This document provides a detailed analysis of the camerawork, editing, sound, and mise-en-scene techniques used in the VICE documentary "The Rise of Acid Attacks in the UK." It examines how the documentary utilizes various shots, editing effects, music, and interviews to tell the story and convey the seriousness of the increasing issue of acid attacks in London. Specific techniques are described, such as the use of aerial shots to establish locations, close-ups of victims' scars and acid bottles to shock the audience, and modified voices and blurred faces to protect interview subjects.
The document analyzes the camerawork techniques used in the Vice documentary "The Rise of Acid Attacks in the UK". It discusses the various shots used including establishing shots of London, close-ups of interview subjects, CCTV footage of acid attacks, and shots of acid attack victims. The camerawork aims to make the audience feel unsettled by using shaky, blurred footage and emphasizes emotions through slow motion. It also establishes different locations through aerial shots. The document provides a detailed technical analysis of the documentary's camerawork.
We analysed two media productions that specialised around the subjects and areas that we wanted to create our social action project on. The second documentary was VICE - The Rise of Acid Attacks, which specialised in honour based violence.
The document analyzes the technical elements of a Vice documentary on the rise of acid attacks in London. It summarizes the camerawork, which includes establishing shots of the city, close-ups of victims and the presenter, and security footage of attacks. It also discusses the editing techniques, such as cuts between narration and footage to set the scene, slow motion to dramatize scenes, and blurred/modified images and audio to protect identities. Finally, it covers the sound design, including ominous background music to set the tone and the presenter's formal yet difficult to understand accent emphasizing the serious topic.
The document analyzes a Vice documentary about the rise of acid attacks in London. It discusses the camerawork used throughout the documentary. Various shots are used to set the scene, including aerial establishing shots of London, close-ups of the interviewer, and CCTV footage of actual acid attacks. When interviewing acid attack survivors, shots like close-ups and over-the-shoulder shots are employed to focus on their stories. The camerawork aims to both inform viewers about acid attacks and elicit an emotional response through techniques like slow motion and extreme close-ups of injuries.
The document provides a detailed analysis of the camerawork in the Vice documentary "The Rise of Acid Attacks in the UK." It notes that the documentary utilizes various shots including aerial shots to establish locations, close-ups of victims and attackers, CCTV footage, and interviews. During emotional parts of interviews or attacks being described, the camerawork uses techniques like slow motion or focus only on the subject to emphasize their emotions or experience. The analysis provides specific examples of how different shots are used throughout the documentary to set the scene, show the severity of acid attacks, or draw attention to important details.
This documentary by Panorama investigates the rise in hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country meeting victims of hate crimes and those perpetrating them to understand the causes of the rise. Various camera techniques like close-ups, long shots, and phone footage are used to tell victims' stories and make the audience feel they are experiencing the events firsthand. Interviews with experts and authorities are also included to provide context and analysis of the issues explored.
The documentary investigates rising rates of race and religious hate crimes in the UK. Reporter Livvy Haydock travels the country interviewing both victims and perpetrators. Various camera techniques are used to portray different locations and situations. In Dover, establishing shots show the town and barbed wire fence representing an immigration "battle". In Dudley, shots show more ethnic diversity and a victim's family but also depict his attack in the dark and rainy estate. Further interviews provide more victim stories and perspectives from experts on the rise in hate crimes.
The documentary investigates the rising rates of hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country interviewing victims and those affected to understand the causes behind the increase. Various filming techniques like close-ups, establishing shots, and footage from bystanders are used to tell the stories of victims and showcase different communities and locations around the issue of hate crimes.
The document analyzes the camerawork techniques used in the Vice documentary "The Rise of Acid Attacks in the UK". It discusses the various shots used including establishing shots of London, close-ups of interview subjects, CCTV footage of acid attacks, and shots of acid attack victims. The camerawork aims to make the audience feel unsettled by using shaky, blurred footage and emphasizes emotions through slow motion. It also establishes different locations through aerial shots. The document provides a detailed technical analysis of the documentary's camerawork.
We analysed two media productions that specialised around the subjects and areas that we wanted to create our social action project on. The second documentary was VICE - The Rise of Acid Attacks, which specialised in honour based violence.
The document analyzes the technical elements of a Vice documentary on the rise of acid attacks in London. It summarizes the camerawork, which includes establishing shots of the city, close-ups of victims and the presenter, and security footage of attacks. It also discusses the editing techniques, such as cuts between narration and footage to set the scene, slow motion to dramatize scenes, and blurred/modified images and audio to protect identities. Finally, it covers the sound design, including ominous background music to set the tone and the presenter's formal yet difficult to understand accent emphasizing the serious topic.
The document analyzes a Vice documentary about the rise of acid attacks in London. It discusses the camerawork used throughout the documentary. Various shots are used to set the scene, including aerial establishing shots of London, close-ups of the interviewer, and CCTV footage of actual acid attacks. When interviewing acid attack survivors, shots like close-ups and over-the-shoulder shots are employed to focus on their stories. The camerawork aims to both inform viewers about acid attacks and elicit an emotional response through techniques like slow motion and extreme close-ups of injuries.
The document provides a detailed analysis of the camerawork in the Vice documentary "The Rise of Acid Attacks in the UK." It notes that the documentary utilizes various shots including aerial shots to establish locations, close-ups of victims and attackers, CCTV footage, and interviews. During emotional parts of interviews or attacks being described, the camerawork uses techniques like slow motion or focus only on the subject to emphasize their emotions or experience. The analysis provides specific examples of how different shots are used throughout the documentary to set the scene, show the severity of acid attacks, or draw attention to important details.
This documentary by Panorama investigates the rise in hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country meeting victims of hate crimes and those perpetrating them to understand the causes of the rise. Various camera techniques like close-ups, long shots, and phone footage are used to tell victims' stories and make the audience feel they are experiencing the events firsthand. Interviews with experts and authorities are also included to provide context and analysis of the issues explored.
The documentary investigates rising rates of race and religious hate crimes in the UK. Reporter Livvy Haydock travels the country interviewing both victims and perpetrators. Various camera techniques are used to portray different locations and situations. In Dover, establishing shots show the town and barbed wire fence representing an immigration "battle". In Dudley, shots show more ethnic diversity and a victim's family but also depict his attack in the dark and rainy estate. Further interviews provide more victim stories and perspectives from experts on the rise in hate crimes.
The documentary investigates the rising rates of hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country interviewing victims and those affected to understand the causes behind the increase. Various filming techniques like close-ups, establishing shots, and footage from bystanders are used to tell the stories of victims and showcase different communities and locations around the issue of hate crimes.
We analysed two media productions that specialised around the subjects and areas that we wanted to create our social action project on. The first was Panorama - Hate on the street and BBC documentary that investigated both crime and hate crimes.
This documentary by Panorama investigates the rise in hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country meeting victims of hate crimes and those perpetrating them to understand the causes of the rise. Various camera techniques like close-ups, long shots, and phone footage are used to tell victims' stories and make the audience feel they are experiencing the events firsthand. Interviews with experts and authorities are also included to provide context and analysis of the issues explored.
Brick focuses on a high school neo-noir mystery. The trailer utilizes distinctive camera techniques like low angle shots and silhouettes to introduce characters and build intrigue. Stylistic editing includes smoke transitions between plot points summarized in narration. A tense musical score escalates during more suspenseful clips. Mise-en-scene reflects neo-noir conventions through isolated and dimly lit settings like empty streets lit only by streetlights, creating contrast between characters and their environments.
