Fm4 Lesson 2
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The document discusses how film can create a sense of shock through both its content and form. It provides examples of shocking scenes from films like Un Chien Andalou and Reservoir Dogs and analyzes how elements like editing, cinematography and sound contribute to the shock. The document also encourages analyzing how the sense of shock may change on repeat viewings and considering what social or political purposes shock in film may serve. Students are assigned to watch and analyze Scorsese's short film The Big Shave for how it creates shock through style as well as content and to choose another film to study.
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![Film and the creation of ‘shock’ ,[object Object],[object Object]](https://image.slidesharecdn.com/fm4lesson2-100317074940-phpapp02/85/Fm4-Lesson-2-1-320.jpg)
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The document discusses how the filmmaker's media product would engage audiences and be distributed. To engage audiences, the film uses elements of mystery, contrasting character portrayals, sound effects, and editing techniques. It would likely be distributed as a student film via marketing platforms like social media and premieres. If distributed independently, it could partner with a distributor like Revolver Films and be released theatrically and online, supported by common marketing strategies like trailers and print ads.
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Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
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This document discusses how the media product draws inspiration from real media forms and conventions in three ways:
1) It opens with a slow zoom shot inspired by a James Bond film to draw the audience in. This was altered to suit their location.
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3) A voiceover technique from Hot Fuzz was adapted to provide insights into the main character's thoughts and personality through audible inner monologue.
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This document provides details about a media coursework treatment presentation for a film called "Captive." It discusses choosing the title, establishing the genre of spy/action through elements like color correction, music, locations and costumes. It includes a breakdown of the planned sequence and discusses the tone and atmosphere being created through contrasts between locations. It outlines the target 12A audience, identifies three filming locations and includes a risk assessment. It also notes influence from James Bond and Kingsman films.
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The media product challenges some horror film conventions while following others. It challenges the typical portrayal of the victim being female by having a male character killed in the opening scene. It also does not reveal the killer's identity to create suspense. However, it follows conventions around using ominous music to set the tone, having the main character trapped with no escape to build tension, and using sharp editing to keep the audience engaged. The document discusses how the opening sequence develops different conventions of the horror genre.
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The media product follows conventions of similar sci-fi and thriller films in its opening sequence, genre, and themes explored. However, it subtly challenges expectations by not immediately revealing its sci-fi genre like Star Wars, using a homeless man as the unlikely hero, and having brighter lighting than typically expected for the genre. The narrative also follows a classic pattern of establishing equilibrium, disrupting it, and resolving it, shown through split screening in the sequence.
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Cinema Verite is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to capture truth or provoke subjects. Over time, Cinema Verite has influenced other genres by adopting handheld camerawork and lack of scripts to seem more realistic. Modern examples that mix Cinema Verite with horror and thriller genres include The Blair Witch Project, Cloverfield, and Grave Encounters.
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The media product uses conventions from thriller films such as dark rooms, low lighting, and eerie music, but also challenges conventions by including some scenes with more lighting and light music. It develops camera angles to create suspense as seen in the movie Lost Boys, using tracking cameras and filming from behind characters to build tension, which was replicated in the opening scene of following a man into a warehouse.
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The document defines and provides examples of several film styles: Auteur refers to a director with a distinctive style; Avant-Garde films are experimental; Cinema Verite aims to film scenes without interfering in a documentary style; French New Wave reacted against traditional French cinema with unconventional individual director styles; Film Noir are dark crime thrillers characterized by stylized techniques and fatalistic themes such as Double Indemnity.
My media evaluation
The document provides a media evaluation of a student's horror film project. It discusses how the film challenged conventions of the genre through POV shots of the killer. It represents teenagers going on a camping trip like in films such as "Shrooms" where things go wrong. The intended audience is those who enjoy horror movies ages 15 and up. Technologies like computers and editing software made the project easier than 50 years ago. Working in a group, roles included director, co-director, actors, and the "bad guy."
