Intro to exam yr 12
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The document discusses the structure and content of an upcoming media studies exam, including: - Section A will focus on theoretical evaluation of media production processes. - Section B will address contemporary media issues such as postmodernism. - Students will have two questions to choose from for each section and must complete preparatory research tasks by June 12th in order to film their horror film trailer preliminary project. - Key terms that may appear on the exam like genre, representation, narrative and audience are defined and students are instructed to research genre theory and how it applies to horror films.
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Lesson 1 introduction
1. This document provides an overview of a unit on representations in media studies that examines how media texts convey messages and values through representations.
2. The learning objectives are to develop an understanding of representations and apply this knowledge in textual analysis and deconstructing meanings.
3. The unit will examine representations of concepts like gender, race, and sexuality in various media extracts and teach techniques for textual analysis and evaluating representations.
Extended project proposal form to be completed by 27 june 2013 (1)
Livia Wong is proposing a project to create a short horror film. She wants to learn about successful filmmaking techniques like editing and capturing scary scenes. Her goals are to develop editing skills and understand the filmmaking process from script to camera work. She will research horror film elements and music. Over one month, Livia will create a plot, script, film footage, and trailer. She needs a laptop, camera, software and space to film. Her research will cover the purpose and elements of horror films and the role of music. The proposal was agreed to by her teacher.
Audience theory lewis and emma
This document discusses several psychological and social theories that attempt to explain why people are attracted to horror films:
1. Sigmund Freud's theory of the "uncanny" proposes that horror films produce cognitive dissonance by combining something familiar with something frightening, like a ghost that resembles a human.
2. Feminist film theorist Laura Mulvey's "sadistic voyeurism" theory suggests people enjoy scenes in horror films where a male character invades and abuses a female character's privacy.
3. The "snuggle theory" proposes that watching horror films with a romantic partner allows people to resort to traditional gender roles, with males providing support and protection to scared females, strengthening their bond.
Task 2 what is an auteur
The document provides instructions and deadlines for several tasks related to a film studies class, including creating a website and PowerPoint on the film production process and its deadline of September 21st. It also includes questions and information about what an auteur is and examples of recognizable auteurs, noting the auteur theory originated in France and refers to a director who brings their personal vision and style to films.
Wii vs braid institution
The document discusses institutions in the video game industry. It defines an institution as a company involved in producing, distributing, and marketing media. It outlines the roles of key institutions like developers, publishers, distributors, and consumers. It also provides examples of major video game production companies and consoles. Finally, it instructs students to complete case studies analyzing the institutions behind specific games like Wii and Braid.
Representation tayla, paige and callum
Representation involves how identities are portrayed in media texts, focusing on characteristics like age, gender, race, financial status, and job. Certain features are highlighted and enhanced to construct representations. Representation theory examines both the processes of representation and their products, especially how identities are constructed in production and reception in relation to markers like class, age, gender, and ethnicity. Representation theorists note that representations often categorize and evaluate groups through emphasizing easily recognized features that lead audiences to draw conclusions about the represented group, usually but not always negatively.
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This document provides an overview of the reformed A-Level Media Studies course structure and requirements. Key points include:
- Exams now account for 70% of the final grade, with coursework making up the remaining 30%.
- Students must analyze 9 different media forms and cover 19 different theorists.
- The non-exam assessment (coursework) involves creating a cross-media product such as a music video and accompanying website.
- Exam papers assess knowledge of both traditional media concepts and the new theoretical framework, and include questions on two in-depth areas of study and unseen media content.
- Areas of study include print and online newspapers, radio, video games, film, and television across two
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This document provides information about the A2 media exam, including the format, marking scheme, and strategies for preparation. The exam will be 2 hours with 3 questions, worth half the A2 grade. Section A involves a 25 mark question on skills development over time with examples. Section B includes two shorter questions on analyzing media concepts or conventions using coursework examples and theory. Successful preparation involves practicing essays, learning theory, and choosing examples that directly answer the question.
Lesson 1 introduction
1. This document provides an overview of a unit on representations in media studies that examines how media texts convey messages and values through representations.
2. The learning objectives are to develop an understanding of representations and apply this knowledge in textual analysis and deconstructing meanings.
3. The unit will examine representations of concepts like gender, race, and sexuality in various media extracts and teach techniques for textual analysis and evaluating representations.