The document provides an analysis of the trailer for the film "Gone Girl" (2014). It summarizes the key details and conventions used in the trailer through its camera work, editing, sound, and mise-en-scene. Specifically, it notes the trailer's use of flashbacks, low-key lighting, plot twists, and incidental music to set the neo-noir tone and mystery surrounding the disappearance of Amy Dunne.
The document discusses several film techniques used in the opening sequence of the film "Brick" to set the atmosphere and introduce intrigue. Extreme close-ups are used to hide information from the viewer about the relationship between the main character and a girl who died. An eye line match shows the boy had something to do with her death through his unchanged reaction. Graphic matches shift the atmosphere from sinister to normal by cutting from the girl's bracelet in water to her hand placing a note in a locker.
The document analyzes four short films based on their cinematography, sound, editing, and mise-en-scene. It summarizes each film's key features for these elements. Film 1, "Slip of the Tongue," uses close-ups and cuts to convey a story told through a narrator. Film 2, "Black Hole," builds tension with office setting and sounds as a man discovers a mysterious paper. Film 3, "December," takes the perspective of a cut-down Christmas tree through shaky camera work and ambient noise. Film 4, "Happy Sushi," creates an ominous tone with music and cuts while a matchbox helps a man in a restaurant.
This film introduces a mysterious death of a girl found in a stream near a school. The opening leaves many unanswered questions for the audience around who killed the girl and how the main character boy may be involved. Various shots and sounds are used to build tension and anxiety without revealing crucial plot details, confusing the audience and making them want to learn more. Key objects and interactions between characters are shown that may provide clues later in the film, further intriguing viewers about what secrets might be uncovered.
The document provides a shot list for the opening scene of the film "Children of Men." It describes the camerawork as handheld, giving it a documentary feel. Long shots show crowds of people looking concerned at something, then a close-up reveals they are looking at an explosion. A tracking shot follows the protagonist through the crowd. Establishing shots provide context of time and place.
The document summarizes the opening scenes of several films, describing elements like camera angles, lighting, color palettes, and implications about the stories based on these visual elements. For Pretty Little Liars, the opening uses backlighting and a medium shot to set a mysterious tone. Divergent establishes social classes through clothing colors and implies something happened to move the crowd. Twilight depicts the transformation from human to vampire through changing colors. The Golden Compass establishes a setting through architectural details and lighting. Red Riding Hood introduces the director and displays the film's main setting with natural snow light.
The document evaluates a media product by discussing how it uses conventions from real crime/thriller films. It describes how the first scene was filmed at night to set an eerie tone and conceal the murderer's identity, while the second scene was shot during the day to indicate the suspense had passed. Costumes were used to clearly identify the roles of characters like the detective and forensic team. Close-up shots of items helped the audience understand important clues and solve the mystery by the ending.
The mise en scene in the TV program Spaced conveys a childish tone through a Batman keychain and an army outfit worn ironically. Dark colors and lighting symbolize the characters' troubled lives. Sound effects like gunshot sounds aid the comedic finger gun fights and help the audience follow the fast-paced action. Background music builds suspense during a mugging scene before cutting to a humorous finger gun battle.
Film Noir was a film genre of the 1940s that used techniques like low-key lighting to create an ominous and uneasy tone. The films featured themes of corruption, greed, and violence in contrast to more optimistic Hollywood films of the time. Film Noir made use of mise-en-scene elements like stern facial expressions, dark alleys, and femme fatale characters to unsettle audiences and further noirish themes of moral ambiguity.
The opening scene of The Dark Knight establishes mystery and tension. Criminals wearing clown masks rob a bank, hiding their identities. Their sophisticated equipment indicates they are professionals. The music and dark colors create an ominous tone. Rapid cutting and camera movements build dramatic tension. References to the mysterious Joker intrigue audiences and foreshadow his importance to the plot. The screaming civilians show the criminals prey on innocents, contrasting with Batman's ethics.
The document discusses various camera shots and techniques used in the opening scene of the movie "Dawn of the Dead". It describes long shots that establish the hospital setting and characters. A pan shot is used to give the viewer the feeling of looking through the main character's eyes as she looks down the street. Extreme long shots show the city in disaster. Close ups are used to emphasize details like a clock showing the urgency of time or a news bulletin announcing breaking news.
The opening scene of Saving Private Ryan establishes a mystery that intrigues the audience. It shows an elderly veteran crying at a grave in the present day, leaving the audience to wonder about his story and experience in World War 2. Through close-ups and wide shots, the camerawork conveys the veteran's emotion and establishes the somber atmosphere of the war cemetery. Fades and jump cuts transition between scenes in a simple yet effective way. Non-diagetic music and the veteran's crying add to the tense and sad tone. Symbols like the American flag provide context about the film's setting and patriotic themes within the war genre.
This document analyzes and summarizes various shots from a film clip. A mid shot shows the protagonist's daughter with a birthday cake, indicating she is dreaming of her late daughter. An angled close up makes the viewer feel like they are looking down on the helpless character. An extreme close up of medical equipment shows the character's heart beat slowing, indicating she is near death. A wide shot establishes the surreal green-toned location as a hospital corridor, expressing the protagonist's loneliness after losing her family.
This document defines and analyzes the film noir genre. It discusses key themes like corruption and justice that are common in film noir. It originated after WWII, influenced by German expressionism and crime novels. Film noir uses iconography like venetian blinds and features morally ambiguous protagonists. It employs techniques like low-key lighting, Dutch angles, and flashbacks to create a mood of pessimism. Settings are usually dark urban areas and costumes reflect the 1940s-50s era. While originally for mature audiences, the genre has evolved over time into neo-noir films and graphic novel adaptations.
The document provides an analysis of the short film "The Plan" which follows a man who impulsively quits his job, leaves his girlfriend, and takes all his money to Las Vegas to place it all on red at the roulette table. On his journey, he meets a woman who steals his camera. He loses his bet and money. Later, he sees a photo of himself at a bus station from the woman, with an address on the back. The analysis discusses how the camera work, editing, mise-en-scene, sound, and voiceover are used to convey themes of freedom and taking chances in the film through the main character's perspective. It also notes techniques from this film that could
The document analyzes a scene from the film "Children of Men" that portrays lower-class society. The scene takes place in a run-down cafe where the lower-class patrons cannot afford their own TV and come to watch the news. Details of the dirty mugs and tacky wallpaper establish the cafe's low income environment. The characters wear dark, cheap clothing instead of fashionable attire. The slow editing and handheld camerawork immerse the viewer in the scene. Sounds of traffic and debris in the streets further portray the area as the underbelly of society where the upper classes do not venture. Violence from the cafe exploding matches what is typically associated with the lower classes.
The dark knight rises opening scene analysisWillMotogp
The opening scene of The Dark Knight Rises uses cinematography to set the dark, mysterious tone and introduce important characters. Black and white shots of conglomerates establish the detached, non-reality of the world. A lone, empty establishing shot and ominous music heighten the audience's unease. Close-ups draw attention to a captured character and a man in a mask, suggesting their importance. As the scene progresses, the masked man is increasingly the focus through shot composition and rising music, implying his power and threat as the antagonist. The large plane dominates at the end, displaying the scale of the threat against Batman. Fading weather and music leave the audience unsettled to ponder the narrative mystery.
The document discusses camerawork, mise-en-scene, sound, and editing techniques used in a documentary film. Various shots including close-ups, mid shots, and long shots were used to introduce subjects, show emotions, and establish contexts. Costuming and props helped portray seriousness and realism. Sound incorporated serious tones and added non-diegetic music. Editing included slow motion, fading, subtitles, and switching between interviewees to keep it interesting. The techniques aimed to realistically portray emotions and issues around crime for the audience.
