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Cis final powerpoint
This document discusses and compares four of Alisha Peterson's favorite movies: Gone with the Wind, Full Metal Jacket, Interview with the Vampire, and Titanic. It provides basic information about each film such as the year it was released, actors, and box office earnings. Statistical data is also given showing how many Oscar nominations and wins each movie received. In the conclusion, full citations are provided for all sources of information and images used in the document.
Tough Female Characters & Femme Fatales in Film & Video Games
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
Revision 2014
This document discusses how popular films generate emotional responses in spectators. It addresses questions around how films use techniques like mise-en-scene, music, and character identification to elicit emotions. The document also discusses how contextual knowledge and cultural backgrounds can influence a spectator's response. It explores ideas around emotional involvement, alignment with characters, and differing audience interpretations based on preferred, negotiated or oppositional readings. The document suggests spectators may have contradictory emotional responses due to both intentional film techniques and individual viewer perspectives.
Week 1 Emotional Response
This document discusses how popular films produce powerful emotional responses in viewers and examines the relationship between films and audiences. It aims to understand how films create emotions and considers whether emotional effects come from film techniques or subject matter. It also discusses film communication as a process, where films transmit intended meanings but audiences can interpret them variably. Viewers are encouraged to note their emotional responses to films and analyze how film construction and identification with characters influence those reactions.
Spectatorship explained
This document discusses spectatorship and how different spectators can have varying emotional responses to the same film due to their personal contexts. A spectator's response is dependent on their own experiences, knowledge, ideologies, and how they relate the film to their own memories. The document also presents different types of readings spectators can have, from preferring the intended meaning to having an oppositional reading that does not recognize the intended meanings.
Spectatorship pp
This document discusses key concepts in film spectatorship, including the relationship between audience expectations and response to films. It introduces the concepts of preferred, negotiated and oppositional readings of film clips. Students are divided into groups to analyze films using these different reading approaches. The document also covers the differences between films that create feelings in spectators through textual elements versus those that generate emotional responses based on individual experience. Students are tasked with choosing film clips to analyze and present how directors use techniques or how they personally respond to each clip.
Full Metal Jacket – 2 Minute Intro
The document provides an analysis of the 2 minute opening scene of the film "Full Metal Jacket". It introduces the main characters as US Marines undergoing basic training under the strict supervision of Gunnery Sergeant Hartman. The marines are getting their heads shaved, establishing the disciplined environment and introducing them to their new identities and lifestyle as soldiers. The opening uses various film techniques like costumes, lighting, editing and music to set the tone and immerse the audience in the world of the marines' training camp.
Recommended
Cis final powerpoint
This document discusses and compares four of Alisha Peterson's favorite movies: Gone with the Wind, Full Metal Jacket, Interview with the Vampire, and Titanic. It provides basic information about each film such as the year it was released, actors, and box office earnings. Statistical data is also given showing how many Oscar nominations and wins each movie received. In the conclusion, full citations are provided for all sources of information and images used in the document.
Tough Female Characters & Femme Fatales in Film & Video Games
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
Revision 2014
This document discusses how popular films generate emotional responses in spectators. It addresses questions around how films use techniques like mise-en-scene, music, and character identification to elicit emotions. The document also discusses how contextual knowledge and cultural backgrounds can influence a spectator's response. It explores ideas around emotional involvement, alignment with characters, and differing audience interpretations based on preferred, negotiated or oppositional readings. The document suggests spectators may have contradictory emotional responses due to both intentional film techniques and individual viewer perspectives.
Week 1 Emotional Response
This document discusses how popular films produce powerful emotional responses in viewers and examines the relationship between films and audiences. It aims to understand how films create emotions and considers whether emotional effects come from film techniques or subject matter. It also discusses film communication as a process, where films transmit intended meanings but audiences can interpret them variably. Viewers are encouraged to note their emotional responses to films and analyze how film construction and identification with characters influence those reactions.
Spectatorship explained
This document discusses spectatorship and how different spectators can have varying emotional responses to the same film due to their personal contexts. A spectator's response is dependent on their own experiences, knowledge, ideologies, and how they relate the film to their own memories. The document also presents different types of readings spectators can have, from preferring the intended meaning to having an oppositional reading that does not recognize the intended meanings.
