G322 section a age
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The document provides feedback on a mock exam, noting that introductions could be more substantive and that more film terminology and analysis is needed. It also suggests focusing on creating a stronger overall argument by linking paragraphs together. Further sections provide guidance on analyzing representations of age, disability, and other topics through technical film elements and addressing encoded messages and values.
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The document provides questions to guide an analysis of how regional identity is represented in a film or television show. It asks whether characters' regional identities within a country are identifiable, whether people from different areas are portrayed as having distinct personalities and values, and if regional identity seems important to the characters. It also questions whether any regions are depicted as superior or inferior to others and how characters from various regions interact and are treated.
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3) Issues of representation - Questions discuss how postmodern media blur reality/representation boundaries and break representation rules.
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The document discusses Michel Foucault's theory of panopticism and how it relates to voyeurism. Foucault was inspired by the panopticon prison design, which allowed guards to watch inmates without the inmates knowing if they were being watched or not, causing them to internalize the surveillance and police their own behavior. This concept of constant potential surveillance can be applied to analyze media and how it shapes societal behaviors.
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This document defines and describes various media key terms related to camera shots, angles, movement, and composition. It provides definitions for different types of camera shots including establishing shots, close-ups, and point-of-view shots. It also defines camera angles such as low, high, and canted angles. Various camera movements like pans, tilts, tracks, and zooms are outlined. Finally, compositional techniques including symmetry, asymmetry, rule of thirds, and depth of field are defined.
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This document provides guidance on analyzing camera techniques used in film excerpts. It outlines the objectives of understanding key camera terminology and writing paragraphs analyzing camera work. Students are instructed to analyze examples from provided excerpts, explaining the camera technique used, when it occurs, and why it was employed, considering how it communicates meaning and significance to the audience.
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The document discusses McDougall's theory of pomodality, which refers to something that exists and does not exist simultaneously. It provides examples of works that achieve pomodality through being ironic, satirical, or dystopian. The document then analyzes how the art installation Dismaland achieves pomodality by creating a "third space" that is neither purely an art exhibit nor theme park. Specific examples from Dismaland like the security checkpoint and castle are described. The document also discusses the related concept of subversion, providing examples of media that subvert expectations, and analyzes how Dismaland subverts Disneyland through elements like its security checkpoint and castle.
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The document discusses how Skyfall utilized various digital technologies and platforms to maximize audiences. It was released online for purchase or rental, on DVD/Blu-ray, in theaters, and through pay-per-view services. Extensive marketing campaigns tied it to brands like Sony, Adele's song, Coke Zero, and Heineken. Its availability across many platforms aimed to satisfy different audiences and prevent piracy by ensuring wide access. Social media was also leveraged through the film's website, Facebook, Twitter, and viral video campaigns.
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Focault analyzed how society had become "panopticized" with constant surveillance creating self-policing behaviors. Reality TV reflects this, as participants know they are constantly watched, changing their natural behaviors. Social media further extends surveillance, with idealized online profiles reflecting the desire to control one's observed image. As audiences watch curated online lives, a dependence on observing others emerges, making the viewers the controllers in a postmodern voyeuristic society.
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This document defines key terms related to film distribution and explains the film distribution process. It discusses how distribution involves acquiring legal rights to show a film, marketing and releasing prints/files to cinemas and stores. Major aspects covered include ownership structures like vertical and horizontal integration, the role of major distributors in the UK/US, challenges for independent producers, and the transition from physical prints to digital distribution and projection.
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This document outlines the marking scheme and criteria for an assessment on postmodern media. It is divided into three sections:
1. The starter quiz section indicates the assessment will evaluate explanation, analysis, argumentation (EAA), examples and terminology (EG), and language (T). It is worth 50 marks total, making it worth 50% of the student's grade.