The document analyzes the opening two minutes of the film "World War Z". It summarizes the various shots used, including establishing shots, close-ups, and long shots showing different locations around the world. Voiceovers from news reports hint at a developing global crisis. The genre is established as an action/thriller through the suspenseful music and mysterious footage.
We analysed two media productions that specialised around the subjects and areas that we wanted to create our social action project on. The first was Panorama - Hate on the street and BBC documentary that investigated both crime and hate crimes.
This documentary by Panorama investigates the rise in hate crimes in the UK based on race and religion. Reporter Livvy Haydock travels around the country meeting victims of hate crimes and those perpetrating them to understand the causes of the rise. Various camera techniques like close-ups, long shots, and phone footage are used to tell victims' stories and make the audience feel they are experiencing the events firsthand. Interviews with experts and authorities are also included to provide context and analysis of the issues explored.
Brick focuses on a high school neo-noir mystery. The trailer utilizes distinctive camera techniques like low angle shots and silhouettes to introduce characters and build intrigue. Stylistic editing includes smoke transitions between plot points summarized in narration. A tense musical score escalates during more suspenseful clips. Mise-en-scene reflects neo-noir conventions through isolated and dimly lit settings like empty streets lit only by streetlights, creating contrast between characters and their environments.
The document provides an analysis of the trailer for the film "Gone Girl" (2014). It summarizes the key details and conventions used in the trailer through its camera work, editing, sound, and mise-en-scene. Specifically, it notes the trailer's use of flashbacks, low-key lighting, plot twists, and incidental music to set the neo-noir tone and mystery surrounding the disappearance of Amy Dunne.
The document discusses several film techniques used in the opening sequence of the film "Brick" to set the atmosphere and introduce intrigue. Extreme close-ups are used to hide information from the viewer about the relationship between the main character and a girl who died. An eye line match shows the boy had something to do with her death through his unchanged reaction. Graphic matches shift the atmosphere from sinister to normal by cutting from the girl's bracelet in water to her hand placing a note in a locker.
The document analyzes four short films based on their cinematography, sound, editing, and mise-en-scene. It summarizes each film's key features for these elements. Film 1, "Slip of the Tongue," uses close-ups and cuts to convey a story told through a narrator. Film 2, "Black Hole," builds tension with office setting and sounds as a man discovers a mysterious paper. Film 3, "December," takes the perspective of a cut-down Christmas tree through shaky camera work and ambient noise. Film 4, "Happy Sushi," creates an ominous tone with music and cuts while a matchbox helps a man in a restaurant.
This film introduces a mysterious death of a girl found in a stream near a school. The opening leaves many unanswered questions for the audience around who killed the girl and how the main character boy may be involved. Various shots and sounds are used to build tension and anxiety without revealing crucial plot details, confusing the audience and making them want to learn more. Key objects and interactions between characters are shown that may provide clues later in the film, further intriguing viewers about what secrets might be uncovered.
The document provides a shot list for the opening scene of the film "Children of Men." It describes the camerawork as handheld, giving it a documentary feel. Long shots show crowds of people looking concerned at something, then a close-up reveals they are looking at an explosion. A tracking shot follows the protagonist through the crowd. Establishing shots provide context of time and place.
The document summarizes the opening scenes of several films, describing elements like camera angles, lighting, color palettes, and implications about the stories based on these visual elements. For Pretty Little Liars, the opening uses backlighting and a medium shot to set a mysterious tone. Divergent establishes social classes through clothing colors and implies something happened to move the crowd. Twilight depicts the transformation from human to vampire through changing colors. The Golden Compass establishes a setting through architectural details and lighting. Red Riding Hood introduces the director and displays the film's main setting with natural snow light.
The document evaluates a media product by discussing how it uses conventions from real crime/thriller films. It describes how the first scene was filmed at night to set an eerie tone and conceal the murderer's identity, while the second scene was shot during the day to indicate the suspense had passed. Costumes were used to clearly identify the roles of characters like the detective and forensic team. Close-up shots of items helped the audience understand important clues and solve the mystery by the ending.
The mise en scene in the TV program Spaced conveys a childish tone through a Batman keychain and an army outfit worn ironically. Dark colors and lighting symbolize the characters' troubled lives. Sound effects like gunshot sounds aid the comedic finger gun fights and help the audience follow the fast-paced action. Background music builds suspense during a mugging scene before cutting to a humorous finger gun battle.
Film Noir was a film genre of the 1940s that used techniques like low-key lighting to create an ominous and uneasy tone. The films featured themes of corruption, greed, and violence in contrast to more optimistic Hollywood films of the time. Film Noir made use of mise-en-scene elements like stern facial expressions, dark alleys, and femme fatale characters to unsettle audiences and further noirish themes of moral ambiguity.
The opening scene of The Dark Knight establishes mystery and tension. Criminals wearing clown masks rob a bank, hiding their identities. Their sophisticated equipment indicates they are professionals. The music and dark colors create an ominous tone. Rapid cutting and camera movements build dramatic tension. References to the mysterious Joker intrigue audiences and foreshadow his importance to the plot. The screaming civilians show the criminals prey on innocents, contrasting with Batman's ethics.
The document discusses various camera shots and techniques used in the opening scene of the movie "Dawn of the Dead". It describes long shots that establish the hospital setting and characters. A pan shot is used to give the viewer the feeling of looking through the main character's eyes as she looks down the street. Extreme long shots show the city in disaster. Close ups are used to emphasize details like a clock showing the urgency of time or a news bulletin announcing breaking news.
The opening scene of Saving Private Ryan establishes a mystery that intrigues the audience. It shows an elderly veteran crying at a grave in the present day, leaving the audience to wonder about his story and experience in World War 2. Through close-ups and wide shots, the camerawork conveys the veteran's emotion and establishes the somber atmosphere of the war cemetery. Fades and jump cuts transition between scenes in a simple yet effective way. Non-diagetic music and the veteran's crying add to the tense and sad tone. Symbols like the American flag provide context about the film's setting and patriotic themes within the war genre.
This document analyzes and summarizes various shots from a film clip. A mid shot shows the protagonist's daughter with a birthday cake, indicating she is dreaming of her late daughter. An angled close up makes the viewer feel like they are looking down on the helpless character. An extreme close up of medical equipment shows the character's heart beat slowing, indicating she is near death. A wide shot establishes the surreal green-toned location as a hospital corridor, expressing the protagonist's loneliness after losing her family.
This document defines and analyzes the film noir genre. It discusses key themes like corruption and justice that are common in film noir. It originated after WWII, influenced by German expressionism and crime novels. Film noir uses iconography like venetian blinds and features morally ambiguous protagonists. It employs techniques like low-key lighting, Dutch angles, and flashbacks to create a mood of pessimism. Settings are usually dark urban areas and costumes reflect the 1940s-50s era. While originally for mature audiences, the genre has evolved over time into neo-noir films and graphic novel adaptations.
The document provides an analysis of the short film "The Plan" which follows a man who impulsively quits his job, leaves his girlfriend, and takes all his money to Las Vegas to place it all on red at the roulette table. On his journey, he meets a woman who steals his camera. He loses his bet and money. Later, he sees a photo of himself at a bus station from the woman, with an address on the back. The analysis discusses how the camera work, editing, mise-en-scene, sound, and voiceover are used to convey themes of freedom and taking chances in the film through the main character's perspective. It also notes techniques from this film that could
The document analyzes a scene from the film "Children of Men" that portrays lower-class society. The scene takes place in a run-down cafe where the lower-class patrons cannot afford their own TV and come to watch the news. Details of the dirty mugs and tacky wallpaper establish the cafe's low income environment. The characters wear dark, cheap clothing instead of fashionable attire. The slow editing and handheld camerawork immerse the viewer in the scene. Sounds of traffic and debris in the streets further portray the area as the underbelly of society where the upper classes do not venture. Violence from the cafe exploding matches what is typically associated with the lower classes.
