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IN WHAT WAYS DOES YOUR MEDIA
PRODUCT USE, DEVELOP OR
CHALLEGE FORMS AND CONVENTIONS
OF REAL MEDIA PRODUCTS?
THE OPENING CREDITS IN MY FILM APPEAR IN THE SAME ORDER
THAT IS USED IN ALMOST ALL COMMERCIAL FEATURE LENGTH
FILMS:
1. Name of the studio that is distributing the film.
2. Name of the production company responsible for making the film. If an
investor financed a substantial portion of the movie, they will usually be credited
alongside the production company with “In Association with.”
3. Starring (this is optional or can be paired with the first cast member’s name),
followed by the names of all principal actors.
4. Producer’s Name
5. Directors Name
6. Film Title
ORDER OF CREDITS
TITLES THAT FIT INTO THE
SHOT
THIS BREAKS THE CONVENTION OF FILM. IT’S CALLED BREAKING
THE FOURTH WALL – WHERE THE ACTOR LOOKS AT THE CAMERA.
IN MY FILM OPENING THEY ARE INTERACTING WITH THE CAMERA
AND SPEAKING INTO IT.
THE OPENING BEGINS WITH A QUESTION WHICH IS DIRECTED TO
THE CHARACTERS. THIS QUESTION IS VERY IMPORTANT AS IT AIDS
THE WHOLE INTRODUCTION AND ALLOWS THEM ALL TO BE
TALKING ABOUT THE SAME THING WITHOUT IT BEINGWEIRD OR
OUT OF CONTEXT.
THE QUESTION ALSO ALLOWS
THE AUDIENCE TO KNOW
WHAT ITIS GOING ON.
TALKING TO THE
CAMERA/CHARACTERS
IN MOST ROMANTIC COMEDIES SWEARING IS INCLUDED AND IS
NOT BLANKED OUT HOWVER I CHALLENGED THIS
CONVENTION BY BEEPING OUT GIRL 4’S SWEAR WORDS.
THE AIM OF THIS WAS ONLY TO EMPHASISE HOW OFTEN SHE
SPOKE RUDELY AND BY BLANKING OUT IT TELLS THE AUDIENE
THAT SWEARING IS NOT ALLOWED IN THIS CONTEXT AND
EMPHASISES THAT THIS CHARCATER DOES NOT CARE!
BEEPING OUT SWEAR WORDS
MOST ROMANTIC COMEDIES INCLUDE STEREOTYPES. THIS IS
IMPORTANT SO THE AUDIENCE CAN MAKE A QUICK
UNDERSTANDING ABOUT THE CHARACTER BASED ON THEIR
OWN PREVIOUS KNOWLEDGE.
I USED A LOT OF STEREOTYPES AS THE OPENING HAS A LOT OF
CHARCATERS SO ASSUMTIONS ABOUT EACH ONE NEEDED TO
BE MADE QUICKLY SO THE AUDEIENCE COULD KEEP UP AND
UNDERSTAND.
USE OF STEREOTYPES
I USED A BACKING TRACK FOR EACH INDIVIDUAL CHARATER AS
ANOTHER AID TO HELP THE AUDIENCE LEARN MORE ABOUT
THEM IN A SHORT SPACE OF TIME.
ROMANTIC COMEDIES USE TRACKS TO ESTABLISH CHARACTERS
SO HERE I USED THE WELL KNOWN CONVENTION.
BACKING TRACK
THE COMEDY IN THE SEQUENCE IS CHARCATER LEAD, AND
THEREFORE IS SUBTLE AS THEY ARE SIMPLY MADE FROM THE
ACTORS ACTIONS.
SUBTLE COMEDY IS A USEFUL CONVENTION AS IT ALLOWS THE
AUDIENCE TO ACKNOWLEGDE IT THEMSELVES AN DCAN ALSO
HELP TO MAKE A FILM INTERESTING THE MORE TIMES YOU
WATCH IT AS YOU NOTICE SOMETHINGS MAYBE YOU DIDN’T HE
FIRST TIME.
COMEDY IS VERY SUBJECTIVE SO BY NOT MAKING AN ATTEMPT
AT COMEDY OBVIOUS THIS HELPS WHEN THE INDIVIDUAL MAY
NOT FIND ONE PART FUNNY, BUT ENJOYS ANOTHER PART.
SUBTLE COMEDY
MOST FILMS IN THIS GENRE HAVE QUICK CUTS BETWEEN
SCENES, WHICH I ALSO INCORPORATED IN MY OPENING
SEQUENCE.
I ALSO ADDED OTHER TYPES OF TRANSITIONS TO MIX UP THE
SEQUENCE AND PLAY WITH ITS DYNAMICS. AN OBVIOUS
TRANSITION THAT I PUT IN WAS THE FAST SPIN FROM ONE SHOT
TO ANOTHER:
RANGE OF TRANSITIONS
DUE TO THE MULTIPLE CHARACERS I HAVE I HAD A LOCATION
FOR EACH OF THEM. THIS GOES ALONG WITH THE
CONVENTUON OF A ROMANTIC COMEDY BEING SET IN TWO OR
MORE DIFFERENT LOCATIONS TO START WITH AND
THROUGHOUT THE FILM THE LOCATIONS END UP AS ONE AS
THE COUPLE END UP TOGETHER.
RANGE OF LOCATIONS
EVERY FILM INTROUDCTION HAS TO HAVE SOME SENSE OF AN
UNANSWERED QUESTION OR MYSTREY TO IT TO KEEP THE
AUDIENCE INTERESTED IN FINDING OUT THE ANSWER.
IN MY FILM, THE MYSTERY IS THE TRUTH ABOUT ‘RORY STEEL.’
