Lady Gaga's "Bad Romance" music video depicts her being kidnapped by supermodels and sold to the Russian mafia as a sex slave. The video uses various camera techniques, lighting effects, costumes, and sound to portray this storyline and show Gaga's journey from victim to empowered. It takes place in a white bathhouse setting and features Gaga in many elaborate and revealing outfits as she is auctioned off and eventually gains control over her situation.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
The trailer provides a summary of the final Harry Potter film in 3 key points:
1) It opens with the recognizable Harry Potter theme music slowed down to set a darker tone, before introducing the returning antagonist, Lord Voldemort.
2) Voiceovers from Harry and Voldemort establish their binary opposition and the climactic confrontation building throughout the film series.
3) Dramatic music, dark imagery, and intertitles like "epic" and "phenomenon" showcase the large scale action and conclusion of the beloved franchise through intense magical battles.
The film begins with a black screen and white text providing background information about the film's subject matter. It then cuts to a series of close-up shots showing significant objects related to disturbing events that have occurred. Interspersed with these shots is an audio recording from the scene that adds to the growing sense of tension and mystery. The titles then appear in the same style as the introductory text, concluding the opening sequence and leaving the audience with questions about what has transpired.
This document provides an analysis of two soap opera trailers:
1) An EastEnders trailer that uses dramatic music and voiceover to build intrigue around the return of the character Sharon amid warnings of an incoming "storm." Various shots and lighting are analyzed.
2) A Hollyoaks trailer showing characters in a forest having fun, though various cues like a character in the rain suggest trouble. Props like masks are discussed. Slow motion is used for irony.
The document evaluates the strengths of each, noting effective uses of sound, lighting, shots and cues to imply meaning without dialogue. Specific techniques like meaningful lyrics and character expressions would be repeated for their own trailers.
This trailer provides glimpses of scenes from several classic horror films to build intrigue and suspense for viewers. Brief clips show mysterious figures and settings that leave audiences with questions about the unfolding plots. Tension is created through the use of ominous music, dark shadows, frightening sounds and unexpected moments that startle the viewers. The trailer cuts between short clips quickly and does not provide full context, but hints at supernatural, mysterious and terrifying themes to entice horror fans to watch the full films.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
The trailer provides a summary of the final Harry Potter film in 3 key points:
1) It opens with the recognizable Harry Potter theme music slowed down to set a darker tone, before introducing the returning antagonist, Lord Voldemort.
2) Voiceovers from Harry and Voldemort establish their binary opposition and the climactic confrontation building throughout the film series.
3) Dramatic music, dark imagery, and intertitles like "epic" and "phenomenon" showcase the large scale action and conclusion of the beloved franchise through intense magical battles.
The film begins with a black screen and white text providing background information about the film's subject matter. It then cuts to a series of close-up shots showing significant objects related to disturbing events that have occurred. Interspersed with these shots is an audio recording from the scene that adds to the growing sense of tension and mystery. The titles then appear in the same style as the introductory text, concluding the opening sequence and leaving the audience with questions about what has transpired.
This document provides an analysis of two soap opera trailers:
1) An EastEnders trailer that uses dramatic music and voiceover to build intrigue around the return of the character Sharon amid warnings of an incoming "storm." Various shots and lighting are analyzed.
2) A Hollyoaks trailer showing characters in a forest having fun, though various cues like a character in the rain suggest trouble. Props like masks are discussed. Slow motion is used for irony.
The document evaluates the strengths of each, noting effective uses of sound, lighting, shots and cues to imply meaning without dialogue. Specific techniques like meaningful lyrics and character expressions would be repeated for their own trailers.
This trailer provides glimpses of scenes from several classic horror films to build intrigue and suspense for viewers. Brief clips show mysterious figures and settings that leave audiences with questions about the unfolding plots. Tension is created through the use of ominous music, dark shadows, frightening sounds and unexpected moments that startle the viewers. The trailer cuts between short clips quickly and does not provide full context, but hints at supernatural, mysterious and terrifying themes to entice horror fans to watch the full films.
This document provides an analysis of two trailers for the soap operas Hollyoaks and Emmerdale. For each trailer, the student analyzes the verbal codes (dialogue, lyrics), non-verbal codes (settings, facial expressions), and technical codes (camera shots, lighting). They note how these codes are used to build tension and signify upcoming themes like death, adultery, and villainy. In their evaluation, the student identifies strengths of each trailer they want to replicate in their own soap opera trailer, such as mysterious sound effects, dramatic music and lighting, and the use of broken frames and camera angles to characterize people.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
The opening sequence of the film "Awake" begins with white text on a black screen providing facts about surgeries performed under anesthesia when patients are not fully asleep. As this text is displayed, ambient hospital sounds are heard to set the scene. The sequence then shows the main character, a woman, in her hospital bed waking up during her surgery unable to move or speak. Close-ups of the surgical tools and doctors working on her create a sense of fear and helplessness. The sequence ends by fading to black, leaving the audience wondering what will happen to the woman as she remains conscious during her operation.
