The rip lyrics breakdown
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This document provides details on the lyrics and proposed video for the song "The Rip". It notes that the video will open with a single long take to summarize the narrative for viewers in an artistic and mysterious way. During the song, shots will be slow at the beginning and end but more conventional for the middle's haunting parts. Two long gaps in lyrics will show montages of rabbits and the artist in a forest. The video concludes with a long zoom-out shot to create tension and ambiguity.
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3) The storyboard describes the scenes planned for the intro and various parts of the song. For the intro, the character is shown walking and running to match the rhythm. Later scenes show the character in different places as well as close-ups of emotional moments like crying.
Orwell's 1984 in the music
This document discusses connections between George Orwell's novel "1984" and songs by Radiohead and Muse. It analyzes lyrics from Radiohead's "2+2=5" and Muse's "Resistance" and "Uprising", noting references to themes from "1984" such as thought control, restricting information, and oppressive government overreach. Exercises are provided asking readers to explain lyrics in the context of Orwell's novel and identify potential symbols and their meanings.
Marshal mathers iii
Eminem, born Marshall Mathers III in 1972 in Missouri, is considered one of the most influential rappers of all time. He dropped out of high school and began participating in rap battles in Detroit. After being discovered by Dr. Dre, Eminem went on to release successful solo albums like The Slim Shady LP and The Marshall Mathers LP. Songs like "Stan" and "Lose Yourself" have become classics. Through his honest, controversial lyrics and multi-platinum record sales, Eminem helped establish hip hop as a mainstream genre.
Movie title sequence
The document provides details on the title sequences of 5 different films: Thor, Grease, Shaun of the Dead, and Star Wars. It analyzes elements like music, imagery, text, and pacing to convey key details about the genre and storyline of each film in just a few seconds.
Movie title sequence review
The document provides details on the title sequences of 5 different films: Thor, Grease, Shaun of the Dead, and Star Wars. For Thor, the title sequence features dark clouds and stormy seas to set the tone of conflict between gods. Grease establishes the musical genre and 1970s setting. Shaun of the Dead introduces the main character and uses zombie-like movements to foreshadow the plot. Star Wars uses scrolling text against a black background to narrate the backstory without images or voices. This immerses the audience in the story.
Lyrics breakdown – dakota – stereophonics
- The song lyrics describe a man at a bar reminiscing about a summer romance from June with a woman. He is lip syncing the words of the song.
- The flashbacks show the couple laughing and having fun relaxing in a field together. They also show the couple sleeping in the back of a car after drinking.
- Now in the present, the man wonders what happened to his former lover and if they will meet again as he continues to lip sync the lyrics at the bar.
Fmp research
The document analyzes techniques used in a horror movie trailer, including transitions, audio, camera angles, and how suspense is built. Specifically, it discusses how the trailer's length of 2 minutes 28 seconds conveys the plot and leaves the audience wanting more. It also examines the trailer's main location of a haunted house, and how lighting and mise-en-scene elements like costumes and props set the period and genre while contrasting happiness with impending evil. Overall, the document explores how the trailer uses visual and audio elements to engage audiences and establish suspense.
Marshall Mathers III
- Eminem, born Marshall Mathers III in 1972 in Missouri, is a famous American rapper known by various nicknames like Slim Shady. He dropped out of high school and worked odd jobs before gaining fame through rap battles and being discovered by Dr. Dre. Some of his most popular albums include The Slim Shady LP, The Marshall Mathers LP, and the 8 Mile soundtrack. His songs often address difficult aspects of his life and upbringing.
Music video script
This document is a script for a music video. It provides descriptions of shots that will be included in the video, such as a girl walking through a forest and close-ups of her picking up and burning a rose. It also includes the lyrics and narration that will be sung or spoken throughout the video. The lyrics tell a story of the singer going through a breakup and turning to alcohol and drugs to cope, but eventually getting sober and feeling free and clean after a rainstorm washes away the past.
Fmp research
The document analyzes the trailer for the movie The Conjuring. It discusses how the trailer effectively builds suspense and tone through its use of lighting, costumes, sound design, and cinematography. Specifically, it notes that the trailer sets a melancholy tone through its grey color palette. It also highlights how the soundtrack and sound effects heighten tension during key moments. Additionally, the summary discusses how the period costumes and stylized cinematography help immerse the viewer in the time period and genre of the film. Overall, the summary examines how the trailer uses various filmmaking techniques to engage the audience and set expectations for the horror movie.
Fmp research
The document analyzes techniques used in a horror movie trailer, including transitions, audio, camera angles, and how suspense is built. Key points made include:
- The trailer is 2 minutes 28 seconds long and manages to convey horror elements and build tension while leaving mystery around the haunting entity.