Extended project proposal form to be completed by 27 june 2013 (1)
Livia Wong is proposing a project to create a short horror film. She wants to learn about successful filmmaking techniques like editing and capturing scary scenes. Her goals are to develop editing skills and understand the filmmaking process from script to camera work. She will research horror film elements and music. Over one month, Livia will create a plot, script, film footage, and trailer. She needs a laptop, camera, software and space to film. Her research will cover the purpose and elements of horror films and the role of music. The proposal was agreed to by her teacher.
Audience theory lewis and emma
This document discusses several psychological and social theories that attempt to explain why people are attracted to horror films:
1. Sigmund Freud's theory of the "uncanny" proposes that horror films produce cognitive dissonance by combining something familiar with something frightening, like a ghost that resembles a human.
2. Feminist film theorist Laura Mulvey's "sadistic voyeurism" theory suggests people enjoy scenes in horror films where a male character invades and abuses a female character's privacy.
3. The "snuggle theory" proposes that watching horror films with a romantic partner allows people to resort to traditional gender roles, with males providing support and protection to scared females, strengthening their bond.
Task 2 what is an auteur
The document provides instructions and deadlines for several tasks related to a film studies class, including creating a website and PowerPoint on the film production process and its deadline of September 21st. It also includes questions and information about what an auteur is and examples of recognizable auteurs, noting the auteur theory originated in France and refers to a director who brings their personal vision and style to films.
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Representation involves how identities are portrayed in media texts, focusing on characteristics like age, gender, race, financial status, and job. Certain features are highlighted and enhanced to construct representations. Representation theory examines both the processes of representation and their products, especially how identities are constructed in production and reception in relation to markers like class, age, gender, and ethnicity. Representation theorists note that representations often categorize and evaluate groups through emphasizing easily recognized features that lead audiences to draw conclusions about the represented group, usually but not always negatively.
Task 3b conventions of a brit film
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Task 3b conventions of a brit film
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- Microsoft requested changes to the game, which almost caused Jonathan Blow to cancel the release. However, Microsoft helped boost sales by featuring it as a "Deal of the Week" on Xbox Live.
- Braid received many positive reviews, further helping its sales. It is available to play on Xbox 360 through Xbox Live Arcade or on Windows PC by downloading from stores like Steam, Impulse, or Gamers Gate. It is not a portable game.
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1) The candidate demonstrates a clear understanding of how technical elements like mise-en-scene, camera work, editing, and sound are used to represent the age of characters in a television drama extract.
2) In their response on the video game industry, the candidate analyzes in detail how Rockstar Games, Microsoft, and other institutions work together across platforms to maximize revenue from the Grand Theft Auto franchise through things like exclusive content and merchandise licensing.
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This document outlines the structure and requirements for the G325: Critical Perspectives exam. The exam has two sections:
Section A involves two compulsory questions requiring reflective evaluation of skills and conceptual analysis of media projects. Students have 30 minutes for each answer requiring at least 2 pages.
Section B focuses on contemporary media issues like postmodern media in film, TV and video games. Students choose two questions and answer one, writing for at least 4 pages in 1 hour. Answers must discuss at least two media and refer to past, present and future issues.
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This document outlines the structure and requirements for the Critical Perspectives exam. It discusses the two sections of the exam - Section A focuses on theoretical evaluation of media production, while Section B covers contemporary media issues. Students will complete project work in teams to research one of six media issue themes and create revision materials. They will then answer one question from their chosen theme in the exam. The document provides details on the timeline and assessment criteria for the project work portion of the course.
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The document provides information about the exam for the G325 Critical Perspectives in Media course. It outlines that the exam consists of two sections: Section A involves a theoretical evaluation of students' own production work, and Section B focuses on postmodern media. For Section A, students must answer two compulsory questions - one on reflecting on their skills development, and one analyzing a past production concept. Section B involves choosing one question on postmodernism and focusing the answer on at least two media forms across past, present and future. The document provides details on the requirements, structure and marking of each section.