The document provides an in-depth analysis of a horror movie trailer. It summarizes the key elements of the trailer including its use of sound, lighting, characters, and camera shots to set up tension and fear. The trailer introduces a female protagonist whose normal life is disrupted by an encounter with an elderly woman. Through the use of ominous music, dim lighting, and creepy settings, the trailer crafts an atmosphere of horror and suggests the protagonist will face supernatural threats from the old woman.
Kingsley will play the lead role of Shaun in the film trailer. Shaun is a businessman whose wife was murdered. The trailer will show Shaun's emotional journey from grief to becoming a violent killer seeking revenge. Locations featured will be outdoors at houses, a hotel room, country roads, and a church to give a rural feel as Shaun is out of his element. Outfits include a tweed jacket, white shirt, and bow tie to portray Shaun's formality with quirks. The tea party climax will take place at the narrator's nan's table to maintain the countryside theme.
The student analyzed three horror movie trailers: Annabelle, The Conjuring, and The Woman in Black. For each trailer, the student examined elements like lighting, sound editing, camera work, and mise-en-scene. Key techniques highlighted included the use of jump scares, ominous music, and mysterious shots to build tension and intrigue audiences. Overall, the analysis showed how trailers employ various cinematic techniques over short durations to effectively tease horror movie plots.
Script for recording video analysing Detourlivgascoine
This document provides a script for analyzing various clips from the 1945 film noir "Detour". It summarizes key elements in each clip such as lighting, music, shot types, and how they advance the plot and develop characters. The opening credits set the tone with their font and music. Early scenes establish the protagonist Al as an ambiguous figure and use flashbacks to build mystery around his journey. Subsequent clips showcase techniques like voiceover and femme fatale characters to reveal Al's inner thoughts and complicate the narrative. The film employs many classic noir elements like dark lighting, reflections, and an ultimately tragic ending left ambiguous for the audience.
The document summarizes representations of the working class in several British TV shows and films. In a soap opera, a male character towers over a female and looks harsh while she smiles happily. A sitcom features three shabby male characters who live together and try to get rich through theft and fraud. A film called Submarine portrays an unhappy working-class couple in dead-end jobs who seek excitement to escape their routine lives.
The document outlines 19 scenes for a film production planning a romantic drama about a couple. Scene 1 shows a coin toss in a church symbolizing the instability of the relationship. Scene 2 flashes back to when the couple spent carefree time in the park. Scene 3 depicts the couple dancing at a party before the woman receives a job offer abroad without telling her partner. Later scenes show the couple arguing and splitting up as the woman leaves for her new job, while her partner struggles to adjust to single life. The film cuts between the two living separate lives in different countries and features brief reunions as well as the characters each meeting new people. The ending scene proposes reuniting the couple by having one character catch the coin.
Textual analysis of 2 soap opera trailersewalker1252
This document provides an analysis of two soap opera trailers from Hollyoaks and Eastenders. For each trailer, it summarizes the use of verbal codes like dialogue and soundtrack, non-verbal codes like lighting, costumes and setting, and technical codes like camera angles and shot types. It evaluates the strengths of each trailer, noting elements it would repeat like changing soundtracks and fast cuts, or exploit like a powerful opening line or short trailer length.
The document provides a textual analysis of two soap opera trailers:
1) A New Year's episode trailer for BBC's EastEnders focuses on verbal codes like dialogue conveying a dilemma and demands for the truth, as well as non-verbal codes like sinister lighting suggesting an evil protagonist.
2) A summer trailer for ITV's Emmerdale highlights verbal codes including an aggressive demand to stand up to a male character and a gunshot followed by a woman screaming "Dad!". Non-verbal codes show distraught facial expressions and low key lighting isolating a character.
Technical codes are also analyzed, like close-ups on characters' facial expressions in both trailers to draw in viewers wanting to understand the
This trailer summarizes the 2013 remake of the horror film Carrie. It establishes the film is set in a typical suburban American town and follows Carrie White, a shy high school girl who lives with her deeply religious mother and is constantly bullied by her peers. Throughout the trailer, tensions escalate as Carrie struggles to fit in at school while dealing with her religious mother and discovering she has mysterious powers. The trailer uses ominous music, quick cuts between scenes, and Carrie's voiceovers to build suspense and show her desire for normalcy before things spiral out of her control.