The dark knight rises opening scene analysisWillMotogp
The opening scene of The Dark Knight Rises uses cinematography to set the dark, mysterious tone and introduce important characters. Black and white shots of conglomerates establish the detached, non-reality of the world. A lone, empty establishing shot and ominous music heighten the audience's unease. Close-ups draw attention to a captured character and a man in a mask, suggesting their importance. As the scene progresses, the masked man is increasingly the focus through shot composition and rising music, implying his power and threat as the antagonist. The large plane dominates at the end, displaying the scale of the threat against Batman. Fading weather and music leave the audience unsettled to ponder the narrative mystery.
The document discusses camerawork, mise-en-scene, sound, and editing techniques used in a documentary film. Various shots including close-ups, mid shots, and long shots were used to introduce subjects, show emotions, and establish contexts. Costuming and props helped portray seriousness and realism. Sound incorporated serious tones and added non-diegetic music. Editing included slow motion, fading, subtitles, and switching between interviewees to keep it interesting. The techniques aimed to realistically portray emotions and issues around crime for the audience.
The document analyzes the opening two minutes of the film "World War Z". It summarizes the various shots used, including establishing shots, close-ups, and long shots showing different locations around the world. Voiceovers from news reports hint at a developing global crisis. The genre is established as an action/thriller through the suspenseful music and mysterious footage.
The opening sequence of The Purge establishes the film's genre as horror/thriller through its use of low-key lighting, CCTV-style shots, and graphic depictions of violence. Classical music plays quietly in contrast to the violent images, unsettling the audience. A variety of shots show crimes occurring across America, introducing the concept of a night where all crime is legal. The sequence immediately sets the tone for the narrative of the film through these visual and audio techniques.
The documentary focuses on rising crime rates in the Redbridge region. It aims to inform audiences aged 14-19 about the prevalent crimes and how to prevent further increases. It follows industry practices in production. Victim interviews and reconstructions are included to shock audiences into action. Statistics, authority interviews, and public opinions also provide information to educate audiences. Camerawork, editing, sound, and mise-en-scene aim to immerse audiences and convey the seriousness of crime in the area.
The document provides details about a short film project on gun crime created by the author and two others. It discusses the genre as social realism/thriller. Key contributions included initial planning, storyboarding, and filming. Conventions like fast pacing and establishing shots were used to set the scene and genre. The characters represented youths - one wearing dark clothes as the criminal and one in bright clothes as the innocent victim. The intended audience was 16-25 year old British youth interested in urban crime issues. Technology allowed research and minimal editing to maintain realism. Learning included improving camera angles, editing, and character/sound development from the preliminary task.
The film opens with a burning match suggesting danger and action. A montage uses quick cuts between scenes of action including a car explosion. Advanced technology like facial recognition was considered high-tech. The film introduces a mysterious man on a private plane watching a self-destructing tape that makes him seem powerful and experienced in his field of work. It then reveals the city location where the main story will take place.
GCSE Film Studies: Micro analysis examplesBelinda Raji
The document provides a microanalysis of a clip from the sci-fi horror film "Aliens vs. Predator: Requiem". The analysis focuses on two key stills from the clip and examines elements of mise-en-scene including setting, costumes, facial expressions, and positioning of characters. In the first still, a pregnant woman in a hospital gown has chestbursters emerging from her stomach, heightened by her pained expression and restrained positioning. In the second still, a doctor faces off with the Predalien in a hospital ward, backed against a curtain suggesting he is trapped. Through its analysis of visual elements, the document explores how the clip builds suspense and fear.
The document summarizes the style and techniques used in a 3-minute Channel 4 documentary about street art. It analyzes 11 shots from the documentary that effectively communicate information in a short time. The shots include titles, establishing shots, interviews, rhetorical questions, b-roll footage, close-ups and more to engage viewers and illustrate key points about whether street art is vandalism or artistic expression. The document suggests similar techniques could be applied to a short documentary about cyberbullying.
This documentary examines the identity of the "falling man" photographed during 9/11. It uses a nonlinear structure and interviews to investigate who he was. Camera work focuses on close-ups during interviews to elicit raw emotion. Mise-en-scene features interviewees in personal spaces to feel welcoming. Sound uses the national anthem, explosion sounds, and reading names to accentuate loss of life. Editing uses archive footage and images to emphasize the scale of destruction and commemoration ceremonies. Graphics are basic to not detract from the somber topic.
The film opens with shaky broadcast footage showing global chaos, destruction, and riots. Non-diegetic sounds of cries and explosions add to the atmosphere of utter chaos. Scenes depict brutal police and military attempts to control mayhem. The camera then reveals the footage is playing on TV screens in a research laboratory, where a captive chimpanzee is seen restrained on a table with wires attached, showing it has been subjected to distressing scientific experiments that are likely central to the story.
The documentary focuses on missing people cases in Manchester that have not been highly publicized. It uses a narrative structure beginning with ominous CCTV footage and a missing person report to grab the audience's attention. It then provides facts and figures on famous missing person cases to show the wide scope before introducing the documentary's title. Family members and police are interviewed in their homes and offices to give a realistic tone and involve the viewer in the investigations. The editing and camera work create an unsettling atmosphere that leaves the viewer questioning what could have happened to the missing people.
1. Crimewatch is a BBC television program that reconstructs unsolved crimes to gain information from the public, while Road Wars documents police response to increasing criminal violence.
2. Existing Road Wars stories include boys stealing a motorbike without realizing police are watching via helicopter, and a drug bust by Devon and Cornwall's experts in door entry.
3. Police Interceptors profiles an Essex police interception unit and uncovered a huge drugs haul during a routine traffic stop for no insurance.
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For each trailer, the analysis examines the verbal codes of dialogue and soundtrack, non-verbal codes of setting, lighting, costumes and expressions, and technical codes of camera angles and shots. Strengths identified for exploitation include diegetic sounds in Hollyoaks that build intrigue, and upbeat soundtracks in EastEnders that emphasize drama. Repeated strengths would be quick cuts in Hollyoaks and happy music/end text in EastEnders that create interest and want to watch. Minimal locations, costumes/props and lack of voiceovers allow clear narratives for audiences to interpret.
World War Z is a 2013 horror/apocalyptic film about a former UN employee and his family trying to survive a zombie outbreak. The film had a large budget of $125 million, indicating it was an ambitious zombie film. The trailer uses various camera shots and techniques to build tension and show the scale of the crisis, including establishing shots of cities in turmoil, close-ups of panicked characters, and battle scenes. It effectively employs music, sound effects, and editing to create a suspenseful sequence that keeps viewers engaged throughout.
The documentary investigates allegations of child abuse and murder by prominent British figures through a non-linear sequence of interviews over several years. It explores accusations against Jimmy Saville and how he avoided prosecution. To protect identities, some faces are blacked out or an actor's voice is used. Interviews are shot from over the shoulder or mid-shots to focus on emotions. Clips from news reports on abuse claims are included. The mise-en-scene depends on status, with relaxed victims at home contrasting with suited figures in power. Locations involved like Dolphin Square and Elm House are shown.
This document discusses footage from a documentary about gangs in Los Angeles. It begins with an extreme long shot of the city at night to convey mystery, then cuts to a close-up of a police officer holding a gun to indicate danger. There are also aerial shots from a helicopter and handheld camera footage showing gang fights to demonstrate the scale and realness of the gang problem. The lighting in most shots is low-key and dark to emphasize that gang activity occurs at night when it is illegal. The document considers how some of this type of footage could be used while still representing a positive message, as the goal is to show how police work to control gangs.