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Introduction to section a
The examination consists of two compulsory questions assessing theoretical evaluation of production work and one question from six topic areas on contemporary media issues. For Section A, candidates have one hour to answer two questions: 1a) evaluating skill development over their AS and A2 coursework and 1b) evaluating one production in relation to a media concept. Section B assesses contemporary media issues over one hour. Question 1a focuses on skills such as digital technology, creativity, research and planning, while question 1b relates productions to concepts like genre, narrative and representation. Candidates must know their coursework in depth to discuss skills development and relate a production to a concept.
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British films are known for their social realism conventions including using British actors and locations filmed with dull, dim lighting to reflect the weather. They often have small, emotionally dramatic stories that explore social issues like crime, culture, and racism with a satirical yet dry sense of humor and ambiguous endings. Students are tasked with choosing 3 low budget British indie films to analyze what makes them quintessentially British through their visual elements, then storyboarding and filming the opening of their own British indie film using these conventions in groups of 3-4 students.
Task 3 magazine costs
This document appears to be listing magazine titles and their corresponding price ranges. The magazines are grouped under pricing brackets such as "Free-89p", "90p-£1.50", "£1.51-£2.50", "£2.51-£3.50", and "£3.50+". Notable magazine titles listed include Glamour, Forbes, Jet, and Drapers.
Apprentice pitch
The document provides guidance on pitching a new magazine concept to potential investors or publishers. A good pitch should include an introduction to the proposed magazine's genre and target audience, as well as how it compares to similar magazines. The unique selling point of the concept and plans for cross-media marketing, advertising, and distribution should also be outlined. The pitch should utilize a narrative structure and last between 5-10 minutes, potentially with a PowerPoint presentation.
Production film industry
The document discusses the film production process and creating a production company. It asks questions about the stages of filmmaking like development, pre-production, production, and post-production. Key roles are identified like the producer who oversees the entire process. The document also addresses getting funding, creating a budget that separates above and below the line costs, targeting audiences, and marketing the finished film. Students are tasked with creating a PowerPoint on the production process and pitching their own film idea for potential investment.
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This document provides instructions for a Year 12 Media Studies task on the film production process. Students are asked to create a PowerPoint presentation discussing the key stages in the film production process, including pre-production, production, and post-production. The presentation should draw from notes on the film industry and is due on September 21st. Students are also instructed to create a website using Yola to organize research and work for the task.
Task 3b conventions of a brit film
The document discusses the conventions of British social realist films, including the use of British actors and locations, sepia tones, dim lighting, satirical and emotional stories about social issues like crime and racism, hand-held camera work, wide shots that emphasize location setting, and low budgets. It also provides tasks for students to analyze images from three low-budget British indie films, storyboard the opening of their own British indie film, film their project over a weekend, and edit it using iMovie software.
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The document provides guidance for students on how to analyze magazine covers and contents pages. It instructs students to identify conventions on magazine covers using post-its, and describes common conventions seen on contents pages such as logos, mastheads, and lists of contents. Students are advised to choose diverse magazines for analysis, including at least one from the same genre as their own magazine. The document outlines seven steps for analyzing magazines, including presenting the analysis using software, examining how conventions are used, how the magazines target audiences, and what they represent and why. Levels of analysis are defined based on the depth of conventions, terminology, and reasons identified.
Braid marketing
- Braid was released on Xbox Live Arcade in mid-2007 after being signed and promoted by Microsoft. It was announced at the 2007 Tokyo Game Show.
- Microsoft requested changes to the game, which almost caused Jonathan Blow to cancel the release. However, Microsoft helped boost sales by featuring it as a "Deal of the Week" on Xbox Live.
- Braid received many positive reviews, further helping its sales. It is available to play on Xbox 360 through Xbox Live Arcade or on Windows PC by downloading from stores like Steam, Impulse, or Gamers Gate. It is not a portable game.
01 video games unit_g322_jan2009_highlevelresponseq1+q2
1) The candidate demonstrates a clear understanding of how technical elements like mise-en-scene, camera work, editing, and sound are used to represent the age of characters in a television drama extract.
2) In their response on the video game industry, the candidate analyzes in detail how Rockstar Games, Microsoft, and other institutions work together across platforms to maximize revenue from the Grand Theft Auto franchise through things like exclusive content and merchandise licensing.