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The document summarizes a film opening scene that uses flash forwards to provide clues about what will happen in the film. It introduces a dark, mysterious character who follows a young girl late at night. Eerie music sets the mood. The characters are dressed appropriately for a night out, while the kidnapper wears dark, mysterious clothes.
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The document discusses the theory of auteurism in film. It begins by defining the auteur theory, which advances that a film reflects the director's personal creative vision. It then contrasts auteur theory with genre theory, noting that auteur theory focuses on individual stylistic features while genre theory focuses on generic similarities. The document provides several examples of auteurs and their signature directorial styles, such as Alfred Hitchcock's use of cross-tracking shots. It traces the origins of auteur theory to French film critics in the 1950s and discusses how it was later developed and applied in the US.
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The document is a proposal form for a crime film opening project. The student proposes creating an opening scene inspired by favorite films like "The Departed." The scene will introduce a character in debt who turns to petty crime and plans to kidnap the prime minister's niece. The target audience is mainly working class males ages 15-30, as crime films traditionally appeal to this demographic. The project will meet audience needs by following crime film conventions while adding original elements, and having a relatable main character in a typical "rags to riches" plot. Production techniques like memorable voiceovers, establishing shots, tracking shots, and iconic music will be used.
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Direct cinema developed in the 1960s by the Maysles brothers who wanted to compare reality to common opinions. They filmed events without manipulation to challenge other documentary modes. Cinema verite is a style combining naturalistic techniques with editing and camerawork to provoke subjects. It is also known for taking provocative stances. Warrendale and The War Room are examples of direct cinema and cinema verite respectively that observe events candidly.
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This document discusses how the media product uses and develops conventions of real thriller films. It begins by explaining how the title "The Killer's Identity" gives clues about the genre and mystery plot that is common for thriller titles. The location was initially planned to be scary places but was changed to more normal places like the beach that a couple would visit to create unexpected suspense. Flashback scenes were edited to look pleasant rather than scary to build tension without being too horrific. The opening sequence establishes the plot through a shortened version of the film rather than a continuous tense sequence, challenging conventions. The poster and mis-en-scene are also designed based on psychological thriller conventions to interest the viewer without being overtly alarming.
Media studies evaluation final.
The document discusses how a student's media product for a teaser trailer challenges and develops conventions of real teaser trailers. The student researched conventions like teaser trailers being 30-50 seconds and giving audiences a glimpse of the film. The student chose to base their horror/thriller teaser trailer on classic horrors like Psycho rather than relying on modern special effects. While including a central villain as is conventional, the student hints the villain is a woman, challenging the convention that villains are usually men. The student incorporates some conventions like suspenseful non-diegetic sounds but aims to portray a classic rather than modern horror.
Task 1 - Genre
The document discusses genre in media. It defines genre as how a piece of media is categorized, such as by action, romance, or comedy. Genre lets audiences know what to expect and helps producers and distributors market films. However, genre is complex with differing theories. Some see genre as restrictive while others see it as fluid or a marketing tool. The document analyzes two short films - one labeled a romance genre for its love story elements, and one labeled a comedy for its time travel narrative used for humor and first impressions.
Fm4 spectatorship emotional response A-Level A2 Film Studies
An overview of approaches to emotional response in Film & Cinema Studies. Contains a range of theories, approaches and examples including Barthes, Hypodermic Needle Theory, Censorship & Reception Theory. Includes work on Kill Bill, V for Vendetta, Hitchcock's Psycho, the Lumiere Brothers and George Melies.
Forms and conventions
The group decided to film the opening of a musical mockumentary in the style of "This Is Spinal Tap". They incorporated conventions of the mockumentary genre like documenting fictional past events. They mirrored the cinema verite style of having constant interaction between filmmaker and subject. Shots were filmed in an observational style to seem objective but the artificial characters blurred reality and fantasy. The quick cutting and manipulation of mise-en-scene exhibited different meanings and foreshadowed the plot. Non sequiturs and postmodern techniques like breaking character were used to parody the documentary form and reestablish it as satirical comedy.