OCR A2 Media Studies - Unit G324 - Textual AnalysisJosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings), and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret from the characters, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
This document provides an analysis of two soap opera trailers from EastEnders and Emmerdale. For the EastEnders trailer, the summary analyzes the use of verbal codes like dialogue that conveys a dilemma, and non-verbal codes like sinister lighting used for a villainous character. Technical codes like close-ups are also discussed. For the Emmerdale trailer, verbal codes like an aggressive female character and a gunshot are summarized, along with non-verbal codes of sad facial expressions and isolation through lighting. Technical codes of close-ups and shot reverse shots showing conflicts are also mentioned. The document evaluates the strengths of each trailer and discusses elements that could be repeated or exploited in other trailers.
The document outlines ideas for a music video for the song "Mad World" that will have a sad, emotional tone represented through a black and white, low-key aesthetic. It will tell the story of a depressed female character through flashbacks and scenes of her attempts at suicide, while cutting between her narrative and performances by the male singer. The video aims to portray the relationship between the two characters and generate a sense of following someone's journey through the use of tilts, tracks and fragmented storytelling.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
Wolf Creek Textual Analysis - Peter Maddison6415964862123
The trailer provides context about the plot and characters through various camera techniques and shots. It begins by showing three friends enjoying a party, representing the equilibrium stage. Their car then breaks down in a remote area, signifying the disruption. They meet an older man who initially seems friendly but his sinister intentions are hinted at through his dialogue and expressions. Shots of the friends looking distressed and a woman running imply danger is pursuing them. Close-ups of the man holding weapons and peering through a scope establish him as the threatening villain aiming to inflict harm on the isolated protagonists.
The document outlines a filming and meeting schedule. It provides details about when filming and meetings will take place. The schedule likely helps coordinate filming logistics and ensure all parties involved are aware of upcoming shoots and conferences.
The document discusses editing two photoshoots by removing a green screen background in Photoshop. The editor used the magic eraser tool to delete large areas of green, and the smaller eraser for intricate details. On some areas like clothing, the green screen left a glow that required additional cloning or color balancing tools to modify. Completing the background removal was a long process that required zooming in close and carefully erasing small sections to achieve a professional result.
We have two items on our editing list: Our Editing List and Our Storyboards. Both items relate to editing work that needs to be done, with Our Editing List potentially being a list of edits that need to be made and Our Storyboards involving draft storyboards or scripts that require review.
The document discusses a music magazine project focusing on the genres of jazz and pop. It analyzes the conventions used in real music magazines and how the author's magazine represents and blends the genres. The author uses similar conventions like bold titles, images, and colors but mixes elements to represent the hybrid "Japop" genre. The magazine targets younger, aspirational audiences in lower socioeconomic classes who follow music trends.
This document provides an analysis of two trailers for the soap operas Hollyoaks and Emmerdale. For each trailer, the student analyzes the verbal codes (dialogue, lyrics), non-verbal codes (settings, facial expressions), and technical codes (camera shots, lighting). They note how these codes are used to build tension and signify upcoming themes like death, adultery, and villainy. In their evaluation, the student identifies strengths of each trailer they want to replicate in their own soap opera trailer, such as mysterious sound effects, dramatic music and lighting, and the use of broken frames and camera angles to characterize people.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
The opening sequence of the film "Awake" begins with white text on a black screen providing facts about surgeries performed under anesthesia when patients are not fully asleep. As this text is displayed, ambient hospital sounds are heard to set the scene. The sequence then shows the main character, a woman, in her hospital bed waking up during her surgery unable to move or speak. Close-ups of the surgical tools and doctors working on her create a sense of fear and helplessness. The sequence ends by fading to black, leaving the audience wondering what will happen to the woman as she remains conscious during her operation.
The document provides an in-depth analysis of a horror movie trailer. It summarizes the key elements of the trailer including its use of sound, lighting, characters, and camera shots to set up tension and fear. The trailer introduces a female protagonist whose normal life is disrupted by an encounter with an elderly woman. Through the use of ominous music, dim lighting, and creepy settings, the trailer crafts an atmosphere of horror and suggests the protagonist will face supernatural threats from the old woman.
Kingsley will play the lead role of Shaun in the film trailer. Shaun is a businessman whose wife was murdered. The trailer will show Shaun's emotional journey from grief to becoming a violent killer seeking revenge. Locations featured will be outdoors at houses, a hotel room, country roads, and a church to give a rural feel as Shaun is out of his element. Outfits include a tweed jacket, white shirt, and bow tie to portray Shaun's formality with quirks. The tea party climax will take place at the narrator's nan's table to maintain the countryside theme.