- The main locations are the haunted house and surrounding area. Limited shots of a university establish the characters' backgrounds.
- Lighting gets dimmer as the evil is introduced, representing the loss of "good light".
- Costumes, decor and props indicate the film is set in the 1960s-1970s and establish genre and family closeness contrasting the coming evil.
- Sus
New l3 - l4 -textual analysis of 2 soap opera trailers - template
This document contains an analysis of two trailers for soap opera television shows. For the first Coronation Street trailer, the analysis notes the contrast between the happy soundtrack and scenes of emergency services, leaving the audience wondering what will happen. Character costumes and lighting are also examined. The second EastEnders trailer is described as having a scary soundtrack over deserted street scenes, establishing one character as threatening through angles, lighting and expressions. The analysis concludes by highlighting strengths of each trailer that could be repeated, such as the contrasting tones between scenes.
Analysis of a professional film opening.
The opening 2-5 minutes of the film Dragonfly introduces the main characters and establishes the central conflict. It shows the husband trying to get a flight to help his wife in South America. Scenes then show the wife helping people in the jungle, but floods occur and she dies when a bus crash causes by falling rocks. The opening establishes the wife as a doctor working internationally and her sudden death. It uses dramatic music, voiceovers, and quick cuts between locations to set the tense tone for the thriller genre.
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Looking back to your preliminary task
The author learned several important lessons when progressing from their preliminary task to the full product. For the preliminary, they focused on dialogue-driven comedy but realized the script was weak. They also used a limited number of shots. For the full product, a horror film, the author removed dialogue, relied more on visuals and score to build tension, improved shot variety, filmed at night indoors for lighting control, and learned editing techniques to make filming more efficient. Overall, the author gained valuable insights into script/dialogue quality, shot design, and production/editing workflow.
Who would be the audience for your media product
The document discusses strategies for promoting an unconventional horror film targeted at audiences aged 25-39 who appreciate artistic and surreal films. It proposes using nostalgic poster and trailer designs inspired by early 20th century horror films to emphasize the film's visual style. Promotional efforts would include social media pages, hashtags, and YouTube videos to spread the word. Unconventional strategies like fake banned film articles and a related online game could also attract younger audiences through intrigue and gameplay. The goal is to find ways to promote the film's niche artistic style and appeal to fans of the genre and era that inspired it.
How does your media product represent particular social groups
This document summarizes how a film represents different social groups through its characters. The film includes characters ranging from 10 to 45 years old to show how events impact people of various ages, unlike most slasher films that only affect young adults. Both the murderer and victims are intentionally presented with little backstory. The murderer, a mentally unstable young adult, kills both children and elders without remorse. Teenagers are shown partying recklessly before being killed, representing dubious aspects of youth culture. Parents are also killed to show that people of any age can be victims of violence. The inclusion of characters of various ages and backgrounds aims to provide a realistic perspective on massacres.
Evaluation Q1
The film uses and develops some conventions of slasher films by having the protagonist also serve as the killer, which challenges expectations. It is presented in black and white without dialogue like 1920s/30s horror films. Specifically, it takes inspiration from The Cabinet of Dr. Caligari in its shot composition and ability to disturb without sound. The film further challenges modern conventions by having a convoluted chronology and ending where it began to disturb the audience's understanding of the killer's acts. Overall, it combines slasher and early 20th century horror conventions while challenging expectations through its presentation.
Institutional research
This document analyzes box office data and critical reception for horror films from 1998-2014. It finds that comedy is the most popular genre overall but horror performs best in October and winter months. Most successful horror films are R-rated and from the late 1990s/early 2000s. The Conjuring was the highest grossing horror film of 2013 and its success led to the spin-off Annabelle. While Annabelle was financially successful, it received poor critical reviews unlike The Conjuring which won several awards. The document concludes that choosing Warner Bros. as the distributor, aiming for a 15 rating, and releasing in summer could help a new horror film achieve financial success.
Risk assesement
The document outlines various risks that could interfere with a film shoot taking place at a house and strategies to overcome them. It identifies illness of cast members, timing clashes for cast, memory cards becoming full, issues with fake blood, and knives being used as potential risks. The strategies include having replacements prepared for cast members that are ill or unable to attend, bringing spare memory cards, carefully applying fake blood away from sensitive areas like the mouth and eyes, and only having a trusted actor handle any knives used.