3) The candidate shows a sophisticated grasp of industry practices like synergistic advertising and how they are leveraged to build large audiences for
L. the film process
This document provides information about the film production and distribution process. It begins with an overview of the main stages in the process: production, marketing, distribution 1, exhibition, distribution 2, and exchange. It then lists some of the key roles involved in filmmaking, such as producers, directors, and editors. The document presents five potential film briefs and asks the reader to choose one to develop. It asks how the reader would make the film, get it to cinemas, market it, distribute it to audiences, and get people talking about it. In the end, the reader is asked to summarize their proposed film idea and distribution plan.
How to analyse media texts
The document provides an overview of semiotic analysis and deconstruction of media texts. It discusses how media texts use various codes and signs like images, fonts, colors and language to convey multiple messages simultaneously. Students are instructed to pick apart example texts by annotating every significant element and attempting to derive meanings. The goal is to understand how different representations are being presented through various textual elements and their combined messages.
Impressionist music style
The document discusses different styles of music videos including impressionist style. Impressionist music videos use brief, unrelated shots that are loosely linked by the lyrics of the song rather than having a clear narrative. To analyze an impressionist music video, students are asked to take screenshots from Adele's "Rolling in the Deep" video, analyze how the images relate to each other and the lyrics, and explain the effect of the images on the overall video. Different levels are described for the analysis, with higher levels requiring more screenshots and a deeper explanation of how the images connect to the lyrics and each other.
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This document provides guidance for Section A of the G325: Critical Perspectives in Media A2 exam. It discusses the two compulsory questions in Section A. Question 1(a) requires students to evaluate their skills development across productions from Foundation to Advanced Portfolios, focusing on specific production practices. Question 1(b) requires students to analyze one production in relation to a media concept. The document lists common concepts and practices that have been asked about in past exams. It provides examples of previous questions, mark schemes, and tips for answering Question 1(a) and 1(b) at different levels. The purpose is to help students understand the requirements and prepare for the theoretical evaluation section of the exam.
G325 road map 2011
This document outlines the structure and requirements for the G325: Critical Perspectives exam. The exam has two sections:
Section A involves two compulsory questions requiring reflective evaluation of skills and conceptual analysis of media projects. Students have 30 minutes for each answer requiring at least 2 pages.
Section B focuses on contemporary media issues like postmodern media in film, TV and video games. Students choose two questions and answer one, writing for at least 4 pages in 1 hour. Answers must discuss at least two media and refer to past, present and future issues.
The exam is difficult and students are advised to learn the rules, practice mock exams, and focus case studies on specified texts to demonstrate understanding across media, industries
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Media Studies involves critically analyzing various media like films, TV, games, and advertising. Students will produce their own media texts, like websites or podcasts, for 50% of the coursework. The other 50% involves a written exam analyzing unseen TV or film extracts and answering questions about the media industry. Students need at least a C in English for the writing and will develop skills in research, production, and group work by studying examples like Skins and Doctor Who. The course combines well with subjects such as English, politics, and art.
Media Studies Presentation
Media Studies involves critically analyzing various media like films, TV, games, and advertising. Students will produce their own media texts like websites or podcasts for 50% of the coursework. The other 50% involves a written exam analyzing unseen TV or film extracts and answering questions about the media industry. Students need at least a C in English for the writing and will develop skills in research, production, and group work by studying examples from shows like Skins and Doctor Who. Media Studies combines well with subjects like English, politics, and art.
Introduction to G325 Exam Unit
This document outlines the structure and requirements for the Critical Perspectives exam. It discusses the two sections of the exam - Section A focuses on theoretical evaluation of media production, while Section B covers contemporary media issues. Students will complete project work in teams to research one of six media issue themes and create revision materials. They will then answer one question from their chosen theme in the exam. The document provides details on the timeline and assessment criteria for the project work portion of the course.
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This document provides information and guidance for a Year 13 A2 Media Studies course. It outlines the two units - the Advanced Production Portfolio coursework project worth 50% and the Critical Perspectives exam worth 50%. For the coursework, students must complete a media campaign on an original product. Deadlines for drafts and final submissions are provided. Recommended wider reading materials include books on media theory and a list of influential films. University options for Media Studies are listed, and advice is given on preparing applications, such as compiling a show reel of work.
