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Charcter breakdown
The document describes four stereotypical teenage personalities: The Rebel, who is a social outcast but can be nice when wanting to be; The Athlete, who is popular but can bully to impress friends; The Boffin, who is very smart but nerdy and easily bullied; and The Introvert, who is withdrawn and misunderstood with a serious but emotional facial expression.
Scheldule
The schedule outlines a filming day, beginning at 9:00 AM when the crew meets to gather equipment and set up in the media room. From 9:10-10:30, the necessary shots are filmed inside, including close-ups and dialogue. After a break, outdoor establishing shots and a character smoking are captured from 11:30 AM. Filming resumes after lunch with inside shots of hallways and characters walking before finishing up close-ups and checking footage with the teacher at 4:00 PM.
Question 1a presentation task
The document provides guidance for answering question 1a on a critical perspectives exam. It recaps that question 1a requires discussing skills development in relation to digital technology, research and planning, post-production, using conventions from real media texts, and creativity. It outlines a group poster presentation task where students will focus on one of these areas to help understand what to discuss for each skill. The poster must include a definition, what was done in the coursework for that category, examples of relevant skills and how they are shown in the work, and how the skills contributed to creative decision making.
Question 1a overview
Q1(a) requires you to describe and evaluate your skills development over the course of your media production work, from your foundation portfolio to your advanced portfolio. You must focus on developing 1-2 specific skills from the following areas: digital technology, research and planning, post-production, using conventions from real media texts, or creativity. The chief examiner advises providing specific examples from media texts you analyzed to demonstrate how they influenced your work.
Call sheet fenella
The call sheet provides details for a production taking place on Thursday October 13th at Reigate College. It lists the crew call time as 9:00am and finish time as 4:15pm. It also lists the actors involved and their roles, as well as any costumes, props, or equipment needed - including papers and pens to be provided by the college, and cigarettes and glasses to be brought by Fenella.
Recommended
Charcter breakdown
The document describes four stereotypical teenage personalities: The Rebel, who is a social outcast but can be nice when wanting to be; The Athlete, who is popular but can bully to impress friends; The Boffin, who is very smart but nerdy and easily bullied; and The Introvert, who is withdrawn and misunderstood with a serious but emotional facial expression.
Scheldule
The schedule outlines a filming day, beginning at 9:00 AM when the crew meets to gather equipment and set up in the media room. From 9:10-10:30, the necessary shots are filmed inside, including close-ups and dialogue. After a break, outdoor establishing shots and a character smoking are captured from 11:30 AM. Filming resumes after lunch with inside shots of hallways and characters walking before finishing up close-ups and checking footage with the teacher at 4:00 PM.
Question 1a presentation task
The document provides guidance for answering question 1a on a critical perspectives exam. It recaps that question 1a requires discussing skills development in relation to digital technology, research and planning, post-production, using conventions from real media texts, and creativity. It outlines a group poster presentation task where students will focus on one of these areas to help understand what to discuss for each skill. The poster must include a definition, what was done in the coursework for that category, examples of relevant skills and how they are shown in the work, and how the skills contributed to creative decision making.
Question 1a overview
Q1(a) requires you to describe and evaluate your skills development over the course of your media production work, from your foundation portfolio to your advanced portfolio. You must focus on developing 1-2 specific skills from the following areas: digital technology, research and planning, post-production, using conventions from real media texts, or creativity. The chief examiner advises providing specific examples from media texts you analyzed to demonstrate how they influenced your work.
Call sheet fenella
The call sheet provides details for a production taking place on Thursday October 13th at Reigate College. It lists the crew call time as 9:00am and finish time as 4:15pm. It also lists the actors involved and their roles, as well as any costumes, props, or equipment needed - including papers and pens to be provided by the college, and cigarettes and glasses to be brought by Fenella.
Narrativeforq1b 120126102918-phpapp01[1]
1) The document discusses narrative structure in films, focusing on the concepts of plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events.