2. The mark breakdown section allocates 20 marks for EAA, 20 marks for EG, and 10 marks for T.
3. The language in mark scheme section defines the level of competence demonstrated by students for marks in each category, ranging from "limited" and "errors" for level 1 to "well developed," "fluent,"
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New forms of cinema consumption have emerged in the last 5-10 years as box office revenues have declined annually. Streaming services and immersive cinema experiences like secret cinema have grown popular, allowing people new ways to view films outside of traditional theaters. While these new forms of cinema are more engaging and social, they also face challenges around high costs, limited availability, and potential ethical issues around compensation for secret cinema productions. As box office revenues fall, cinemas will likely continue developing alternative consumption models to keep audiences interested in films.
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Jean Baudrillard was a philosopher who developed the concept of hyperreality to describe how in postmodern societies, simulations and representations of reality have proliferated to such a degree that the distinction between reality and its representation is blurred. His theory of hyperreality suggests that through endless copying and circulation in media, signs and images can come to have more social influence and feel more "real" than the actual reality they are meant to represent. This document discusses how Baudrillard's theory of hyperreality and simulations can be applied to analyze various media representations and their potential effects on audiences' perceptions of reality.
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This document outlines the location planning process for a film shoot. It lists the locations that are wanted to film at and requests specific addresses and important information about each location such as access, rules, type of place, and opening/closing times. It also asks how the film crew will get to each location, any obstacles to filming there, health and safety concerns and precautions for each location, and backup location options. A PowerPoint with annotated photos of the locations is to be created.
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This risk assessment document outlines the date, location, potential risks and hazards, and level of risk for an event to ensure the health and safety of crew, actors, the public and equipment. It considers all of these factors and what actions may be needed to minimize any risks.
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This document provides instructions for completing a script in a specific format, including using the Courier or Courier New font at size 11, noting the use of bold text and tabs for alignments, and that if there is no dialogue, the script should still include scene descriptions. The completed script should then be printed, folded, and glued or stapled to the next sheet.
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The document is a production shooting schedule that lists scene numbers, shooting times and dates, locations, actors and costumes needed, and any props or equipment required. It provides essential planning details for filming different scenes in the production over various times and locations with the necessary actors, costumes, props, and equipment. The schedule allows the production team to efficiently plan and coordinate all aspects of shooting the different scenes.
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This document is a shotlist for a film or video project. It contains information about each shot including the shot number, corresponding storyboard panel, shot type and camera angle, any camera movements, a brief description of the shot, the length of the clip, the location, and any actors, costumes or props involved. The shotlist helps plan and organize the visual elements and assists those involved in production.
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1) The document provides guidance on how to structure responses for Section A and Section B of the G322 AS Media exam.
2) For Section A on TV drama, it advises to focus the response on analyzing how technical elements construct representations rather than just describing them.
3) For Section B on film institutions, it recommends discussing the processes of production, distribution, and exhibition in British film by referencing specific case studies and films. Key words related to these processes are defined.
My profile
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G322 section a age
- 1. G322 SECTION A Reflecting on the mock
- 2. MOCK • What went well? • What bits (if any) were harder than you were expecting? • What do you think you need to focus on ahead of the real thing in the summer?
- 3. MOCK • Too many ‘nothing’ introductions…in this essay I will be writing about how disability is represented using camera, editing, sound and mise-en-scene etc. • More terminology needed. • Use mise-en-scene terms explicitly – costumes, props etc. • More analysis/development needed – P and E generally good but more A needed. • Think about how to create a stronger overall argument about representation by finding a way to link paragraphs to one another as part of an overall argument.
- 4. AGE
- 5. • Analyse how representations of age are constructed in this extract by: • Camera angle, shot, movement and composition • Editing • Sound • Mise-en-scene
- 6. ANALYSIS • Do the technical codes combine particularly effectively to really construct a particular representation? • Why has this representation of age been constructed in the extract? • What elements of the representation make it particularly stereotypical or countertypical? • What elements of the representation make it particularly positive or negative? • How does this particular representation compare with other representations of age in the extract? Is it reinforcing the other representations or challenging them? How is it similar or different? Is it another element of an overall stereotype that the audience are supposed to recognise?
- 7. ANALYSIS • Do you think that there are any messages or values encoded in the representation – about society or groups of people within society? • Is the representation similar to representations that are seen in the media more generally? • Why has this representation been constructed?