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This document provides guidance on answering exam questions about media production work. It discusses the requirements for two questions - 1a and 1b. Question 1a requires reflection on all production work completed, focusing on skills and development in areas like creativity, technology, research and planning. Question 1b focuses reflection on one project and key concepts like genre and narrative. Tips are provided for question 1a, including planning, considering the mark scheme, and reflecting on learning. Students are also given homework to prepare terminology and notes on research and planning skills.
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The document provides information about the exam for the G325 Critical Perspectives in Media course. It outlines that the exam consists of two sections: Section A involves a theoretical evaluation of students' own production work, and Section B focuses on postmodern media. For Section A, students must answer two compulsory questions - one on reflecting on their skills development, and one analyzing a past production concept. Section B involves choosing one question on postmodernism and focusing the answer on at least two media forms across past, present and future. The document provides details on the requirements, structure and marking of each section.
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This document provides an introduction to the G325: Critical Perspectives in Media course. It outlines that students will complete a two-hour exam assessing their knowledge of media concepts, contexts, and debates. The exam consists of two sections: Section A requires students to theoretically evaluate their own media production work and skills development over time in relation to concepts like genre and narrative; Section B requires students to answer a question on a contemporary media issue like global media or post-modern media by discussing relevant case studies, texts, industries, audiences, and debates. The document provides guidance on the structure and requirements of the exam.
Introduction to section a
The examination consists of two compulsory questions assessing theoretical evaluation of production work and one question from six topic areas on contemporary media issues. For Section A, candidates have one hour to answer two questions: 1a) evaluating skill development over their AS and A2 coursework and 1b) evaluating one production in relation to a media concept. Section B assesses contemporary media issues over one hour. Question 1a focuses on skills such as digital technology, creativity, research and planning, while question 1b relates productions to concepts like genre, narrative and representation. Candidates must know their coursework in depth to discuss skills development and relate a production to a concept.
G325
Here are the key points to cover in your genre analysis of your production for Section A Question 1b:
- State the genre of your production (e.g. horror, comedy, thriller etc.)
- Identify the codes and conventions typical of this genre (e.g. for horror - scary music, dark lighting, violent scenes etc.)
- Explain how these codes and conventions are established in your production through specific examples from it
- Analyze how the mise-en-scène (sets, props, costumes, locations etc.) support and signify the genre
- Discuss any themes commonly associated with the genre that are present
- Consider if your production adheres to or subverts
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The document provides guidance for a 2-hour exam with two sections. Section A involves answering two questions about the student's coursework, focusing on developing skills over time (1a) and applying a theoretical concept (1b). Section B involves a single question on media and collective identity, requiring discussion of representation of social groups across time periods using relevant theory and examples from different media. Key advice emphasizes linking specific examples from texts to theoretical concepts, showing progression, and managing time spent on parts of the exam.
As to a2 intro
This document provides an overview and introduction to the A2 Media Studies course. It outlines the two main components: the Advanced Media Portfolio coursework unit and the Critical Perspectives in Media examined unit. For the portfolio unit, students will produce a music video, digital booklet, and webpage. They will also submit a blog and digital evaluation. The exam unit involves evaluating students' skills development and analyzing a production in relation to media concepts, as well as a postmodernism essay. Technical skills like editing, color correction, and green screening are emphasized. Strong organization, time management, and keeping up with current media trends are keys to success.
G325 tips
The exam will take place on June 15th and last 2 hours. It consists of 3 questions worth 100 marks total, split into sections of 25, 25, and 50 marks. The exam is worth half of the A2 grade. Various grade boundaries are provided, with a grade of A requiring 80/100 marks. Strategies for the exam are discussed, including doing the higher-weighted question first and using a highlighter. Sample past exam questions are presented focusing on skills development, research, conventions, and representation. Tips for answering questions about one's own coursework and developing skills over time with examples are also provided.
A2 revision
The document provides information about the G325: Critical Perspectives in Media exam. It will assess understanding of contemporary media issues and evaluation of practical production work. The exam consists of two sections worth 50 marks each: theoretical evaluation of two production works; and analysis of a contemporary media issue from a choice of topics. Successful answers will require reflection on skills development, use of concepts to analyze work, and relating production to theoretical knowledge gained in the course.