Spectatorship pp
This document discusses key concepts in film spectatorship, including the relationship between audience expectations and response to films. It introduces the concepts of preferred, negotiated and oppositional readings of film clips. Students are divided into groups to analyze films using these different reading approaches. The document also covers the differences between films that create feelings in spectators through textual elements versus those that generate emotional responses based on individual experience. Students are tasked with choosing film clips to analyze and present how directors use techniques or how they personally respond to each clip.
Full Metal Jacket – 2 Minute Intro
The document provides an analysis of the 2 minute opening scene of the film "Full Metal Jacket". It introduces the main characters as US Marines undergoing basic training under the strict supervision of Gunnery Sergeant Hartman. The marines are getting their heads shaved, establishing the disciplined environment and introducing them to their new identities and lifestyle as soldiers. The opening uses various film techniques like costumes, lighting, editing and music to set the tone and immerse the audience in the world of the marines' training camp.
Film Studies Coursehand Book
1. The Film Studies A Level course is split into four units - two AS units and two A2 units. AS Unit 1 explores film form through a micro analysis of a film extract and a creative project. AS Unit 2 focuses on British and American film through external assessment questions.
2. The aims of the AS course are to develop students' interest, appreciation and knowledge of film through studying film form and how it constructs meaning, as well as the relationship between film producers and audiences.
3. For AS Unit 1, students will analyze how micro elements like mise-en-scene, cinematography, sound and editing construct meaning in a film extract. They will also complete a creative project applying these
Lesson 1 Emotional Response
This document discusses emotional responses to film. It aims to understand how films create emotional responses in viewers and the relationship between the film and audience. It examines how careful use of film techniques and subject matter can elicit strong emotions. Repeated viewings may lessen or intensify emotional impact. The document also discusses film communication as an interactive process between filmmakers and viewers, with films operating through visual and audio language. It encourages deconstructing films into constructed components to understand creative choices and possible meanings.
Introduction to A2 film studies
This document outlines the assessments for a film studies course, including two main units. Unit 3 involves a research project on three related films using a theoretical framework, resulting in an annotated catalogue and presentation script. The creative project can be a short film, screenplay, or documentary outline. Unit 4 is an exam covering world cinema, spectatorship, and a single film study. Students are advised to choose a focus film and do background reading over the summer in preparation for the research project.
Session 12 Macro photography
Macro photography involves taking extreme close-up photos of tiny objects using special macro lenses. Macro lenses have long barrels for close focusing and are optimized for high reproduction ratios, with focal lengths ranging from 50mm to 200mm or more. The focal length determines the lens's magnification and angle of view, affecting how much of the background is included and the level of background blur. Longer macro lenses require more working distance but compress the subject more.
The big shave handout
Scorsese's short film "The Big Shave" begins with shots of a bathroom set to jazz music, establishing normalcy. A young man enters and takes off his vest repeatedly, hinting something will happen. He shaves, and close-ups show increasing cuts on his face until his throat is slit at the song's crescendo. Scorsese builds an everyday setting and routine only to shock viewers with escalating self-harm, suggesting he aims to subvert expectations and highlight the meaningless violence lurking beneath normalcy.
Private Joker flow chart
Private Joker is a character from the film Full Metal Jacket who undergoes an emotional transformation throughout the film. He starts as a smart-mouthed recruit who challenges his drill sergeant, but after experiencing the horrors of war in Vietnam, his cocky attitude is replaced with a deadened and numb response to the violence around him. By the end of the film, Private Joker has lost the rebellious spirit he once had and is now emotionally detached.
Lesson 6 2014
This document discusses the concepts of alignment and allegiance in spectatorship theory and applies them to the analysis of the film Full Metal Jacket. It explains that in this film, Kubrick intentionally makes it difficult for spectators to align with individual characters. Instead, spectators are encouraged to align with the group or unit of Marines through repetition of shots showing them as a consolidated group. This alignment with the group is reinforced by costumes, actions, and shared experiences. Private Pyle's character serves to further unite the group in their negative view of him as a threat, encouraging allegiance to the group's perspective.
FM3 - Film Studies - Website database
The document lists numerous websites that provide useful information for film studies. These include websites that contain film reference materials and plot synopses, databases with industry statistics and box office figures, and websites like The Numbers that track US and worldwide box office records and statistics. The UK Film Council website is also listed as a source for UK film industry data.
Who will watch the movie watchers?
This document discusses cognitive film studies, which uses findings from cognitive sciences like psychology and anthropology to analyze and explain viewers' responses to films. It emphasizes explanations over interpretations and looks at both the mental processes of viewers and how human capacities have evolved. The research seeks naturalistic explanations for regularities in how different cultures understand films, based on innate predispositions that are refined through experience.