The student analyzed three horror movie trailers: Annabelle, The Conjuring, and The Woman in Black. For each trailer, the student examined elements like lighting, sound editing, camera work, and mise-en-scene. Key techniques highlighted included the use of jump scares, ominous music, and mysterious shots to build tension and intrigue audiences. Overall, the analysis showed how trailers employ various cinematic techniques over short durations to effectively tease horror movie plots.
Script for recording video analysing Detourlivgascoine
This document provides a script for analyzing various clips from the 1945 film noir "Detour". It summarizes key elements in each clip such as lighting, music, shot types, and how they advance the plot and develop characters. The opening credits set the tone with their font and music. Early scenes establish the protagonist Al as an ambiguous figure and use flashbacks to build mystery around his journey. Subsequent clips showcase techniques like voiceover and femme fatale characters to reveal Al's inner thoughts and complicate the narrative. The film employs many classic noir elements like dark lighting, reflections, and an ultimately tragic ending left ambiguous for the audience.
The document summarizes representations of the working class in several British TV shows and films. In a soap opera, a male character towers over a female and looks harsh while she smiles happily. A sitcom features three shabby male characters who live together and try to get rich through theft and fraud. A film called Submarine portrays an unhappy working-class couple in dead-end jobs who seek excitement to escape their routine lives.
The document outlines 19 scenes for a film production planning a romantic drama about a couple. Scene 1 shows a coin toss in a church symbolizing the instability of the relationship. Scene 2 flashes back to when the couple spent carefree time in the park. Scene 3 depicts the couple dancing at a party before the woman receives a job offer abroad without telling her partner. Later scenes show the couple arguing and splitting up as the woman leaves for her new job, while her partner struggles to adjust to single life. The film cuts between the two living separate lives in different countries and features brief reunions as well as the characters each meeting new people. The ending scene proposes reuniting the couple by having one character catch the coin.
Textual analysis of 2 soap opera trailersewalker1252
This document provides an analysis of two soap opera trailers from Hollyoaks and Eastenders. For each trailer, it summarizes the use of verbal codes like dialogue and soundtrack, non-verbal codes like lighting, costumes and setting, and technical codes like camera angles and shot types. It evaluates the strengths of each trailer, noting elements it would repeat like changing soundtracks and fast cuts, or exploit like a powerful opening line or short trailer length.
The document provides a textual analysis of two soap opera trailers:
1) A New Year's episode trailer for BBC's EastEnders focuses on verbal codes like dialogue conveying a dilemma and demands for the truth, as well as non-verbal codes like sinister lighting suggesting an evil protagonist.
2) A summer trailer for ITV's Emmerdale highlights verbal codes including an aggressive demand to stand up to a male character and a gunshot followed by a woman screaming "Dad!". Non-verbal codes show distraught facial expressions and low key lighting isolating a character.
Technical codes are also analyzed, like close-ups on characters' facial expressions in both trailers to draw in viewers wanting to understand the
This trailer summarizes the 2013 remake of the horror film Carrie. It establishes the film is set in a typical suburban American town and follows Carrie White, a shy high school girl who lives with her deeply religious mother and is constantly bullied by her peers. Throughout the trailer, tensions escalate as Carrie struggles to fit in at school while dealing with her religious mother and discovering she has mysterious powers. The trailer uses ominous music, quick cuts between scenes, and Carrie's voiceovers to build suspense and show her desire for normalcy before things spiral out of her control.
OCR A2 Media Studies - Unit G324 - Textual AnalysisJosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings), and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret from the characters, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
This document provides an analysis of two soap opera trailers from EastEnders and Emmerdale. For the EastEnders trailer, the summary analyzes the use of verbal codes like dialogue that conveys a dilemma, and non-verbal codes like sinister lighting used for a villainous character. Technical codes like close-ups are also discussed. For the Emmerdale trailer, verbal codes like an aggressive female character and a gunshot are summarized, along with non-verbal codes of sad facial expressions and isolation through lighting. Technical codes of close-ups and shot reverse shots showing conflicts are also mentioned. The document evaluates the strengths of each trailer and discusses elements that could be repeated or exploited in other trailers.
The document outlines ideas for a music video for the song "Mad World" that will have a sad, emotional tone represented through a black and white, low-key aesthetic. It will tell the story of a depressed female character through flashbacks and scenes of her attempts at suicide, while cutting between her narrative and performances by the male singer. The video aims to portray the relationship between the two characters and generate a sense of following someone's journey through the use of tilts, tracks and fragmented storytelling.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
Wolf Creek Textual Analysis - Peter Maddison6415964862123
The trailer provides context about the plot and characters through various camera techniques and shots. It begins by showing three friends enjoying a party, representing the equilibrium stage. Their car then breaks down in a remote area, signifying the disruption. They meet an older man who initially seems friendly but his sinister intentions are hinted at through his dialogue and expressions. Shots of the friends looking distressed and a woman running imply danger is pursuing them. Close-ups of the man holding weapons and peering through a scope establish him as the threatening villain aiming to inflict harm on the isolated protagonists.
