall.
• Focus film: Gandhi (Columbia/Goldcrest/IB/IFI/NFDI, UK 1982, Dir: Richard
Attenborough)
• Related films: Room With a View (Merchant Ivory/Goldcrest, UK 1985, Dir: James Ivory),
The Killing Fields (Goldcrest/Enigma, UK 1984, Dir: Roland Joffé), Revolution
(Warner/Goldcrest/Viking, UK 1985, Dir: Hugh Hudson).
the auteur*
• Area of Investigation: Luc Besson’s move from French film to Americanised movies and
the impact on his cinematic style
• Focus film: Leon (Buena Vista/Gaumont/Dauphin, Fr 1994, Dir: Luc Besson)
• Related films: Subway (Gaumont/Films du Loup/TSF/TFI, Fr 1985, Dir: Luc Besson),
Nikita (Palace/Gaumont/Cecci/Tiger, Fr/It 1990, Dir: Luc Besson), The Fifth Element
(Columbia/Gaumont, Fr 1997, Dir: Luc Besson).
• Area of Investigation: Jerry Bruckheimer’s imprint as master of the high concept film.
• Focus film: Con Air (Buena Vista/Touchstone, US 1997, Dir: Simon West)
• Related films: Armageddon (Buena Vista/Touchstone/Valhalla, US 1998, Dir: Michael
Bay), Gone in Sixty Seconds (Buena Vista/Touchstone, US 2000, Dir: Dominic Sena),
Pearl Harbour (Buena Vista/Touchstone, US 2001, Dir: Michael Bay).
*Projects based on the auteur context
In order to enable candidates to explore what is distinctive about auteurs – whether directors,
stars, performers or studios – it is recommended that the area of investigation is based on one or
two signature features of the auteur’s work, or (as in the examples above) significant aspects of
the auteur. This allows candidates to explore how those features are distinctive and make
meaning primarily in relation to the focus film but with reference to two other films as well. This
approach consequently avoids projects which deal with a possibly self-evident question of whether
an individual or studio qualifies as an auteur. Note: the small-scale research project is no
longer based on a ‘problematic’.
5. Research and Annotated Catalogue (10 to 15 items)
With the area of investigation considered, decided on and approved, the next stage is to begin the
research. Both primary and secondary research should be undertaken. This will then lead to a
body of research materials being put together, from which items will be selected to produce an
Annotated Catalogue. Each catalogue item should be appropriately referenced and be
accompanied by a brief note (around 5 lines), which explains how the particular item is relevant to
the area of investigation and assesses the importance of the item to the overall research. A
short, closing paragraph will identify significant items not selected for inclusion in the catalogue,
offering reasons why.
An annotated catalogue for a project that addresses genre through an area of investigation
considering the emergence of a ‘gothic’ genre in American film may well look something like this:
Annotated Catalogue
FILMS
Item1: Edward Scissorhands (Fox, US 1990, Dir: Tim Burton). Very useful as it has all
the markers of the new gothic genre on display, and also has a clear
relationship with Burton’s early films and his later ones.
Item 2: The Crow (Entertainment/Most/Pressman, US 1994, Dir: Alex Proyas). The
genre was still in cult territory here, and this shows in the comic book feel.
Development of genre markers and influence of Burton clear. Useful, but
could have easily been one of several other films in this place.
Item 3: The Craft (Columbia, US 1996, Dir: Andrew Fleming). This is the film that was
the turning point for the genre, where it suddenly not only got mainstream
acceptance but also spawned similar films. Very much a teen movie, this
shows the changing focus towards a new audience. Invaluable.
BOOKS
Item 4: Baiss, B. The Crow: The Story Behind the Film (Titan 2004). This was a very
good piece of research as it not only told the story of making the film it also
gave a broad overview of what makes a gothic film. This is possibly the most
useful piece in the catalogue.
Item 5: Smith, J & Matthews, C. Tim Burton (Virgin 2002). This gives a clear sense of
what Burton’s work is all about, and how he practically defined the new
American gothic genre. Detailed information on all of his films, and on the
thoughts underneath them, this led me to some of the other material in the
catalogue and some deselected from it.
MAGAZINES
Item 6: Tim Burton: Cinema’s Prince of Darkness, supplement in SFX Magazine, March
2005
Detailed on Burton with a clear emphasis on the gothic elements. Could not
miss being included.
Item 7: Travers, P. Auteur in Angora in Rolling Stone Magazine July 1995 An
interesting article that looks at Burton as an auteur – some good references to
his film and some discussion of his “burtonesque” genre.
6. INTERNET
Item 8: http://www.thetimburtoncollective.com The Tim Burton Collective is a fan-based
site that offers a considerable range of articles, biographical information, and
links for Tim Burton. This was the best of the Tim Burton related sites as it
seemed authoritative and was also recommended by many other sources.