2) It then examines the ideas of Bordwell and Thompson, who distinguish between plot and story. Plot refers to the visible events in a film, while story encompasses all events, both explicit and inferred. The document also discusses how narratives can leave elements open to interpretation and inference.
3) In conclusion, the key points are that narrative analysis requires considering both the explicit plot and implicit story, including elements left for the audience to infer or presume.
G325 question 1b revision ideas
This document discusses ideas for revising key media concepts for different learning styles including mind maps, posters, and other visual representations of concepts that appeal to visual and tactile learners beyond traditional writing.
Media language social
This document provides information about media language and semiotics. It defines key terms like denotation and connotation, and signifiers and signified. It explains how Roland Barthes' semiotic theory examines how media texts construct cultural meanings through signs on both a denotative and connotative level. Examples are provided of how signs in advertisements take on connotative meanings based on codes and conventions that are culturally understood. The document suggests analyzing one's own media content for its use of signs, denotations, connotations, and how it may reinforce cultural myths.
Sound Lesson 2013
This document provides lesson objectives and materials for teaching students about the use of sound in media. It begins by explaining the key objectives: for students to understand diegetic and non-diegetic sound with examples; analyze how sound creates meaning in a TV drama clip; and use sound terminology. It then defines important sound terminology like diegetic, non-diegetic, sound effects, and voiceovers. Examples are provided of different sound clips to analyze meanings. The document aims to teach students how sound enhances emotional experience and meaning in media.
Camerawork for AS Media
The document discusses various techniques of camera work including angle, movement, position/framing, composition, and depth of field. It provides examples of different camera angles like high, low, and canted angles. It also discusses different types of camera movement such as pans, tilts, tracks, cranes, handheld shots, and zooms. Position/framing refers to the distance between the camera and subject, such as extreme long shots, medium shots, and close-ups. Composition techniques like the rule of thirds are also covered. Depth of field refers to focal length and examples of selective focus, deep focus, and pull focus are given.
Audience for Q1b 2013
This document discusses audience analysis and reception theory. It explains that reception theory views audiences as active interpreters of media rather than passive receivers. Stuart Hall's encoding/decoding model is discussed, which suggests audiences can take preferred, negotiated, or oppositional readings of a text based on their own experiences and perspectives. A preferred reading accepts the producer's intended meaning, a negotiated reading understands the producer's goals but interprets it through their own lens, and an oppositional reading rejects the producer's values embedded in the text. The document asks how different audiences may interpret a TV drama trailer differently based on these concepts.
Representation for Q1b 2014
This document provides a framework for analyzing representations in media based on Richard Dyer's work. It outlines four key questions: 1) What is represented in terms of characters, subject matter, and place? 2) How are social groups represented and what stereotypes are reinforced? 3) Who is responsible for the representations? 4) How might different audiences respond to and make meaning from the representations? For each question, it gives examples of what to consider such as character demographics, production companies, and how representations relate to genres and target audiences.
Q1(b) overview
This document provides guidance for answering a question that requires students to select a production task and evaluate it in relation to one of several media concepts, including genre, narrative, representation, audience, or media language. It asks what the examiner says the question is about and provides examples of past questions.
Editing Lesson 2013
The document discusses various techniques of film editing, including:
- Order of shots and how their sequence can impact meaning
- Continuity editing which maintains logical spatial relationships
- Montage editing which compresses information through suggestive juxtaposition of shots
- Transitions like fades, dissolves and wipes which can imply passage of time or location
- Shot duration and pace, with shorter shots conveying action and longer intimacy
It emphasizes that editing controls what information is seen, when, and by whom, impacting narrative and representation.
Narrative for Q1(b)
The document discusses narrative structure in film, distinguishing between plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events. Bordwell and Thompson's definitions of explicit vs inferred events are provided. The key to narrative analysis is considering the wider story, not just the plot, as audiences infer subtle details. Narrative structure techniques like restricted/unrestricted narratives, open/closed narratives, and enigma codes that engage audiences are also discussed.