One Drive Guide
OneDrive is online storage that comes with a Microsoft account. Students are instructed to store all film and media coursework projects online using OneDrive. They are given 15GB of storage and shown how to access OneDrive by logging into their college email. Students are told to create a "Coursework" folder to store links to assignment documents and feedback from teachers. Teachers will provide blank documents for assignments and use comments to provide feedback on drafts. Students edit assignments online and are reminded to back up work locally in case of online system failures.
Private Pyle flow chart
Private Pyle is a new recruit in the Marines who struggles with training and following orders. His drill sergeant, Hartman, takes a harsh approach to correcting Pyle through insults and physical punishment. After a breaking point, Pyle snaps and kills Hartman with his rifle in the bathroom, showing how extreme stress and abuse can negatively impact mental health.
Mexican cinema lesson 1
1. The document discusses Mexican cinema from 1990 to the present.
2. It notes that Mexican cinema has a rich cultural tradition dating back to pre-Hispanic times and reflects elements of Mexican culture like language, religion, architecture, art, and mythology.
3. The document then provides a brief history of Mexican cinema, covering the pre-1930s, the Golden Age from 1934 to the 1950s, a decline from the 1970s to late 1980s, and the emergence of the Nuevo Cine Mexicano (New Mexican Cinema) movement in the 1990s.
Spectator theory
Filmmakers aim to elicit emotional responses from audiences. However, individuals may experience different emotions to the same film due to personal experiences and social/cultural backgrounds. While some shared responses are possible within social or ideological groups, each person brings private memories and desires to their viewing experience.
The game handout
Some key ideas presented in the document include that society excessively monitors and controls people's lives like "Big Brother", that money does not necessarily lead to happiness, and that having power tends to corrupt people. The document also asks if there are any other meanings that could be derived.
Lesson 2 Film as Consumption
This document discusses film analysis and how meaning is constructed in films. It introduces key concepts like films being a form of communication where filmmakers encode messages for audiences to decode. It also discusses how films can be interpreted in different ways by different audiences based on their own experiences. Students are instructed to analyze short film clips, looking at micro elements like camera work, mise-en-scene, editing and how these techniques are used to elicit emotional responses and create meaning for the spectator. The goal is to understand how filmmakers manipulate audiences and how the spectator plays a role in interpreting meaning.
Spec and Resp - Lesson 1
This document discusses a film studies module that focuses on how popular films produce powerful emotional responses in viewers. The module will examine how two focus films and "Shocking Cinema" manipulate viewers emotionally. It aims to consider the relationship between films and audiences, how films elicit strong emotions, and how shock can be used. Students will be expected to discuss their personal experiences with and emotional responses to the films studied. The document also defines the differences between audiences and spectators in film theory and discusses various theories of spectatorship and the different "selves" that can influence emotional responses to films.
Michael Jackson's Black or White
The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.
Michael Jackson - Black or White analysis
Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.
Half term homework (Yr9)
Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.
Film FM2 December homework
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.
1. Intro 2016 (FM2 (Section C)
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.
Film pitch
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
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Film Studies Coursehand Book
1. The Film Studies A Level course is split into four units - two AS units and two A2 units. AS Unit 1 explores film form through a micro analysis of a film extract and a creative project. AS Unit 2 focuses on British and American film through external assessment questions.
2. The aims of the AS course are to develop students' interest, appreciation and knowledge of film through studying film form and how it constructs meaning, as well as the relationship between film producers and audiences.
3. For AS Unit 1, students will analyze how micro elements like mise-en-scene, cinematography, sound and editing construct meaning in a film extract. They will also complete a creative project applying these
Lesson 1 Emotional Response
This document discusses emotional responses to film. It aims to understand how films create emotional responses in viewers and the relationship between the film and audience. It examines how careful use of film techniques and subject matter can elicit strong emotions. Repeated viewings may lessen or intensify emotional impact. The document also discusses film communication as an interactive process between filmmakers and viewers, with films operating through visual and audio language. It encourages deconstructing films into constructed components to understand creative choices and possible meanings.
Introduction to A2 film studies
This document outlines the assessments for a film studies course, including two main units. Unit 3 involves a research project on three related films using a theoretical framework, resulting in an annotated catalogue and presentation script. The creative project can be a short film, screenplay, or documentary outline. Unit 4 is an exam covering world cinema, spectatorship, and a single film study. Students are advised to choose a focus film and do background reading over the summer in preparation for the research project.