This documentary follows Bear Grylls as he explores dangerous wilderness areas around the world. Handheld camerawork is used to give viewers the perspective of following Bear. Aerial shots demonstrate the challenging environments and conditions Bear faces. Bear is dressed casually for comfort as he hikes and climbs through forests. Editing uses eyeline match to show what Bear is referring to as he discusses survival techniques. Voiceovers describe key points and challenges as Bear navigates the terrain. The documentary aims to see how Bear can survive in risky wilderness situations.
The document analyzes the cinematography, editing, mise-en-scene, sound, and reception of a crime documentary about serial killers. It describes how close-ups, establishing shots, and high angles were used to convey seriousness and perspective. Short takes and focus pulls kept the pace brisk and attention gripped. Suits and an office setting established the presenter's authority and research context. Music, voiceovers, and sound effects heightened the sinister and shocking nature of the crimes depicted. While the information engaged viewers, some effects and lack of transitions received mixed feedback.
The title sequence follows conventions of crime mystery films by portraying an unidentified antagonist stalking and killing victims with acid. Clues are provided such as crime scenes and evidence, building mystery around the killer's identity. Inspired by films like The Girl with the Dragon Tattoo and Zodiac, it uses techniques like tense music, fast pacing, and ambiguous identities to create tension and anticipation for the audience. However, it challenges conventions by revealing the antagonist is a police officer, subverting expectations of the genre.
Conventions of a Sci-fi Horror Pilot Research17mdav134
The opening credits of American Horror Story feature disturbing imagery and an intense musical score to set an eerie tone. Shots from different angles show jars of body parts to highlight a key storyline. A recognizable font introduces the main cast at the end of each episode.
The Walking Dead's opening credits feature gloomy shots of locations that will be important settings. Only three main characters are shown to imply the focus of season one. A concrete-like texture on the title reinforces the rough post-apocalyptic world.
WandaVision's opening credits pay homage to The Dick Van Dyke Show with a happy song and traditional shots. Later episodes reveal the true sci-fi/horror nature
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
1. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Contextual Analysis 1 - Vice
https://www.youtube.com/watch?v=EscjYGHKHxM
The Rise of Acid Attacks in the UK: VICE Reports is a documentary, published on 17
July 2017, detailing the rise in acid attacks in London. We are analysing this as it is
similar to the topic we will be doing our social action project on, which is the rising
crime rates. We will analyse the four different technical elements, which are
camerawork, editing, sound and mise en scene, and we will also be looking at
theories that relate to the documentary.
Camerawork - Lauren Rosenfeld
The episode begins with an exterior aerial shot to
establish the city which the documentary is set in -
London, and pans upwards, giving the audience a
clear view of the city. This is followed by a series of
quick close ups, starting with an out of focus phone
screen, to a street sign of Mare Street, and a few
shots of motorbikes speeding past, whilst the
interviewer narrates, to create a story for the
audience. These shots set the scene of the type of
area which the interviewer is in, which appears to be
chaotic and busy. A close up of the interviewer is
then used, to establish who will be walking us
through the documentary and she is the only one in
focus, highlighting the importance of what she is
saying.The rule of three is not followed when she is
talking directly to the camera, and she is in the
centre of the frame, which shows the importance of
the interviewer's words. Whilst she is narrating,
there are several mid shots of her walking around
being on her phone, not expecting anything to
happen, which relates to what she is talking about.
There is another pan of the city, whilst stating a fact
of 1800 acid attacks which have been reported, this
shows the scale of what is happening in such a
large city.
CCTV footage is also used within the introduction to
the documentary of people throwing acid at others
and beating eachother up, whilst the presenter
continues to explain facts of acid and that “Britain
has the worst record for acid attacks”. This allows
the audience to see acid attacks taking place first
2. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
hand and from a real perspective that they may not have seen before.
Due to the CCTV footage being blurry and of a lower quality, this may make the
audience on edge and agitated to see real people being affected, especially as they
may feel they are spying on these people. The CCTV footage also adds to the
realism of the documentary, further showing to the
audience how prominent acid attacks are becoming.
We then cut to a mid close up of an acid attack
victim. A hand held camera is used, giving a shaky
effect and adding to the verisimilitude. This is
followed by a close up in slow motion when the
victim is putting on the mask, emphasizing the
movement and emotions and a close up of a bottle
of acid, with the corrosive symbol prominent. A
close up shot reverse shot is then used, with the
presenter and an unknown person whose face and
voice has been distorted, which makes the audience
anxious as we do not know who this person is, but
they seem dangerous. This ends the introduction,
which entices the audience to watch on to find out
who this mystery person is.
In the next series of shots, there is a lot of camera
movement with tracking/panning around, as we
follow the presenter to the outside of a club where
an incident took place, shown through a close up of
the club sign. This is followed by several pictures of
the night it took place, again, giving the audience a
different perspective. An aerial shot is used again, to establish a change in location,
focusing this time on houses instead of the city. There is repetition of the CCTV
footage of an acid attack, giving it more context for the audience. An extreme long
shot is used of kids playing football and the school, to show that this could happen to
anyone and it did as the presenter states, but this further shocks the audience that
someone would attack kids. We then cut to the presenter in the back of a moving
car, which adds to the fast paced nature of the video. A close up of the presenter is
used on a handheld camera, creating a more intimate setting, with her and the
audience. In one interview with a man from an acid survivor charity, there is less
camera movement, so that the audience understand and take in the importance of
his words. Close ups, shot reverse shot, over the shoulder shots and two shots are
used here, showing the presenter agreeing with him and to draw attention to what he
is saying. The same camera shots are used with the second interview of the
documentary with the acid attack survivor. As the man recalls the event, a
reconstruction is shown through the use of panning, tracking and the camera
movements are emphasised through slow motion, emphasising danger. Only the
legs of the men are shown, which puts the audience in the man's position as he did
3. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
not see their faces. It is also blurry, connoting that the man was
‘jumped’, and did not know the attack was about to happen. As we cut back to the
interview, a mid shot is used, which shows the body language of the presenter, that
she is accepting and open. An extreme close up is
used of the man's face in a picture, detailing his
scars, which shocks the audience and makes them
feel uncomfortable. A slow motion close up is used
when the victim is putting the mask back on, and the
process of what the man does daily for the burns,
which can make the audience share the experience
of the man and create sympathy. Here, only the
man is in focus, showing his significance.
Another ariel shot is used panning down,
establishing a change in location again. Here, the
presenter walks in and out of a hardware store
shown through a long shot. A close up is used
showing the products that she was able to pick up
and a pan up to her face shows shock of how
readily available the products are. An extreme close
is used as she reads the precautions on the bottle,
which further disturbs the audience. An extreme
long shot is used of kids playing, connoting to the
audience that they to could be possible victims of an
attack. Then, a series of close ups are used of street
signs, as the presenter tells the audience of another
attack, however there were no arrests. Another ariel
pan is used, establishing a change in location again,
and sets the scene for the third interview. A tracking
shot is used with the interviewee in focus, again
highlighting the importance of his words. Hand held
unsteady shots show the surrounding area, which
makes the audience uneasy as the interviewee
speaks. A low angle is used looking up at flats,
creating an eerie atmosphere. In the last parts of the
interview, a close up is used when the man states
what should be done, which makes the audience
focus their attention on him.