The document outlines a filming and meeting schedule. It provides details about when filming and meetings will take place. The schedule likely helps coordinate filming logistics and ensure all parties involved are aware of upcoming shoots and conferences.
The document discusses editing two photoshoots by removing a green screen background in Photoshop. The editor used the magic eraser tool to delete large areas of green, and the smaller eraser for intricate details. On some areas like clothing, the green screen left a glow that required additional cloning or color balancing tools to modify. Completing the background removal was a long process that required zooming in close and carefully erasing small sections to achieve a professional result.
We have two items on our editing list: Our Editing List and Our Storyboards. Both items relate to editing work that needs to be done, with Our Editing List potentially being a list of edits that need to be made and Our Storyboards involving draft storyboards or scripts that require review.
The document discusses a music magazine project focusing on the genres of jazz and pop. It analyzes the conventions used in real music magazines and how the author's magazine represents and blends the genres. The author uses similar conventions like bold titles, images, and colors but mixes elements to represent the hybrid "Japop" genre. The magazine targets younger, aspirational audiences in lower socioeconomic classes who follow music trends.
The document summarizes the process of creating a CD cover for a fictional Japop artist named Jess. It discusses choosing an image from a photo shoot, editing the image in Photoshop and PowerPoint, and experimenting with different designs and layouts for the cover. The final design features Jess sitting on a chair in front of a blue backdrop, with a hand-drawn heart placed near her name and the song title. Comparisons are made to CD covers from jazz and pop artists to highlight similarities and differences between the styles.
This course provides an overview of creating graphic art for CD covers and the music industry. It discusses the role of graphic artists in designing CD covers to please the artist and suit the music. Cover art is important for promoting the artist and making them easily recognizable. Artists may include logos or trademarks in their cover art to give a first impression of their music and style.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It summarizes the concept of the video, which involves Gaga being kidnapped by supermodels and sold to the Russian mafia as a sex slave. It then analyzes various elements of the video such as camera work, editing, sound, mise-en-scene, costumes, lighting, and colors.
Lady Gaga's "Paparazzi" music video tells a narrative story through a series of shots. It begins by establishing Lady Gaga's luxurious lifestyle with a wealthy lover, but then shows her falling from grace after they have a public altercation caught on camera by paparazzi. She is left injured, but gains fame again through headlines reporting on her demise. Lady Gaga later poisons her lover for revenge and is arrested, but the paparazzi continue hounding her, obsessed with getting photos. The video uses many quick cuts between shots and alludes to other films to enhance Lady Gaga's journey from fame to infamy.
This document provides an in-depth analysis of Lady Gaga's "Million Reasons" music video through discussions of performance, narrative, lighting, props, costume, location, camera work, editing, and sound. It examines how the video explores themes of loss, redemption, and vulnerability through its storytelling and visual elements, with Gaga portrayed as emotionally raw and transparent rather than focused on her usual "star persona." Key techniques like jump cuts and shifts in lighting are used to represent her worsening mental state.
The music video for Lady Gaga's song "Paparazzi" tells the fictional story of Gaga as a doomed starlet hounded by photographers. It shows her being pushed off a balcony by her boyfriend and presumed dead, but surviving and getting revenge by poisoning him. The video is shot and edited like a film, with establishing shots, close-ups, and transitions to advance the narrative. It explores themes of fame, the dark side of celebrity, and the relationship between artists and the paparazzi through its visual imagery and storytelling.
The video uses various camera techniques, editing styles, and mise-en-scene elements to convey Lady Gaga as a powerful and seductive figure in control. Camera angles focus on her body during provocative dance moves. Long takes allow her full body to be seen challenging conventions. Quick edits match the song's beat. Lady Gaga stands out through bright costumes contrasting others in black. She dominates a man who leans into her, unable to understand her as she can manipulate him. Intertextual product placements for a poker website and Beats headphones associate her success with prominent brands.
The document outlines a horror film storyboard presentation. It describes 6 scenes: 1) A girl sees a stalker's eyes through bookshelves in a library. 2) In a dark library, lights turn off towards the girl as an unknown number calls her. 3) The stalker watches the girl from behind trees as she closes her car. 4) The stalker hides as the girl arrives home and talks to her mother. 5) The stalker is seen in the rearview mirror as the girl drops off her mother. 6) After a power outage, the girl sees the stalker's face on the stairs before waking up to a call from her mother.