Intro media online
This document provides context and discussion points around the topic of media in the online age. It outlines four potential exam questions on how online media has developed, the impact of the internet on media production, how consumer behavior and audiences have been transformed, and the extent to which convergence has transformed media. It then discusses key concepts like the development of the internet and web, changing consumer behaviors and audiences, new business models, and debates around issues like piracy, censorship, control and ownership in the digital age.
Media in the online age research & presentation task 2017
This document outlines a research and presentation task for students to complete in small groups on various media companies and web services. Each group will research the history and developments of companies like Google, YouTube, Facebook, Twitter, or Wikipedia. The presentations should provide an overview of the company's history, including what their website looked like over the years, key changes and acquisitions, user numbers, and current valuation.
David gauntlett andrew keen
The document discusses differing views on the impact of Web 2.0. David Gauntlett argues that Web 2.0 has created a more democratic media by empowering prosumers and challenging the dominance of media institutions. Andrew Keen counters that Web 2.0 has created cultural chaos by fostering a "cult of the amateur" that devalues professionals and expertise, with internet oligarchs replacing old media oligarchs. They disagree on whether the removal of gatekeepers will open media to greater democracy or devalue talent.
Media in the Online Age Unit Overview
This document provides guidance for answering an exam question on contemporary media issues in the online age. Students will be asked to answer one of two questions analyzing how online media has developed and impacted media production, consumer behavior, and convergence. They must use specific case studies and research to demonstrate understanding across at least two media forms. Students should discuss the historical context, current issues, and future debates related to online media and the chosen topics. Potential topics include music/film distribution, online television, gaming, news, or other forms of user-generated content.
Wikipedia
Wikipedia launched in 2001 and quickly overtook the existing encyclopedia Nupedia. It expanded internationally and gained mainstream media attention in 2001. The Wikimedia Foundation was established in 2003. By 2005, Wikipedia became the most popular reference website on the internet. It grew rapidly between 2001-2008, reaching over 5 million registered editors and 2.5 million English articles. While Wikipedia is non-profit and run primarily by volunteers, it is estimated to be worth tens of billions of dollars based on replacement costs and similar websites' valuations, though it only costs $25 million annually to operate.
What the F**K is Social Media: One Year Later
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Digital, Social & Mobile in 2015
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Manufacturing startups constitute the largest pipeline share of unicorns and IPO candidates in the SF Bay Area, and software startups dominate in Germany.
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At Techbox Square, in Singapore, we're not just creative web designers and developers, we're the driving force behind your brand identity. Contact us today.
Understanding User Needs and Satisfying Them
https://www.productmanagementtoday.com/frs/26903918/understanding-user-needs-and-satisfying-them
We know we want to create products which our customers find to be valuable. Whether we label it as customer-centric or product-led depends on how long we've been doing product management. There are three challenges we face when doing this. The obvious challenge is figuring out what our users need; the non-obvious challenges are in creating a shared understanding of those needs and in sensing if what we're doing is meeting those needs.
In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
• Introduce a taxonomy for user goals with real world examples
• Present the Onion Diagram, a tool for contextualizing task-level goals
• Illustrate how customer journey maps capture activity-level and task-level goals
• Demonstrate the best approach to selection and prioritization of user-goals to address
• Highlight the crucial benchmarks, observable changes, in ensuring fulfillment of customer needs
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Narrativeforq1b 120126102918-phpapp01[1]
1) The document discusses narrative structure in films, focusing on the concepts of plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events.
2) It then examines the ideas of Bordwell and Thompson, who distinguish between plot and story. Plot refers to the visible events in a film, while story encompasses all events, both explicit and inferred. The document also discusses how narratives can leave elements open to interpretation and inference.
3) In conclusion, the key points are that narrative analysis requires considering both the explicit plot and implicit story, including elements left for the audience to infer or presume.
G325 question 1b revision ideas
This document discusses ideas for revising key media concepts for different learning styles including mind maps, posters, and other visual representations of concepts that appeal to visual and tactile learners beyond traditional writing.