Question 5
The document discusses how the filmmakers attracted their target audience of 16-25 year olds. They used techniques like handheld camera footage, an actor in the target age group, and portraying a psychological entity based on audience research showing it was the most popular horror genre. The opening sequence hooked viewers through personal documentary clips and imagery that followed short, sharp textual descriptions to engage both active and passive audiences. Feedback on social media was positive overall, though some commented on an inconsistent accent or feeling uncomfortable during one scene.
In what ways does your media product use, develop of challenge forms and conv...
The document discusses how a student's media product for a horror film trailer develops conventions of real film trailers. The student analyzed trailers like Paranormal Activity to understand conventions like fast pacing, limited plot details, shock/horror elements, and teasing the antagonist. The student aimed to follow these conventions by creating a 1-1:30 minute trailer with jumpy cuts, music, brief plot synopsis, and short horror scenes without fully revealing the antagonist. The student believes their trailer conforms well to typical trailer conventions and leaves viewers wanting more information to be answered in the full film.
Film studies induction booklet
This document provides an introduction and overview for students taking an AS level film studies course. It outlines some of the key concepts and approaches that will be covered over the course of the year, including examining films from different eras and movements, investigating reasons for changes in film over time, and analyzing films from both entertainment and sociopolitical perspectives. It encourages students to engage with films on an academic level by learning fundamental techniques for reading and analyzing films, such as considering elements of mise-en-scène, camerawork, and how films use codes and signals to communicate with audiences. Several film excerpts are referenced as examples to illustrate these concepts.
Film studies induction booklet
This document provides an induction booklet for students taking an AS level in Film Studies. It introduces some key concepts that will be covered in the course, including reading films through their use of film language, codes and signals. It explains some fundamental techniques used in film like camera shots and movements, mise-en-scene, lighting, sound, and editing. Several film extracts are referenced as examples to analyze how these techniques are used to convey meaning and achieve effects. The booklet aims to prepare students to study films in an academic manner by familiarizing them with analytical approaches to reading and interpreting film texts.
Analysing Trailers Official
The trailer for the film A Nightmare on Elm Street is analyzed. It begins by showing the title of the film 10 seconds before ending to build anticipation. Producers are not named to avoid association with previous work, but Michael Bay is named to signal high production value expected from his horror films. The trailer shows glimpses of the killer and his victims in moments of fear and violence. It maintains a faster pace than a film clip to provide a synopsis and generate excitement for the film. The date is shown at the very end to leave a lasting impression and associate the trailer with when the film can be seen. The trailer would be expected before horror films and during breaks in horror-themed TV shows after 9pm
Mfp research
The document discusses techniques used in several short films that could be useful for the author's final film project. It analyzes the use of shaky cam, varied shot types, and mise-en-scene in "Emergence" and "Conflict." It also discusses how Rear Window effectively uses mise-en-scene through environmental details to introduce characters. Color grading and blurred edges in "PAPA" could help convey a character coming off drugs. Audio mixing in Premiere Pro would allow for subtle music fades, like towards the end of the author's planned film.
Mfp research
The document discusses several short films and techniques seen in them that could be useful for the author's planned film project. It summarizes Emergence and its effective use of varied shots and shaky cam during a chase scene. It also discusses Conflict and how it uses mise-en-scene to compare a chess game to a bar fight, conveying escalating conflict. Rear Window is praised for its use of mise-en-scene to introduce characters and imply backstories without dialogue.