The document outlines a horror film storyboard presentation that involves a girl who feels like she is being followed. After dropping her mother off at the pub, she finds her power is out at home. She investigates and discovers her stalker, screaming in fright. It turns out to be just a dream, but when the camera pulls back, her stalker is revealed to be standing at the foot of her bed. The document provides details on shots, lighting, sound, characters and more to visualize how the stalking scenes would be filmed.
Lady Gaga uses her stage name to separate her personal and public lives and control her image. She intentionally created an outrageous persona to divert attention from her private self. The music video for "Paparazzi" imitates styles from old Hollywood films and Hitchcock's Vertigo to homage other artists, tell the story through camera angles and imagery, and portray Lady Gaga at a larger-than-life scale.
Lady Gaga stormed onto the pop music scene in 2008 with her debut album The Fame. Her music and music videos are known for her mysterious personality and wild fashion statements. The music video for "Just Dance" uses a variety of editing techniques to cut between shots of Lady Gaga and scenes from a party. It establishes Lady Gaga as a powerful figure through shots that emphasize her strong movements, expensive clothing, and ability to control the party. The video continues intercutting between the scenes to build the narrative that Lady Gaga's arrival at the party livens it up through her music.
Lady Gaga's music video for "Telephone" uses product placement of Coke cans alongside her extravagant outfits to create juxtaposition. The video also features common pop music conventions like dancers, close-ups of her face where she covers part of it to hide something, and lyrics that match her hand gestures. Shots of her in a prison setting and being gazed at sexually also reinforce conventions of rebelliousness and portraying women as objects of desire.
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2. Concept
The main idea behind the video is that of Gaga being
kidnapped by a group of supermodels who drug
her, and sell her off to the Russian Mafia as a sex
slave. It takes place in a fluorescent white bathhouse.
4. Lets see what you can remember…
Put the images in the order you think is
correct.
You have 3 mins and can converse with
your tables.
5.
6. Camera + Editing
The video Bad Romance starts of with a
long shot from which we are able to see
Lady GaGa sitting in the middle with
everyone else around her. The long shot is
able to show the audience where the video
is set.
It then slowly zooms in cutting twice, once
to a mid shot and then to a close up of
Lady GaGa‟s face. Then cuts to an insert
shot to show an extreme close up of the
music player which she plays. An insert
shot adds needed information, information
that wouldn‟t otherwise be immediately
visible or clear. The extreme version of the
close up, magnifies beyond what the
human eye would experience in reality, the
audience wouldn‟t see the music player
from the long shot therefore the close up
allows the audience to see what is
happening better.
7. Camera + Editing
When the video starts it cross fades again
and again to show the setting, firstly we see
a source of light, then a room with pods
and then from a close low angle shot we
see bottles of Vodka. We then experience
another example of an insert shot. We first
see the pods from a long shot so the
audience can see the creatures come out
of the pods it cuts to an extreme close up.
This way the audience are able to see the
creatures coming out of the pods from a
better angle.
When Lady GaGa actually starts singing it
cuts to show a mid shot of an over the
shoulder view of Lady GaGa looking into a
mirror singing the song, this shot allows the
audience to recognise the artist. The
camera is at a low angle from this angle we
can‟t see the faces of the super models as
they are standing up and Lady GaGa is
sitting down. This could imply them as
more superior in comparison to Lady
GaGa.
8. Camera + Editing
Then from a high angle shot we see Lady
GaGa in her normal form, the high angle
shot shows her as helpless and weak. It
also makes the audience feel sorry for her
as through the high angle shot she seems
innocent.
When the chanting „rah-rah-ah-ah-ah‟ starts
again we see from a low angle shot Lady
GaGa standing in the middle surrounded by
all the other dancers. This shows her being
surrounded by evil as from the low angle
shot the audience can see all the other
dancers towering over her.
It then cuts to show her from an over the
shoulder view of the Russian mafia. This
shows the audience Lady GaGa from the
eyes of the Russian mafia. It then cuts to
show an extreme close up of a bottle of
Vodka, seeing the bottle again from a close
up implies the importance of it in the video.
9. Camera + Editing
It then cuts to another scene where Lady
GaGa is standing in the middle and all the
mafia are surrounding her, however this time it
doesn‟t feel as if she is surrounded by evil.
This is because the camera that is panning
around her is from a low angle shot, again
showing her as in control and more powerful.
It then cuts to a low angle shot, where the
camera seems as if it has been place on the
floor, we see GaGa walking in front wearing a
white fur gown. The camera follows her, again
as the camera is at a low angle we see her as
in control and more powerful. It then cuts to an
extreme close up of the side of Lady GaGa‟s
face, to show her expressions.