To establish a change in location, another ariel shot
is used of Stratford, as we meet a former gang
member. A series of shots focus on a CCTV
camera, litter and a barbed wire fence, creating a
4. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
dangerous atmosphere. A tilted angle is used as we meet the current
gang member, which suggests imbalance/instability. A low angle looking up also
suggests that he is unsafe, whereas a high angle is used of the presenter showing a
significant size difference and her weakness. High
angle shots of the rain falling to the ground are also
shows, creating a gloomy atmosphere, especially
due to the unsteady hand held camera shot and
darkness. Towards the end of the interview, the
presenter states what shocked her the most and a
close up is used to show her shock. A tilt down is
used to establish the new location of a police station,
and we track the presenter as she walks to the
interview. For the interview with the policeman, only
close ups are used and a tripod is used, creating a
sense of formality and professionality. Lastly, the
interview ends with shots of the high street from the
moving car, showing an exit from the location, and
extreme close ups of the acid attack victim to
enforce the message. A final pan of the city is used
to end the documentary.
Tsjeng begins the documentary by talking directly
into the camera, this is called ‘breaking the fourth
wall’. The use of the ‘breaking the fourth wall’ makes
the shot direct. It creates an interactive, engaging and involved feeling for the
audience.This, in turn can make them question their own point of view on the
subject. Breaking the fourth wall is used one a number of occasions throughout the
production and most commonly when the most emotional scenarios in the
documentary occur. These are when the statistics are announced. This is almost a
way of manipulating the audience to show them how important the topic is. Whilst
she explains the topic of the documentary relevant recorded images and images
appear. This is called a sound bridge. The term used for when narration is used as
the sound to overlap with a relevant or necessary text or image. In this instance, the
images shown include Zing Tsjeng texting, a shot of ‘Mare Street’ and motor cycles,
implying that she is talking and illustrating a negative subject. Breaking the fourth
wall is a necessity for all documentaries, as there needs to be someone to address
the audience directly.
Editing - Benjamin Karrass
During the post Production of “The Rise of Acid Attacks in the UK: VICE Reports”
they include many effects for edition that make their production special and stand out
more to their audience. Vice uses many different effects such as fading in and out to
move to a different scene that may relate to the narration. During the beginning of
the Vice documentary editors use a lot of cuts to show location on where the events
5. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
take place to make people aware if they live in that area. This is
important for viewers because it can help them be more
aware of their surroundings if they live in the area, for
them to know its their area street names are shown and
also the narrator tells us that a lot of attacks often occur
in east london. Also during the documentary at the
beginning they include clips of CCTV footage with attacks
that have happened on the streets to show people that it
can happen to anyone. A lot of the cuts used during the
show are to show location of places where the events
may take place.
At one part of the documentary we are being told a story
of someone's attack and as the person is narrating it we
are shown a clip of what the event may have looked like
and to show effect the editors do this in slow motion to
build up the suspense of the viewers, the editors also
made the footsteps in slow motion as it can show the
audience the people who attack can be anyone and can
fit in with strangers. Often slow motion is used in action
films to highlight a key scene or dramatise a shot/a
character but for example in this documentary it shows
the effect of that attack this man had to go through.
During the whole show the editors use narration over
different clips while people are not in the scene, this
allows people watching to see different clips of the area
while someone talking over it explaing the areas of the
attacks. Also some points in the documentary narration is
used to tell a story while actors play the story. While Zing
Tsjeng interviews someone who has been related to crime the editors make sure
that their voice is modified and their face is blurred to keep the person's identity safe.
The person being interviewed has requested to keep his identity safe, so the editors
need to take this into account and make sure people cannot recognise him. They do
this by blurring his face out and also changing the sound of his voice to make him
unrecognizable to the public.
As the company logo comes up on the screen it enters fast
to show effect. The clip that is showing of the unidentified
man freezes and the logo comes in with a drop in effect
fast and then switches to another box with the name of the
Episode “Acid Attacks” during this the picture in the
background also changes to a caution sign with acid on it
to show the effect of acid on the body. Throughout the whole documentary the
editors would add the names and occupations of people and their jobs at the bottom
6. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
of the screen when introducing new people to the episode, this allows
viewers to see what people get involved with the crime of acid attacks and what help
the people may be getting to stop the attacks from occurring.
Although the editors added the company logo at the start
of the documentary it is important for them to watermark
their product so it doesn't get copied by any other
company without vice’s permission. To allow this not to
happen the editors have added Vice’s logo at the top of
the documentary in the corner throughout the whole
episode. However at the end of the episode they have also
included a bigger logo and a copyright symbol next to the
2017 company name. Although vice have their logo placed
in places during the episode to stop copyright they also
need to make sure they don't do any copywriting
themselves so when any products are used in the episode
the editors would need to blur the label to stop any
copyright claims from happening. They do this for the acid
products that have been bought. During the documentary
music is important and editors need to make sure that the
music is placed in the right places at the right moments.
For example certain scenes would need joyful or upbeat
music. During the episode cuts of trees and roads have upbeat music to up the
mood as it has no need to be down, but when something sad is happening such as
the story of an attack the music would change to low and sad music. During the
editing the editors have added shots of websites showing more information based on
the attacks, this can show the audience watching
where to find more information and ways of helping
people who may have been affected by an attack.
As the credits are shown the clips behind it are in
slow motion, this works with the credits as they are
shown slowly. Also the music while the credits are
showing are mysterious to end the episode on
yourself asking questions on how you would help
people who have been affected by acid.
Sound - Millie West
Vice is an informative documentary style company who aims their videos and
content at audiences around the ages of 16 and above. This may influence the
choice of mode of address used by the host and other featured participants.
7. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
There are many different forms and types of sound used in the media
production, ‘VICE - The Rise of Acid Attacks’. The programme begins with a
haunting score in the background. This is low key, dark, and ominous, non-diegetic
music that wouldn’t seem out of place in a horror movie. This is used to create a
spine chilling effect on the audience, helping to
prepare them for the graphic scenes to come.
Another purpose of this music is to prepare the
audience to see out of the ordinary images such
as those who have disfigured faces as a result of
acid attacks. The use of this music, which was
added during post production, is used to create a
tense, suspicious and serious atmosphere.
Setting the mood from the start is a very important aspect of a production, as it
establishes the general tone of how the producers want the audience to feel when
watching their production.
Throughout the course of the documentary, Zing
Tsjeng hosts, interviews and narrates the
production. Her oriental, welsh, yet common accent
shines through when she is speaking. She tries to
speak in a formal manner to emphasise the
seriousness of the subject yet, it makes her accent
slightly difficult to understand. She uses a monotone
voice throughout the production, this also
emphasises how intense the subject truly is. This is
one of the many reasons that she was chosen to be
the host of this documentary.
Whilst she explains the topic of the documentary,
the production employs a sound bridge, which
shows the viewers specific, relatable images. In this
instance, the images shown include Tsjeng texting,
a shot of the ‘Mare Street’ street sign (shown above)
and motorcycles zooming by, implying that she is
talking and illustrating a negative subject.
8. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Following this, light incidental music is played throughout the most part
of the production. This non-diegetic sound is similar to music from a horror movie,
yet the sound doesn’t feel out of place. This style of music is used by editors
together with producers to get under the audience’s skin to scare them and make
them feel on edge. This in turn helps to emphasise the horror of the topic and
importance of knowing about the rise of acid attacks and the consequences that they
can have on people’s lives.
During the CCTV footage of a man getting attacked by acid is embedded into the
production, nondiegetic commentary is incorporated to explain further about the act
and its consequences. The non-diegetic narration
helps to further explain and make clear exactly what
is occurring and aid the audience through to help
them understand the seriousness of the subject. This
use of a sound bridge is used throughout. Whether it
be during the showing of CCTV footage, content
found on social media or images and content filmed
by the production crew, the use of the sound bridge
is helpful and useful for the audience to see examples of the dramatically increasing
issue shown.
9. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
The general pattern of the production is split between narration and
interviews. All of the interviews are all diegetic and synchronous, emphasising the
realism of the situation. Throughout some of the interviews, sound bridges are used
to help emphasise the content of the interview. In one of the interviews in particular,
the voice of the interviewee is deepened and edited to
hide his identity. This creates a mysterious atmosphere.
This technique is also employed in order protect the
identity of the victim. The dialogue is quite chilling and
the anonymity enhances this, making the audience
wonder who the man is, increasing the mysterious
atmosphere created at this point in the production.
Throughout some of the interviews, low sound, hums,
eerie or tense music is played to help to create the
intended atmosphere, most likely one of tension,
seriousness and / or horror.
After the brief introduction about the production and
what the document consists of, the ‘VICE’ logo gets
edited in to slam on the screen. The suddenness of the
logo hitting the screen is both synchronous and non-
diegetic. This is because as the logo hits the screen the
sound of the slam comes with it, making it a
synchronous piece of sound, yet the sound is edited in
and cannot be heard by characters and is out of the
text's own world making it non-diegetic. The logo also
begins to flicker, just like the effect of an old movie. The synchronous and non-
diegetic sound, matches the moving image. As soon as the image stops, so does the
sound, making it completely synchronous, yet again the sound has been edited to
stop, making it non-diegetic.
10. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Use of no music and non-diegetic sound is to add to the atmosphere and feel of the
documentary. The producers and editors decide to add
sound that is out of the media’s own world to affect how
they would want the audience to feel. The use of no
music helps to aid the concentration of the audience to
focus on the participants and/ or host featured in the
documentary and this means that the viewers can fully
take in and gasp what he or she is saying.The sound of
a soul voice can amplify how important the message that is trying to be portrayed is.
Asynchronous sound is used often throughout the production. This helps the
audience to understand the seriousness of the topic is. There is no need for extra
music and so the use of asynchronous sound helps to portray the fact that
unfortunately there are many atrocities that happen on a day to day basis, but that
never stops us from going going about our everyday life. Although it may slow us
down, the use of asynchronous sound implies that
although these negativities occur, life goes on. For
example, the car noises portray the message that
citizens from all different communities from across the
world, still continue to move forward. The busy streets
and buzzy atmosphere all show how London life, as
well as life in other communities still continues.
11. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Verisimilitude is also used throughout the course of the production.
This is sound that creates realism in a piece of media. Namely, the sound of wind,
moving branches, trains passing by, bird song, rain and car noises. Most of these
noises are asynchronous, meaning that the sound is suitable to the content but is not
used in time with the actions (as the actions are not seen for the sounds to occur)
and they create a sense of reality - which they do. Some however are synchronous,
meaning that the sound is in time with the action, for example the camera focus’ on a
tree and only then do we hear the branch movements
and wind. The sounds are diegetic as they can be
heard by other characters and come from a source
within the scene. As some of the sounds may be hard
to pick when recording, they may have been intensified
in concentration to make them clearer and easier to
hear.
Different examples of ‘mode of address’ are used
throughout. The definition of mode of address is the
way that the media text speaks to the audience. One
example of this is when Zing Tsjeng is in a cab (the
location), and is explaining where she is going. Her
body language isn’t so relaxed. Although she is sitting
down, she is quite upright, and this can make the
atmosphere one that is both intense and serious and give off that message to the
audience, and make them feel on edge.
Another example of mode of address, is during an
interview. Both the interviewer and interviewee are
sitting down on the couch, and yet again in a not so
relaxed manor. They both seem to be on the edge of
their seat, which may consequently make the audience
feel the same way. Both people used in this scene speak in one tone, one that is
slow, deep and monotone. This can have an incredible effect on the audience, as the
way one speaks can have a large impact on how the audience may be intended to
feel. For example, the use of the monotone dialogue can create a very serious
atmosphere and again make the audience feel tense.
12. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
The third and final example of mode of address used in this
documentary is when Tsjeng is walking and talking about both the victims of acid
attacks, and how easy it is to buy such awful substances. This mode of address is
similar to another mentioned, the situation where we are inside the cab with our
narrator, this is because in this situation, we are walking with her, whilst she explains
to us, that she is on her way to try and buy acid, to see just how easy it is. This
creates a huge sense of reality, that there is nothing too formal occurring, and the
use of synchronicity and diegicity also helps to aid the realism too. Tsjeng talks to us
directly, and as the audience, we are comfortable with that as it makes us feel
involved and part of her investigation.
Towards the end of the production, violin music is heard. The use of this non-diegetic
sound that is edited in as incidental music also has a big impact of the audience and
atmosphere. The music occurs whilst our host announces the terrible statistics for
this ever increasing, horrific crime. Again, this creates a tense and shocking
atmosphere for the viewers and audience of the documentary as the statistics are
worse than ever. Consequently, this can create moral panic.
Finally, at the end of the documentary music, also known as sound for drama has
been edited in. The freaky, intense, scary, yet somber music is edited in at the end
of the production, whilst the credits are shown. The
use of this non-diegetic sound, that cannot be heard
from a source from within, and is outside of the text's
own world, is used to leave the audience feeling quite
low, due to the awful personal stories and statistics
shown, throughout the documentary. The
documentary finishes and the music comes to an end,
leaving a cold atmosphere.
Mise en scene (Colour design, costumes, decor, props) - Ben
Goldstone
Each prop has a different meaning some more important than
others. For example the mask on the main character face shows
that he has to always wear that from a terrible accident that was
taken place. A mask hides his identification as he lives in a bad and
rough area which means it shows he is either being looked for as
he was involved in an acid attack to a girl. A mask is very important
because then it hides who he is incase he is being looked for. But he mentions that
an acid attack isn't dealt in a good way. It doesn't get reported to the police because
13. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
it’s just the natural neighbourhood and as its block war they don't tell
the police because another fight would just happen. When acid was threw on to the
girl it may not have been reported because of what the girl could have done first.
Sometimes it's just random from crazy people. He is also in a puffy coat with his
hood up with represents he lives in the hood and he’s a gang member. The lucozade
bottle had acid in which tells us how easy it is to get acid
and not get caught with it wherever we are. It shows us how
dangerous it really is how anyone can have it anytime. This
is a very
important
prop
shown
14. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
The costumes each character wear each show a different meaning. So
the man in the hood is represented as a thug because he is covered up and hidden.
Another character is wearing white uniform which represents that he's involved in the
london metropolitan police and white shows good. The documentary is based in
london but it's based in poor areas which show us audience that attacks are usually
involved in either these areas or most people that are involved in gangs are to be
found in areas like this. When the main lady Zing Tsjeng is walking around she is
always walking around areas that are in poor areas in london. This uses stereotypes
because it shows that she was on the look to find people to talk about acid attacks
happening in the UK but she looked around areas that are in the hood and are very
informal. Hackney is a dangerous and lower class area. Lots of gang come by
Hackney it's a common place to
find stabbing and crime.
The documentary is based in areas such as
Hackney because the documentary itself is about
acid attacks happening so they chose a place like
hackney because lots of gangs are involved. The
lighting is very dull and dark and it seems very
urban. Throughout the documentary it's cloudy
and it just seems very dark. As Hackney is
naturally a poor area it's generally always dark.