Media language social
This document provides information about media language and semiotics. It defines key terms like denotation and connotation, and signifiers and signified. It explains how Roland Barthes' semiotic theory examines how media texts construct cultural meanings through signs on both a denotative and connotative level. Examples are provided of how signs in advertisements take on connotative meanings based on codes and conventions that are culturally understood. The document suggests analyzing one's own media content for its use of signs, denotations, connotations, and how it may reinforce cultural myths.
Sound Lesson 2013
This document provides lesson objectives and materials for teaching students about the use of sound in media. It begins by explaining the key objectives: for students to understand diegetic and non-diegetic sound with examples; analyze how sound creates meaning in a TV drama clip; and use sound terminology. It then defines important sound terminology like diegetic, non-diegetic, sound effects, and voiceovers. Examples are provided of different sound clips to analyze meanings. The document aims to teach students how sound enhances emotional experience and meaning in media.
Camerawork for AS Media
The document discusses various techniques of camera work including angle, movement, position/framing, composition, and depth of field. It provides examples of different camera angles like high, low, and canted angles. It also discusses different types of camera movement such as pans, tilts, tracks, cranes, handheld shots, and zooms. Position/framing refers to the distance between the camera and subject, such as extreme long shots, medium shots, and close-ups. Composition techniques like the rule of thirds are also covered. Depth of field refers to focal length and examples of selective focus, deep focus, and pull focus are given.
Audience for Q1b 2013
This document discusses audience analysis and reception theory. It explains that reception theory views audiences as active interpreters of media rather than passive receivers. Stuart Hall's encoding/decoding model is discussed, which suggests audiences can take preferred, negotiated, or oppositional readings of a text based on their own experiences and perspectives. A preferred reading accepts the producer's intended meaning, a negotiated reading understands the producer's goals but interprets it through their own lens, and an oppositional reading rejects the producer's values embedded in the text. The document asks how different audiences may interpret a TV drama trailer differently based on these concepts.
Representation for Q1b 2014
This document provides a framework for analyzing representations in media based on Richard Dyer's work. It outlines four key questions: 1) What is represented in terms of characters, subject matter, and place? 2) How are social groups represented and what stereotypes are reinforced? 3) Who is responsible for the representations? 4) How might different audiences respond to and make meaning from the representations? For each question, it gives examples of what to consider such as character demographics, production companies, and how representations relate to genres and target audiences.
Q1(b) overview
This document provides guidance for answering a question that requires students to select a production task and evaluate it in relation to one of several media concepts, including genre, narrative, representation, audience, or media language. It asks what the examiner says the question is about and provides examples of past questions.
Editing Lesson 2013
The document discusses various techniques of film editing, including:
- Order of shots and how their sequence can impact meaning
- Continuity editing which maintains logical spatial relationships
- Montage editing which compresses information through suggestive juxtaposition of shots
- Transitions like fades, dissolves and wipes which can imply passage of time or location
- Shot duration and pace, with shorter shots conveying action and longer intimacy
It emphasizes that editing controls what information is seen, when, and by whom, impacting narrative and representation.
Narrative for Q1(b)
The document discusses narrative structure in film, distinguishing between plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events. Bordwell and Thompson's definitions of explicit vs inferred events are provided. The key to narrative analysis is considering the wider story, not just the plot, as audiences infer subtle details. Narrative structure techniques like restricted/unrestricted narratives, open/closed narratives, and enigma codes that engage audiences are also discussed.
Intro media online
This document provides context and discussion points around the topic of media in the online age. It outlines four potential exam questions on how online media has developed, the impact of the internet on media production, how consumer behavior and audiences have been transformed, and the extent to which convergence has transformed media. It then discusses key concepts like the development of the internet and web, changing consumer behaviors and audiences, new business models, and debates around issues like piracy, censorship, control and ownership in the digital age.
Media in the online age research & presentation task 2017
This document outlines a research and presentation task for students to complete in small groups on various media companies and web services. Each group will research the history and developments of companies like Google, YouTube, Facebook, Twitter, or Wikipedia. The presentations should provide an overview of the company's history, including what their website looked like over the years, key changes and acquisitions, user numbers, and current valuation.