It then cuts back and forth from GaGa with the
mafia man and her dancing. The quick jump
cuts show the fast pace situation. It then
finishes with a long shot of Lady GaGa
finishing her dance then it cuts to a high angle
mid shot of her lying down on the burned bed
as the camera zooms out.
10. Sound
At the start of the video, Gaga is pressing a
button on a MP3 stereo which seems to play
a demented excerpt of the fugue in B minor
from Book 1 of the Well-Tempered Clavier by
Bach.
When she let goes of the button it launches
into the song. Whilst the song is playing and
near the end when she goes, “Work-work
fashion baby, Work it, Move that bitch crazy”
the screen flashes to the beat to the music
from walking Gaga to sitting Gaga to Gaga in
bath.
11. Sound
Also she repeats the phrase “I want your
Love, And I want your revenge, I want
your love” in French. Just before the final
chorus, Gaga performs a gesture of her
shooting, which leads into the chorus.
When Gaga has finished the song, the
lights switch off really loudly as though it
symbolises her victory over the man, also
Gaga and the dancers do clapping sound
in the final part of the song.
12.
13. Costume
The clothing is quirky, unusual and unique which can appeal to non conformists. The
outfits are:
Men-black women-white and Gaga in a green dress sitting on a throne, masks
On her nails, there is a black netting over them
As they come out of the white pods, Gaga and the dancers are dressed in white
costumes covering their eyes so that their mouths are only showing to show
gaga singing.
She looks in the mirror wearing all black and sunglasses and black hat
14. Costume
In the bathtub, she has orange hair that is short and
curly which is different from the other costume. Her
eyes are big which could show the effect of her
being drugged and from the drink. Wearing
earphones, white nail varnish and a tattoo on her
wrist. In a crop white colour to show her innocence
and represents the sexuality and how she will be
auctioned to the Russian mafia.
There are shots where Gaga is wearing hardly any
make up and are just showing her portrait image to
show her emotions.
The dancers around her remove the overcoat she is
wearing to show her wearing a revealing costume of
a short diamond top and hot pants.
15. Costume
When Gaga is just in the centre of the room, in her
underwear and with diamonds surrounding her.
Showered in diamonds could support this portrayal
as she feels constricted and trapped as there are
many people around her– men who are looking to
bid for her.
When she is being revolved and she is wearing a
top that looks like metal and is turning around a
orbiting ring is surrounding her to reinforce what is
happening to her .
In the next part, she is in an all green costume, with
weird and unusual shoes that do not look like
human shoes and look uncomfortable supporting
her situation. It looks as though she is wearing a
tight top, skirt and legging although she is actually
wearing an all in one suit, with her hair tied up in a
strange way which matches this outfit, completed
with sunglasses again. She looks as though she is
on a catwalk where everyone‟s eyes are on her and
looking at the clothes but in this situation the people
are looking at her as she is the one being advertised
for auction.
16. Costume
She then wears a polar bear coat with a trail
as she leads up to the male sitting on the
chair completed with lot of make up. And
sunglasses which show her stern
expression. her hair big and curly. She then
removed the coat and exposes herself just in
lingerie while the man looks at her in a mask
She lies on the floor wearing an all in one red
outfit in high boots as well as the dancers
behind her. She is in the centre and without
a mask, so the attention is on her and all of
the outfits are different in comparison to each
other
At the end, she is on the bed in her
lingerie, by a skeleton to show that she has
killed the man that won the bid for her.
17. Lighting
At the beginning, the lighting is high key and there are always lights
turned on at the back of the camera shots to emphasise the light on
Gaga. There is then a shot that shows a shot that looks like the sun to
represent the beginning of something. The light then shines through
somewhere to show the setting where the pods are set. The lights pans
around for effect and show the unusual props that are featured. It is as
though a door has been open to reveal the light.
The light gets brighter as the sign gets closer and is featured more into
the shot.
18. Lighting
As the shot shows the pods, the lighting is dim and appears that
there is only light coming from the lights that are seen at the back
of the setting.
When she is in the bath with orange hair and big eyes, the
lighting is high key
When she is staring into the mirror, the lighting is low key
The lighting get brighter as the story develops
When she is in the green costume, the lighting is dim once again
Then gets bright again as she appears in the fur coat and
brightens even more when the dance at the end comes on to
show her dominance and power she has regained at the end of
the situation of the video.
19. Colour
Modern colours are used such as
black and white and lady gaga stands
out as she is in green while the rest of
the people are in black and white.
There are lights added into the scene
that make the scene appear brighter
and more effective.
In all of the scenes, the colour white is
involved which represents the
innocence of her due to the concept of
the music video.
When she is in the bathtub with the big
eyes, the orangey hair she has is the
only colour that stands out in the
scene because of the settings and
lighting.
20. Colour
There is a lot of use of silver and diamonds that represent wealth
and sophistication.