Mise en scene (Lighting ,design, make up, location/setting both of us) - Nikon
Ahamed
Lighting
15. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
The episode begins with an establishing shot of the scene which
establishes the place and the timing in which it has been set (London). It starts at
night and some lighting may be used to record at these timings and this links with the
topic which is the rise of acid attacks as the
makers wanted to indirectly tell us that acid
attacks are most likely to occur at night times.
But seen as no evident editing can be seen the
producers probably tried to reflect naturality
which helps out the budget as getting lighting kits
for specific scenes may get expensive.
Furthermore, as the main victim comes into
place, we can see that during the interview with
him the lighting and the colours used instead are
more live and bright, walls are white resembling
the innocence of the victim who in this case got
attacked for no reason based on his explanation.
During the interview we also had some shots of
the place outside the cinema where the guy
interviewed got attacked and this contrast in key
lighting emphasises the difference a set place for
an attack can have compared to a calm and safe
place indoors in a house.
Afterwards, during an interview with a person
who commits aggressions (with acid as well) we
can see the overall colour of the environment
turning blue which may be due to the rain giving
this dull effect, but this helps the mood and the
pace of the interview to make it scarier and more
in context as an actual guy from a “gang”
probably is being interviewed. Previously to this
scene it was not raining and it is noticeable that
as the previous guy introduces the interviewer to
the “aggressor” the weather starts to change
which sets better the next scene and changes the
lighting slightly as mentioned before. Then after
the interview, the lighting stays the same as it
outlines the interviewer’s opinions and final
thoughts which are still negative.
Make up
There is no specific use of make up which leads to it being really simplistic as there
was no need for it. In order for it to appeal to the audience and make it more realistic
they have not used as much makeup to keep the naturality and embed the idea of
16. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
naturalism. Perhaps some make up has been used on the main
interviewer and this is a common thing that gets done as it helps the final product as
the reflection of the light on the face-skin is not that visible with proper make up.
Location
The location being used is Newham, in London
and the producers have focused on this place
as based on their research it was the place with
the highest rate of acid attacks in London
meaning they’ ve raised awareness not only to
the people in that location, but also to other
people who might need those information before
going in such places. Streets and places shown
are just what people see commonly in their
everyday life
Which incentivize the fact that there is no
specific location in which you may be attacked with acid, it could happen anywhere
without you realising it.
Also location chosen are only actual places outside where things are being issued
and this reflect again the naturalism of it as scenes are not forced to be filmed in
studios or other places where external editing gets added afterwards.
Theories
Uses and gratifications - Ben Karrass
Uses and gratifications theory is an approach to understanding why and how people
actively seek out specific media to satisfy specific needs. An individual may have
different needs such as: personal identity, these are people that watch the media to
fulfill their needs for companionship and to form relationships with others. Another
need is personal identity where people would watch content to find out more about
themselves and to relate to the media. Lastly it includes surveillance as it will allow
people to find out about things going on in the world that may relate to the people
watching.
In the rise of acid attacks we are about to notice that the Uses and gratifications
theory, firsty the show includes Surveillance as we are being told different things that
are occurring in the world and what change needs to be made. It fulfills the need for
surveillance as people can find out new information based on the media production,
people will be able to find out where the attacks are happening and also know what
is going on for the attacks to get better. The rise of acid attacks also fulfills the need
for entertainment as audiences can escape their everyday lives and can be put into
another section of the world.
17. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Decoding - Ben Goldstone
The audience is both the sender and the receiver of the message. Tv producers
seek to audiences to find out what people enjoy the most for tv programmes. It helps
producer to write a script for a tv programme because they know what the audience
want. Once the TV programme is created the audience provides feedback to the
producers resulting in the producers to then continue to produce what they were
doing or create something new that they think the audience will like. Decoding is a
very helpful process because the producers want to make something that they think
will make good money so the feedback they get from their target audience helps
them in so many ways because producers need to focus on entertaining people.
When a message is meaningfully decoded it will then serve its purpose to either
inform, persuade, entertain or restrict the receiver with a very cognitive, emotional,
ideological or behaviour consequences.
The audience decode the meaning depending on what they feel about the tv
programme and think about it. Along will how they have lots of great technologie with
them to use. Stuart hall suggests that there are three ways the receiver can decode
the message, being a dominant reader which means when the receiver accepts and
reproduces the code to the producers, negotiated reading when a code is broadly
received but only partially shared with the producer and also oppositional reader
which means when the receiver understands the reading but rejects the code.
Encoding - Nikon Ahamed
Encoding involves the theory invented by the theorist Stuart Hall who in 1973 stated
the theory of Encoding and Decoding. Based on the theory, as the audience
engages with the media text he/she will understand a particular text accordingly to
their social information and state. Therefore the producer will want to include certain
elements to make the viewer/consumer more engaged with the text which is part of
Encoding as producers are the ones who want to convey their messages to the
audience. When the message of the product gets encoded in the product it will then
get delivered to the audience when consuming it and it’s the producers’ job to make
the message easily understandable as well as cognitive and compelling for the
audience.
For example, the music being used here include non-diegetic sound which has been
added to match the scenes and shot being cut as well as editing as fade aways are
being followed with the external sound; this has been made by producers to make
viewers feel more tense and in the documentary as the music used keep the level of
suspense and tense high. As the producers used sound to make the viewer feel
specific emotions it also makes the audience eager to know what will happen in the
following scene or shot. This all link to the message the producers are trying to send
to the viewers as emphasising those scenes through the use of music may impress
18. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
more the audience and therefore tell them the message which is to
beware of acid attacks.
Moral Panics - Millie West
The ‘Theory of Moral Panics’ was invented by a man called Stanley Cohen (1972).
This was the idea that a piece of media would focus on the negative aspects of a
subject or story and exaggerate them. This, consequently makes the subject seem
like a ‘widespread issue’. This new ‘issue’ is then able to control the public through
fear, and and can, as a result, create separations of groups in society.
In regards to acid attacks, they are shown in this documentary as easy to do,
meaning that it is easy to buy the substances necessary to carry out an attack, as
well as physically, they are quite simple to do. The moral panic in this issue is also
enforced by the statistics showing a rapid increase in numbers regarding the amount
of attacks that happen. This means that the subject and stories of incidents get
spoken about more, and they get more exposure which makes the topic more likely
to become subject to moral panic. There is a strong East London focus whereby
those who feature are from either Asian and Black heritage. It is evident that there
are only few if any caucasians featured in the production. As a result of this moral
panic, people are more reluctant to go out onto the streets - especially in East
London, simply out of the rational fear that they could become a subject of an acid
attack incident.
Equilibrium Theory - Lauren Rosenfeld
In 1969 Todorov produced a theory which he believed could be applied to any film.
He believed that all films followed the same narrative pattern. They all went through
stages called the equilibrium, disequilibrium, acknowledgement, solving and again
equilibrium.
There are five stages the narrative can progress through:
1. A state of equilibrium.
2. A disruption of that order by an event.
3. A recognition that the disorder has occurred.
19. Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
4. An attempt to repair the damage of the disruption.
5. A return or restoration of a new equilibrium.
The Rise of Acid Attacks in the UK: VICE Reports, has elements of Todorov's
equilibrium theory, but does not follow it exactly. For instance,there is a state of
equilibrium in the beginning, as we are introduced to the presenter, and this is not
disrupted. However, there is then a disruption, as we are shown pictures and videos
of an attack happening. The third stage - recognition, is not followed, as there is
recognition of the disruption from the beginning and throughout the rest of the
documentary. The fourth stage is followed, as the presenter interviews professional
people, in an attempt to stop attacks. Lastly, we do not return to equilibrium, as the
attacks have not stopped, and we see the victim again, which leaves the audience
anxious, instead of calm.