FMP research
The document discusses several short films and techniques used in their filmmaking. It analyzes the use of shaky cam, varied shots, and mise-en-scene in "Emergence" and "Conflict." It also discusses the effective use of mise-en-scene to introduce characters and setting at the beginning of "Rear Window." The document considers how techniques like color saturation drainage, blurred edges, and canted angles in "PAPA" could be applied to convey the experience of a character coming off drugs. It also briefly summarizes the popularity of the TV show "Sherlock" and mentions considering audio track mixing in Adobe Premiere Pro to fade out music at the end of a film for enhanced
A2 Film A-Level Film Studies FM4 Spectatorship Revision
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
Year 9 Taster day 2016 l2
The groups pitched hybrid genre film ideas to Universal Pictures, including a romantic comedy zombie film called "Love Bites" with a $50 million budget starring Emma Stone; a sci-fi western called "Cowboys vs Aliens" with a $75 million budget starring Chris Pratt; and an action comedy spy film called "Kingsman: The Secret Squirrel" with a $100 million budget starring Ryan Reynolds.
Genre Research/ Theory (theoretical research)
This document discusses different genres and theories of genres that can be applied to documentary filmmaking. It defines genres as classes or types of media defined by common conventions. Documentaries specifically are meant to document aspects of reality in a nonfictional manner. The document outlines several subgenres of documentaries, including actuality films, poetic documentaries, expository documentaries, observational documentaries, participatory documentaries, and reflexive documentaries. It also discusses genre theorists Nicolas Aracrombie and Rick Altman and how their theories on permeable genres and audience pleasures can be applied to developing a documentary genre blend and creating an emotionally engaging audience experience.
The Impact of Cinematography and Editing OptionsPrepareAs .docx
The Impact of Cinematography and Editing Options
Prepare
As you prepare to write this discussion, take a few moments to do the following:
· Review the Modeled Discussion.
· Read any required and recommended reading materials for this week, especially Chapter 7 from the text.
· Review the grading rubric for this discussion.
· Explore movie clips from the Movieclips website or the Internet Movie Database – IMDB.
Reflect
Choose a clip that you wish to analyze. The clip you choose must be from a film (preferably from a film with which you are familiar) – not a film trailer or a mash-up. Re-watch your chosen movie clip while closely observing the mise en scène. What analysis can you make about the placement and movement of characters and props in the scene as they relate to camera shots, color, lighting, and other elements of cinematography?
Write(due Thursday, Day 3)
In your discussion, analyze at least three elements of cinematography and editing (e.g., lighting, color, shots, focus, transitions, and types of cuts) by evaluating the dramatic impact of the scene. Interpret the scene based on your analysis. In your view, what mood, symbolism, or meaning results from the scene’s creative editing and cinematography?
Include the name or partial name of the film clip you analyzed in the “Subject” line of your discussion. Include the link to your film clip in the body of your post. Your initial post should be at least 200 words in length. Support your claims with examples from the required material(s) and/or other scholarly resources, and properly cite any references.
Respond to Peers(due Monday, Day 7)
Respond to at least two classmates who reviewed a different clip than your own. After watching the movie clips reviewed by your classmates, compare how the scenes would be different had the editors or cinematographers chosen other options. Your responses should be 125 to 150 words each.
Please view the video Accessing Feedback in the Gradebook for guidance on how to review your instructor’s feedback when the post is graded.
Week 3 Instructor Guidance
Try to imagine a person walking. It could be anyone--male or female-- someone you know, or a famous actor. Can you visualize it?
After a while, this walker comes to a house. We don't really get a chance to look at the exterior of the house too much--maybe the shot is too tight, too closely aligned with Walker's point of view. But anyway, as Walker approaches the door and reaches out for the knob we hear something . . .
What we hear has a huge impact on how we're going to react to what comes next. Imagine that what we hear is:
· A piercing, violently repetitive violin string arrangement (similar to what you might hear in a suspense film Psycho)
·
·
· The deep, resounding sounds of a bass being strummed complete with pauses (similar to what you might hear in a thriller like Jaws)
·
·
· A sprightly piano roll with some sloppy but peppy percussion in the background (similar to what you m ...
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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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Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
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