Item 9: http://www.sensesofcinema.com/contents/04/31/lost_in_translation.html Neon
Gothic: Lost in Translation by Wendy Halsem - this is a great article by a
University Lecturer that served to widen my view of the gothic. Full of film
references, it took my research in several unexpected directions (some not so
fruitful).
Item 10: http://minadream.com/timburton/EdwardScissorHands.htm this is a quite
sophisticated site, but I sense it is still a fan site. Full of information about
Burton and the gothic, this was particularly useful for looking at Edward
Scissorhands.
Item 11: http://www.darklinks.com/dmovies.html Dark Side of the Net – this was a little bit
strange (particularly the movie forum) but it did clue me in to a whole range of
American gothic films that I hadn’t even considered before. Not as relevant to
the focus films as the other sites, but good for a general overview.
CONFERENCE
Item 12: Deviance & Defiance The 7th Biannual Conference of the International Gothic
th
Association – Panel 1.3 Gothic Cinema (Thurs 11 August 2005). As I was on
holiday in Canada this summer I stumbled across this Univ Montreal event.
This was perfect research (although there were parts where I simply didn’t
understand the panellists!), particularly when I got to talk to John Hogland from
Univ of Kalmar afterwards about American gothic films.
MATERIAL NOT SELECTED
Vampress.net ( http://www.vampress.net/forum ) had some useful fan comment on the
three films, but it never really got beyond the superficial. The Crow’s Loft
(http://www.thecrowsloft.com ) was quite detailed and authoritative on the film, but never
got into the gothic or genre that much. There were a few film reviews from Empire, Total
Film and Sight and Sound that were useful background reading but had no direct
relationship with the investigation, and similarly Mark Salisbury’s Burton on Burton (Faber
1995) was good to see Burton’s own words, but there was so much that was outside the
project that it really didn’t fit.
7. The presentation script (1000-1500 words)
With the annotated catalogue complete, the next step is to prepare to present your findings in the
form of a presentation script which may:
• be in note form (though comprehensibly so)
• be bulleted or numbered in an appropriate fashion
• be short pieces of prose with reference to presentation material connecting them (and
listing the catalogue items)
• use appropriate headings and sub-headings to divide it up.
It should show where a piece of supporting material from the Catalogue will be used (or where
material derived from the Catalogue but designed specifically for the Presentation is employed)
and should ensure that Catalogue Items used in the Presentation Script are clearly referenced (by
Catalogue number is easiest but full referencing in footnotes/endnotes is also fine).
It is important to note that an essay format is not suitable for this task.
A presentation script may look something like the following – the opening of a presentation script
on the performance of Michael Caine:
Presentation Script
Citizen Caine – the performance of Michael Caine
RUN AUDIO: Theme music from The Italian Job (Item 3) – 30 seconds then fade out.
PROJECTOR: BCU Image of Michael Caine’s face from Alfie (Item 9) – fade for Video
PRESENTER: Michael Caine exploded onto 1960’s British cinema with his first starring role in
Zulu (Item 2) in 1964, and immediately marked himself out as a charismatic
and dynamic performer.
VIDEO CLIP: Battle scene from Zulu (Item 2) – 1’14”
PRESENTER: My research project looks at the development of Michael Caine’s performance
across a number of films focusing on the 1960s and 1970s and making clear
reference to his more recent work. Two films central to this examination that I
will make reference to throughout this presentation are The Quiet American
(Item 4) and The Ipcress File (Item 1)
PROJECTOR: Split Screen freeze frame of Caine in The Ipcress File (Item 1) as young man
and freeze frame of Caine in The Quiet American (Item 4) as an older man.
PRESENTER: In this presentation I will cover:
• Caine’s acting style
• Caine’s approach to acting
• The meanings produced by Caine’s work
• Critical opinion of Caine’s acting
• Caine’s British and American work
• Caine’s own musings on his films
FLIP CHART: Display bullet points for duration of presentation.
8. PROJECTOR: Poster of Caine in The Ipcress File (Item 12)
PRESENTER: I’d like at this point to quote Caine himself speaking on the Southbank Show
(Item 6):
“People are always asking me about….
What you should be able to see from this example is a clear sense of the presentation script as
being for presentation, with regular breaks in the spoken delivery to introduce stimulus material
from the Catalogue. This extract is approximately 250 words long and covers approximately 2
minutes 45 seconds of time. If I use all of my allotted 1500 words then I can expect my
presentation to last somewhere in the region of 12-18 minutes (assuming I show five or six clips of
between 60-90 seconds in duration.
Acknowledgement
Much of this material has been extracted and adapted from Casey, Gaffney & White, A2 Film
Studies: the Essential Introduction, 2nd edition (Routledge, 2009). Reproduced with kind
permission of Taylor & Francis Books.