AN UNANSWERED QUESTION

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HOW DOES YOUR FILM USE, DEVELOP OR CHALLENGE EXISTING CONVENTION OF OTHER FILMS FROM THE GENRE?

  • 1. IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLEGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS?
  • 2. THE OPENING CREDITS IN MY FILM APPEAR IN THE SAME ORDER THAT IS USED IN ALMOST ALL COMMERCIAL FEATURE LENGTH FILMS: 1. Name of the studio that is distributing the film. 2. Name of the production company responsible for making the film. If an investor financed a substantial portion of the movie, they will usually be credited alongside the production company with “In Association with.” 3. Starring (this is optional or can be paired with the first cast member’s name), followed by the names of all principal actors. 4. Producer’s Name 5. Directors Name 6. Film Title ORDER OF CREDITS
  • 3. TITLES THAT FIT INTO THE SHOT
  • 4. THIS BREAKS THE CONVENTION OF FILM. IT’S CALLED BREAKING THE FOURTH WALL – WHERE THE ACTOR LOOKS AT THE CAMERA. IN MY FILM OPENING THEY ARE INTERACTING WITH THE CAMERA AND SPEAKING INTO IT. THE OPENING BEGINS WITH A QUESTION WHICH IS DIRECTED TO THE CHARACTERS. THIS QUESTION IS VERY IMPORTANT AS IT AIDS THE WHOLE INTRODUCTION AND ALLOWS THEM ALL TO BE TALKING ABOUT THE SAME THING WITHOUT IT BEINGWEIRD OR OUT OF CONTEXT. THE QUESTION ALSO ALLOWS THE AUDIENCE TO KNOW WHAT ITIS GOING ON. TALKING TO THE CAMERA/CHARACTERS
  • 5. IN MOST ROMANTIC COMEDIES SWEARING IS INCLUDED AND IS NOT BLANKED OUT HOWVER I CHALLENGED THIS CONVENTION BY BEEPING OUT GIRL 4’S SWEAR WORDS. THE AIM OF THIS WAS ONLY TO EMPHASISE HOW OFTEN SHE SPOKE RUDELY AND BY BLANKING OUT IT TELLS THE AUDIENE THAT SWEARING IS NOT ALLOWED IN THIS CONTEXT AND EMPHASISES THAT THIS CHARCATER DOES NOT CARE! BEEPING OUT SWEAR WORDS
  • 6. MOST ROMANTIC COMEDIES INCLUDE STEREOTYPES. THIS IS IMPORTANT SO THE AUDIENCE CAN MAKE A QUICK UNDERSTANDING ABOUT THE CHARACTER BASED ON THEIR OWN PREVIOUS KNOWLEDGE. I USED A LOT OF STEREOTYPES AS THE OPENING HAS A LOT OF CHARCATERS SO ASSUMTIONS ABOUT EACH ONE NEEDED TO BE MADE QUICKLY SO THE AUDEIENCE COULD KEEP UP AND UNDERSTAND. USE OF STEREOTYPES
  • 7. I USED A BACKING TRACK FOR EACH INDIVIDUAL CHARATER AS ANOTHER AID TO HELP THE AUDIENCE LEARN MORE ABOUT THEM IN A SHORT SPACE OF TIME. ROMANTIC COMEDIES USE TRACKS TO ESTABLISH CHARACTERS SO HERE I USED THE WELL KNOWN CONVENTION. BACKING TRACK
  • 8. THE COMEDY IN THE SEQUENCE IS CHARCATER LEAD, AND THEREFORE IS SUBTLE AS THEY ARE SIMPLY MADE FROM THE ACTORS ACTIONS. SUBTLE COMEDY IS A USEFUL CONVENTION AS IT ALLOWS THE AUDIENCE TO ACKNOWLEGDE IT THEMSELVES AN DCAN ALSO HELP TO MAKE A FILM INTERESTING THE MORE TIMES YOU WATCH IT AS YOU NOTICE SOMETHINGS MAYBE YOU DIDN’T HE FIRST TIME. COMEDY IS VERY SUBJECTIVE SO BY NOT MAKING AN ATTEMPT AT COMEDY OBVIOUS THIS HELPS WHEN THE INDIVIDUAL MAY NOT FIND ONE PART FUNNY, BUT ENJOYS ANOTHER PART. SUBTLE COMEDY
  • 9. MOST FILMS IN THIS GENRE HAVE QUICK CUTS BETWEEN SCENES, WHICH I ALSO INCORPORATED IN MY OPENING SEQUENCE. I ALSO ADDED OTHER TYPES OF TRANSITIONS TO MIX UP THE SEQUENCE AND PLAY WITH ITS DYNAMICS. AN OBVIOUS TRANSITION THAT I PUT IN WAS THE FAST SPIN FROM ONE SHOT TO ANOTHER: RANGE OF TRANSITIONS
  • 10. DUE TO THE MULTIPLE CHARACERS I HAVE I HAD A LOCATION FOR EACH OF THEM. THIS GOES ALONG WITH THE CONVENTUON OF A ROMANTIC COMEDY BEING SET IN TWO OR MORE DIFFERENT LOCATIONS TO START WITH AND THROUGHOUT THE FILM THE LOCATIONS END UP AS ONE AS THE COUPLE END UP TOGETHER. RANGE OF LOCATIONS
  • 11. EVERY FILM INTROUDCTION HAS TO HAVE SOME SENSE OF AN UNANSWERED QUESTION OR MYSTREY TO IT TO KEEP THE AUDIENCE INTERESTED IN FINDING OUT THE ANSWER. IN MY FILM, THE MYSTERY IS THE TRUTH ABOUT ‘RORY STEEL.’ AN UNANSWERED QUESTION