A2 media studies course outline
This document outlines the course requirements for A2 Media Studies. Students must complete two units - G324 Advanced Portfolio in Media and G325 Critical Perspectives in Media. For G324, students will produce a 5 minute TV documentary in groups of 3, along with a radio trailer and listings magazine feature about the documentary. They must submit research, planning, and a self-evaluation. For G325, students will take a 2 hour exam with two sections - the first evaluates students' skills and one production piece, the second addresses contemporary media issues like representations of social groups.
G325exam
This document provides information about the A2 media exam, including the date and format, grade boundaries, strategies for preparation, and sample past exam questions. The exam is 2 hours long and consists of 3 questions worth 100 marks total. It covers research and planning skills, use of digital technology, conventions of real media, genre, narrative, representation, and audience. The document advises preparing well by practicing essays and learning key theories to apply in answers. It also suggests strategies like doing questions in order and using a highlighter.
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Task 3 a narrative music style
1. The document lists names in a classroom seating plan.
2. It then instructs students to stick to their assigned computer number for a BTEC Year 12 class.
3. Various music video styles are defined, including narrative, animation, in-concert footage, interpretative, impressionist, surrealist, pastiche and parody. Examples of narrative music videos are provided.
Interpretive music style
1. The document lists various music video styles including popular genres, narrative, animation, in-concert footage, interpretative, impressionist, surrealist, pastiche and parody.
2. Impressionist music videos are described as using brief, seemingly unrelated shots that are linked by the lyrics of the song.
3. Students are tasked with choosing a theme, taking various impressionist shots to symbolize the theme, and filming a video to explain how the shots create the theme. Different levels of passing criteria are provided based on the quality of the theme, shots, and explanation.
12 mv styles of music video
1. The document lists the names of students in a Year 12 BTEC class.
2. It instructs students to stick to their assigned computer number.
3. The document also outlines different styles of music videos including popular music genres, narrative, animation, in-concert footage, interpretative, impressionist, surrealist, pastiche, and parody.
12 mv techniques analyse chroma key
Producers use green screen in music videos to focus attention on the artist and their performance by providing a clean, clear background that allows the artist to appear as if they are somewhere else through visual effects. The green screen creates an unreal or exaggerated setting that helps represent the artist's emotions and immerses viewers in the music by enhancing the narrative and aesthetic experience.
12 mv techniques chroma key
This document provides instructions for a music video techniques lesson that teaches about chroma keying. It explains that chroma keying, also known as green/blue screening, is a compositing technique used to replace a solid color background with another image or video. Students are asked to watch a Beyonce music video to identify where chroma keying was used. They are then instructed to choose an emotion, find 3 images representing that emotion, take photos of themselves in front of a green screen, key in the images, and upload the result to their websites.
Task 2 b cutting on the beat
Cutting to the beat in a music video refers to changing shots or cutting between different camera angles in time with the beat of the song. The document provides instructions for an activity where students will analyze Adele's "Rolling in the Deep" music video by highlighting lyrics where the shot changes and identifying different shot types. They will then discuss how cutting the shots to match the beat enhances the music video by closely linking the visuals and audio. The effect of cutting on the beat is that it synchronizes the images with the music, bringing the viewer out of the dark through a rising fire and fever pitch.
12 mvl1 conventions
This document provides guidance on analyzing music videos through both macro and micro elements. At the macro level, it discusses analyzing the genre, representations, institutions, audiences, and narrative portrayed in a music video. At the micro level, it examines the editing, sound, mise-en-scene, and cinematography techniques used. It also lists some key macro elements to analyze for a specific Katy Perry music video called "Last Friday Night".
Task 2a what is an auteur
The document defines and discusses the auteur theory, which originated in France and means "author." The auteur theory holds that the director of a film reflects their own vision, style, technique, innovation and creativity through their work. The theory was originally founded by Francois Truffaut in the 1950s. Examples of recognizable auteurs are provided and students are assigned a task to further explain the auteur theory and provide examples of auteurs' distinctive directorial styles.