David gauntlett andrew keen
The document discusses differing views on the impact of Web 2.0. David Gauntlett argues that Web 2.0 has created a more democratic media by empowering prosumers and challenging the dominance of media institutions. Andrew Keen counters that Web 2.0 has created cultural chaos by fostering a "cult of the amateur" that devalues professionals and expertise, with internet oligarchs replacing old media oligarchs. They disagree on whether the removal of gatekeepers will open media to greater democracy or devalue talent.
Media in the Online Age Unit Overview
This document provides guidance for answering an exam question on contemporary media issues in the online age. Students will be asked to answer one of two questions analyzing how online media has developed and impacted media production, consumer behavior, and convergence. They must use specific case studies and research to demonstrate understanding across at least two media forms. Students should discuss the historical context, current issues, and future debates related to online media and the chosen topics. Potential topics include music/film distribution, online television, gaming, news, or other forms of user-generated content.
Wikipedia
Wikipedia launched in 2001 and quickly overtook the existing encyclopedia Nupedia. It expanded internationally and gained mainstream media attention in 2001. The Wikimedia Foundation was established in 2003. By 2005, Wikipedia became the most popular reference website on the internet. It grew rapidly between 2001-2008, reaching over 5 million registered editors and 2.5 million English articles. While Wikipedia is non-profit and run primarily by volunteers, it is estimated to be worth tens of billions of dollars based on replacement costs and similar websites' valuations, though it only costs $25 million annually to operate.
What the F**K is Social Media: One Year Later
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Digital, Social & Mobile in 2015
We Are Social's comprehensive new report covers internet, social media and mobile usage statistics from all over the world. It contains more than 350 infographics, including global snapshots, regional overviews, and in-depth profiles of 30 of the world's largest economies. For a more insightful analysis of these numbers, please visit http://bit.ly/SDMW2015
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一比一原版新西兰奥塔哥大学毕业证（otago毕业证）如何办理
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【业务选择办理准则】
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三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
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→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
Part 2 Deep Dive: Navigating the 2024 Slowdown
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The Evolution and Impact of OTT Platforms: A Deep Dive into the Future of Ent...
This presentation provides a thorough examination of Over-the-Top (OTT) platforms, focusing on their development and substantial influence on the entertainment industry, with a particular emphasis on the Indian market.We begin with an introduction to OTT platforms, defining them as streaming services that deliver content directly over the internet, bypassing traditional broadcast channels. These platforms offer a variety of content, including movies, TV shows, and original productions, allowing users to access content on-demand across multiple devices.The historical context covers the early days of streaming, starting with Netflix's inception in 1997 as a DVD rental service and its transition to streaming in 2007. The presentation also highlights India's television journey, from the launch of Doordarshan in 1959 to the introduction of Direct-to-Home (DTH) satellite television in 2000, which expanded viewing choices and set the stage for the rise of OTT platforms like Big Flix, Ditto TV, Sony LIV, Hotstar, and Netflix. The business models of OTT platforms are explored in detail. Subscription Video on Demand (SVOD) models, exemplified by Netflix and Amazon Prime Video, offer unlimited content access for a monthly fee. Transactional Video on Demand (TVOD) models, like iTunes and Sky Box Office, allow users to pay for individual pieces of content. Advertising-Based Video on Demand (AVOD) models, such as YouTube and Facebook Watch, provide free content supported by advertisements. Hybrid models combine elements of SVOD and AVOD, offering flexibility to cater to diverse audience preferences.
Content acquisition strategies are also discussed, highlighting the dual approach of purchasing broadcasting rights for existing films and TV shows and investing in original content production. This section underscores the importance of a robust content library in attracting and retaining subscribers.The presentation addresses the challenges faced by OTT platforms, including the unpredictability of content acquisition and audience preferences. It emphasizes the difficulty of balancing content investment with returns in a competitive market, the high costs associated with marketing, and the need for continuous innovation and adaptation to stay relevant.
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