Session 12 Macro photography
Macro photography involves taking extreme close-up photos of tiny objects using special macro lenses. Macro lenses have long barrels for close focusing and are optimized for high reproduction ratios, with focal lengths ranging from 50mm to 200mm or more. The focal length determines the lens's magnification and angle of view, affecting how much of the background is included and the level of background blur. Longer macro lenses require more working distance but compress the subject more.
The big shave handout
Scorsese's short film "The Big Shave" begins with shots of a bathroom set to jazz music, establishing normalcy. A young man enters and takes off his vest repeatedly, hinting something will happen. He shaves, and close-ups show increasing cuts on his face until his throat is slit at the song's crescendo. Scorsese builds an everyday setting and routine only to shock viewers with escalating self-harm, suggesting he aims to subvert expectations and highlight the meaningless violence lurking beneath normalcy.
Private Joker flow chart
Private Joker is a character from the film Full Metal Jacket who undergoes an emotional transformation throughout the film. He starts as a smart-mouthed recruit who challenges his drill sergeant, but after experiencing the horrors of war in Vietnam, his cocky attitude is replaced with a deadened and numb response to the violence around him. By the end of the film, Private Joker has lost the rebellious spirit he once had and is now emotionally detached.
Lesson 6 2014
This document discusses the concepts of alignment and allegiance in spectatorship theory and applies them to the analysis of the film Full Metal Jacket. It explains that in this film, Kubrick intentionally makes it difficult for spectators to align with individual characters. Instead, spectators are encouraged to align with the group or unit of Marines through repetition of shots showing them as a consolidated group. This alignment with the group is reinforced by costumes, actions, and shared experiences. Private Pyle's character serves to further unite the group in their negative view of him as a threat, encouraging allegiance to the group's perspective.
FM3 - Film Studies - Website database
The document lists numerous websites that provide useful information for film studies. These include websites that contain film reference materials and plot synopses, databases with industry statistics and box office figures, and websites like The Numbers that track US and worldwide box office records and statistics. The UK Film Council website is also listed as a source for UK film industry data.
Who will watch the movie watchers?
This document discusses cognitive film studies, which uses findings from cognitive sciences like psychology and anthropology to analyze and explain viewers' responses to films. It emphasizes explanations over interpretations and looks at both the mental processes of viewers and how human capacities have evolved. The research seeks naturalistic explanations for regularities in how different cultures understand films, based on innate predispositions that are refined through experience.
One Drive Guide
OneDrive is online storage that comes with a Microsoft account. Students are instructed to store all film and media coursework projects online using OneDrive. They are given 15GB of storage and shown how to access OneDrive by logging into their college email. Students are told to create a "Coursework" folder to store links to assignment documents and feedback from teachers. Teachers will provide blank documents for assignments and use comments to provide feedback on drafts. Students edit assignments online and are reminded to back up work locally in case of online system failures.
Private Pyle flow chart
Private Pyle is a new recruit in the Marines who struggles with training and following orders. His drill sergeant, Hartman, takes a harsh approach to correcting Pyle through insults and physical punishment. After a breaking point, Pyle snaps and kills Hartman with his rifle in the bathroom, showing how extreme stress and abuse can negatively impact mental health.
Mexican cinema lesson 1
1. The document discusses Mexican cinema from 1990 to the present.
2. It notes that Mexican cinema has a rich cultural tradition dating back to pre-Hispanic times and reflects elements of Mexican culture like language, religion, architecture, art, and mythology.
3. The document then provides a brief history of Mexican cinema, covering the pre-1930s, the Golden Age from 1934 to the 1950s, a decline from the 1970s to late 1980s, and the emergence of the Nuevo Cine Mexicano (New Mexican Cinema) movement in the 1990s.
Spectator theory
Filmmakers aim to elicit emotional responses from audiences. However, individuals may experience different emotions to the same film due to personal experiences and social/cultural backgrounds. While some shared responses are possible within social or ideological groups, each person brings private memories and desires to their viewing experience.
The game handout
Some key ideas presented in the document include that society excessively monitors and controls people's lives like "Big Brother", that money does not necessarily lead to happiness, and that having power tends to corrupt people. The document also asks if there are any other meanings that could be derived.