Narrative theory mini lesson lydia
This document discusses two narrative theories: Todorov's and Vladimir Propp's. Todorov's theory states that narratives follow the structure of equilibrium, disequilibrium, recognition of the disruption, resolution to resolve it, and restoration of equilibrium. Vladimir Propp analyzed folktales and identified eight recurring character roles. The document asks students to consider how these theories apply and to put the stages of Todorov's theory in order.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups. It engages with issues of identity and community for diaspora populations. Third World films challenge history and reveal struggles of minorities. They show experiences of poverty to facilitate education and dialogue rather than imagine poverty. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
Task 3b british indie film project
This document outlines the tasks for two British indie film projects. Task 3a involves researching a single film and splitting the research into production, distribution, and exhibition sections. Task 3b requires students to choose 3 low-budget British indie films, analyze screenshots for what makes a British indie film, storyboard and film the opening of their own indie film in groups of 3-4 students, and edit the film using iMovie. Both projects are due by November 26, 2012.
Task 3 british indie fims
The document provides instructions for students to submit their film poster assignments to an online site by the deadline, where they will be displayed and evaluated out of 10 points by other students rotating through different seats. It also introduces the next task on researching British independent films.
Task 2a what is an auteur
The document defines and discusses the auteur theory in film. It was originally founded in France in the 1950s by Francois Truffaut, meaning "author" and refers to a director that brings their own unique vision, style, technique, and personality to their films. Some key aspects are that the director has creative control and imprints their films with their own distinguishable style. Examples of recognizable auteurs and an assignment to further explain the auteur theory are also provided.
Task 2 what is an auteur
The document discusses tasks and lessons related to studying the film industry and production process. It provides details about creating a website and presentation on the film industry production process, with a deadline of September 21st. The document also covers the auteur theory, explaining it was founded in the 1950s by Francois Truffaut to describe directors who bring their own personal vision and style to films.
Production film industry
The document discusses the film production process and creating a production company. It asks questions about the various stages of filmmaking like development, pre-production, production, and post-production. This includes fundraising, budgeting, targeting audiences, and marketing films. Students are tasked with creating a PowerPoint on the production process and pitching their own film idea for potential investment.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups facing gender, class, race, religion or ethnic oppression. It engages with questions of identity and diaspora communities, challenges views of history, and facilitates interaction between intellectuals and the public to imagine new possibilities through inclusion. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
Task 3b conventions of a brit film
British social realist films are characterized by their use of British actors and locations filmed with dull, dim lighting to reflect bleak weather conditions. They typically have low budgets, focus on small personal dramas of emotionally dramatic individuals, and address social issues through a satirical lens with a dry sense of humor. The document provides instructions for a school project analyzing conventions of British indie films and creating a storyboarded trailer for a low-budget British indie film.
Task 3b conventions of a brit film
British social realist films are characterized by their use of British actors and locations filmed with dull, dim lighting to reflect bleak weather conditions. They typically have low budgets, focus on small personal dramas of emotionally dramatic individuals, and address social issues through a satirical lens with a dry sense of humor. The document provides instructions for a school project analyzing conventions of British indie films and creating a storyboarded trailer for a low-budget British indie film.
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Task 4 hollywood, british and third world films intro
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The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
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.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
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Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
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- 1. What are the Macro elements in Media Studies?
- 2. Film Horror Film trailer Film magazine front cover Film poster
- 3. Year 13 Exam You will have two sections Section A Section B Theoretical Evaluation Contemporary Media of Production Issues: Postmodernism 50marks 50marks Ms Paul Mr Raymond
- 4. Exam folder Ring binder 10 dividers Lined paper Every lesson counts! Keep organised = easy revision
- 5. Section A Section B Theoretical Evaluation Contemporary Media of Production Issues - Postmodernism 2 questions Question 1a Answer 1 question 25 marks (you have a choice of 2) Question 1b 25 marks =50 marks 50marks Ms Paul Mr Raymond
- 6. Question 1 Synoptic question: reflection on all your practical work from AS – A2 Digital Technology Creativity Research and planning Post-production Using conventions from real media texts
- 7. Question 1b Reflection on any production work in regards to the following; Genre theory Narrative theory Representation theory Audience theory Media language ○ Technical codes ○ Language codes
- 8. Define it Genre Representation Narrative Audience Institution Media Language
- 9. 12 June 2012 th Research tasks until 12th June 2012 After 12th June 2012 you will produce your preliminary for horror trailer Research tasks will need to be completed before Pre-lim Incomplete research tasks = no filming
- 10. Genre What is genre? Why is genre important? Why is genre important to audiences? Why is genre important to institutions? What genre theorists can you find? How does genre theory apply to horror film?