In many of the scenes they appear dim but the lighting used and
that can be seen in the shot make it very clearly to see Gaga.
Most of the outfits are very sparkly and so stand out even in low
key lighting. Such as the red costume that appears near the end
of the video, the brightness of the red is seen clearly in the setting
and via the use of lighting
As the lighting gets brighter the colours stand out
more, emphasising the importance of Gaga and the role she has.
21. Props
The sign saying „Bath Haus of GaGa‟ is
another introduction to the video.
The mirror forces her to look at herself and
she doesn‟t seem happy to do so, perhaps
she doesn‟t like what has become of her.
When she is hunched over in a cylindrical
cage it shows her being oppressed and not
having her freedom.
She is wearing diamond studded earphones
which could symbolise that she is worth a lot
to the Russian mafia and she deserves the
diamonds in their eyes even is she may not
want them.
The lap tops which portray the bidding of the
auction as the supermodels are trying to sell
her off to the Russians. She appears to be
worth a lot to them £100,000, similar to the
cost of the diamonds.
She appears to be in high demand, showered
by diamonds which could be an analogy for
the icy characteristics of the Russian people.
22. Props
The portrayal of Lady GaGa lying upon the
scorched bed creates an image which
differs vastly from the ordinary and what
you might expect in a video based on a sort
of relationship not matter how unhealthy it
happens to be. The remains of who is
supposed to be the male interest it also
scorched and the fact that she is holding a
form of gun which shoots flames insinuates
that she is responsible for his demise, as
well as achieving the effect of her regaining
her dominance in the situation She is taking
control and is no longer going to suffer at
the hand of other and this „bad romance‟.
The sun glasses she is wearing shows a
reflection of the man, this is her trial and
tribulation to face.
23. Props
The glasses are made from razor blades which
could link to her being treated cruelly e.g. cutting
herself, because of her awful situation
Russian alcohol is depicted relates to setting
and they appear large and dominant. When she
is in the bath, her eyes are very large, which
could suggest that she has been dosed up with
drugs and alcohol, and so she isn‟t as
upset, because she is less aware of what is
going on around her.
There are white pods which are small and
confined but people and her emerge from
them, they are being restricted and she feels
trapped. The writing upon the pods says
„MONSTER‟ this could be related to either she
feeling as if she is turning into a monster or the
her abductors behaving like monsters. She
appears to be coming out of the pod similarly to
a coffin the crucifix links to vampirism, perhaps
suggesting that she feels like the living dead.
24. Setting
The video is set in a lightly
lit room. This is pristine
similarly to a medical
centre, as it appears very
clinical.
The camera cuts between a
lightly lit room where the
dance sequences take
place and a darkly lit room
where she appears to be
caged.
Light room could perhaps
be being led into a false
sense of security; dark
room suggests being seedy
and perhaps even danger
25. Facial Expressions
Her facial expressions never seem to be
happy, as she is being oppressed.
At the start when in the throne she has a
very stern facial expression to show her
dissatisfaction in having to conform to the
rule which her captives are setting
down, she is very annoyed and unhappy
with her situation. All of the models
surrounding her appear to be wearing
stern dispositions, sort of like leading by
example that's how they want her to react.
She doesn‟t seem to be quite as upset
when she is at first in the bath by herself
listening to her music; she seems to feel
better when she is away from her
supermodel captors.
26. Facial Expressions
When she is in the bath, her eyes are
very large, which could suggest that she
has been dosed up with drugs and
alcohol, and so she isn‟t as
upset, because she is less aware of what
is going on around her.
After this it portrays her regaining her
feistiness, and fighting back rather than
crying and hiding away. When the
supermodels try to rip her over coat off
she tries to fight them before they
eventually get their own way. When they
eventually take off her coat she portrays
a look of disgust and embarrassment at
having such a revealing outfit on.
27. Facial Expressions
The Russian man is staring
intently, absorbing what he is
seeing. He appears dominant
and controlling in the
situation, threatening.
She doesn‟t smile and is
very, straight faced.
Stern faced and is appearing
very defiant in the last scene
when she is featured upon the
burnt bed.
28.
29.
30. Rules
1. All the girls are on the one side the boys on the other
2. You must have a representative to answer the question
3. Both teams have their own buzzer: Ladies- GaGa Ohh La La
Guyguys- Roma Roma MaMahh
4. If the first time doesn‟t get the question right it will pass on to
the next team.
5. In the event of a tie there will be a tie break question
6. There are 10 questions (excluding the tie break)
7. Best out of 10 will win the game
31. Questions
1. Finish the lyric: “I want your ugly, I
want your ________”
32. Questions
2. How many costumes does GaGa wear
throughout this video?