Lesson 2 Film as Consumption
This document discusses film analysis and how meaning is constructed in films. It introduces key concepts like films being a form of communication where filmmakers encode messages for audiences to decode. It also discusses how films can be interpreted in different ways by different audiences based on their own experiences. Students are instructed to analyze short film clips, looking at micro elements like camera work, mise-en-scene, editing and how these techniques are used to elicit emotional responses and create meaning for the spectator. The goal is to understand how filmmakers manipulate audiences and how the spectator plays a role in interpreting meaning.
Spec and Resp - Lesson 1
This document discusses a film studies module that focuses on how popular films produce powerful emotional responses in viewers. The module will examine how two focus films and "Shocking Cinema" manipulate viewers emotionally. It aims to consider the relationship between films and audiences, how films elicit strong emotions, and how shock can be used. Students will be expected to discuss their personal experiences with and emotional responses to the films studied. The document also defines the differences between audiences and spectators in film theory and discusses various theories of spectatorship and the different "selves" that can influence emotional responses to films.
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More from Belinda Raji
Michael Jackson's Black or White
The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.
Michael Jackson - Black or White analysis
Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.
Half term homework (Yr9)
Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.
Film FM2 December homework
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.
1. Intro 2016 (FM2 (Section C)
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.
Film pitch
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
Genre elements
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.
Examples of binay opposites
The document lists examples of binary opposites, including good vs evil, black vs white, peace vs war, democracy vs dictatorship, conqueror vs conquered, domestic vs foreign, young vs old, man vs nature, protagonist vs antagonist, motivated vs observer, empowered vs victim, man vs woman, strong vs weak, decisive vs indecisive, east vs west, humanity vs technology, and ignorance vs wisdom.
Unit 8 – assignment 1 task 2
The document discusses key concepts related to media ownership and distribution, including:
- Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry.
- Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries.
- Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more.
- Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach
The Walt Disney Company
The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.
Unit 8 – assignment 1 task 2
The document discusses key concepts related to media ownership structures and distribution, including:
- Monopoly and oligopoly market structures, with examples of companies dominating certain markets.
- Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media.
- Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry.
- Franchises that expand original creative works across multiple forms of media through licensing agreements.
- The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.
Pressure - Contextual
The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.
3. sapphire contextual research
Between 1948-1962:
- Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages.
- Racial tensions rose as attacks against black people occurred.
- Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration.
- Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.
Pressure notes and screening questions
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Exam lessons 3 (audiences) Section A A2 Media Exam
The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.
Exam lessons 3 (representation) - Section A A2 Media Exam
The document provides guidance on analyzing representations in media productions using the concept of representation and related theories. It discusses how representations construct versions of reality and ideology. It encourages focusing an analysis of a soap opera trailer on how gender, social groups and places are represented through media language tools and what ideological messages are communicated. Key theories discussed include those relating to cultural hegemony, stereotypes, feminism and the male gaze. The document suggests deconstructing the various production stages and choosing elements to focus on how representations were constructed and their intended effects.
G325 representation (Collective Identities)
The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.
1. Collective I.D. lessons
This document provides information about Section B of the G325: Critical Perspectives in Media examination. Section B focuses on contemporary media issues and will require candidates to answer one question from a choice of six topic areas. For each topic area, candidates must demonstrate understanding of the historical, contemporary, and future aspects as they relate to at least two media forms and include references to relevant media theories and critics. The document provides examples of topic areas such as representations of Black Britain, prompts questions for each area, and suggests texts and theorists candidates could draw from to demonstrate their knowledge in the exam.
A2 G325: Critical Perspectives in the Media (Section A)
This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.
G325 Section A – past exam questions
This document contains past exam questions for the G325 Section A exam from 2010 to 2014. The questions generally ask students to describe and analyze how their media production skills, such as research, planning, use of technology, understanding of conventions and genres, developed over time through their coursework. Students are asked to refer to examples from their past productions and apply concepts like representation, narrative, audience and genre to one of their courseworks. The questions also ask students to evaluate how their skills contributed to creative decision making in their media productions.
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Exam lessons 3 (audiences) Section A A2 Media Exam
Exam lessons 3 (audiences) Section A A2 Media Exam
Exam lessons 3 (representation) - Section A A2 Media Exam
Exam lessons 3 (representation) - Section A A2 Media Exam
A2 G325: Critical Perspectives in the Media (Section A)
A2 G325: Critical Perspectives in the Media (Section A)