Sinister opening analysis
The scene shows a family of four with bags on their heads standing next to a tree. An unseen figure cuts a branch that causes the family to hang. The disturbing scene conveys the film's dark themes through the grainy super 8 camera filter and unsettling score, suggesting a secret murder has already occurred. The breaking title card reinforces the idea that someone filmed and rewatches the family's death for their own pleasure, establishing the film's horrific tone without dialogue.
Bbfc
The British Board of Film Classification (BBFC) is an independent body that regulates and rates films, television, advertisements and video games shown in the UK. They provide age ratings to help consumers, especially parents, make informed decisions about what media is appropriate for children. Their ratings consider factors like language, violence, sex, and drug use. Films rated U are suitable for all, while PG, 12, 15, and 18 have increasing restrictions on problematic content. Their goal is to protect children while giving adults freedom of choice.
Jaws opening analysis
The scene opens with Chrissie wanting to go for a swim at the beach with her boyfriend. This lighthearted opening draws viewers in before introducing horror elements. There are no opening credits, immersing viewers immediately. Shots emphasize how isolated Chrissie is swimming alone in the large ocean at sunset, when beaches are usually empty. The tense score starts as the camera shows an underwater view seeming to follow Chrissie, confirming it as a point-of-view shot from the antagonist. Viewers fear something terrible will happen to Chrissie, who is then seen frantically trying to escape an ambiguous attacking force that pulls her underwater.
Media analysis
The document summarizes a BBC News broadcast interviewing Darkus Howe, a black writer and broadcaster, about his reaction to the London riots. Darkus was positioned in front of a fire engine, deliberately highlighting the damage caused. Darkus was not surprised by the riots, criticizing politicians and police for failing to address youth concerns. However, the broadcast is perceived as biased against youth involved in the riots, frequently interrupting Darkus and accusing him of condoning violence when he criticized police and discussed the death that sparked the riots. Youth perspectives were not given a fair representation.
House of balloons treatment
This document provides details for a short horror film called "House of Balloons: Treatment". It includes a synopsis of the plot, which involves finding a house full of corpses and balloons with a lone killer just watching. It describes the killer being played in a disturbed manner and one victim shown alive. It outlines the plot, including zooming out from a corpse to reveal the crime scene and the killer contacting police before leaving. It lists the cast and details the filming location, costumes, and props, including using a horse mask to hide the killer's face and filming in black and white in the style of early silent horror films.
Night of the living dead opening analysis
The document provides an opening analysis of the 1968 horror film "Night of the Living Dead". The summary is as follows:
The film begins with an establishing shot of a car driving down a rural road without any opening credits or logos. The musical score builds tension as the car approaches the camera. The title card is then shown with the word "Night" only outlined. The film is noticeably shot during the daytime despite its title. It introduces the main characters Johnny and Barbara visiting their mother's grave. Johnny is obnoxious while Barbara wants to pay respects. Strange radio issues hint that something is amiss. Johnny criticizes the church and teases Barbara about zombies before one attacks and kills Johnny. Barbara then
House of balloons script
1) A living room is filled with multiple dead bodies and balloons as eighties funk music plays in the background.
2) A man in a mask is revealed standing over a dead body with a knife. He removes his mask to reveal a confident expression.
3) The man calmly calls the police to report the murder, stating the victims were involved with someone they shouldn't have been and deserved their violent deaths. He then leaves the house still in a calm demeanor.
call sheet
This call sheet is for the opening scene of the horror short film "House of Balloons" directed by Tom Millett. It will be filmed at 5 Lowther Close in Billingham on an unspecified date. Tom Millett will serve as the director, producer, cinematographer and play the killer. The film stars Paul Mason and Wesley Aitchison as additional killers and Alex Grange, Michael Millett, Tom Moore and Ben Millett as victims. Equipment needed includes a Panasonic camcorder, camera bags, memory cards, a tripod, a knife, masks and fake blood.
Callsheet
This call sheet is for a music video shoot for the Portishead song "The Rip." It will be directed by Tom Millett and shot at Thorpe Beck in Billingham on an unspecified date. The cast includes Gilly Ferries as the lead singer and Jack Waterman playing pigs. Equipment needed includes a Canon DSLR 500D camera, macro lens, torch, masks, camera bags, memory cards, and a tripod.
opening sequence
The opening sequence of Eraserhead establishes the surreal and disturbing tone of the film. It begins with white text on a black background introducing director David Lynch. The sequence then cuts between two men - one lying horizontally and the other on an unknown planet. Strange events occur between the men, including a creature emerging from the horizontal man's mouth. The creature is sent through different levers pulled by the planetary man, ultimately falling into a crater filled with bubbling liquid. The opening ends by zooming into a white circular hole, transitioning to a blinding white screen and implying a shift to a new location.
Analysing opening sequence
The opening sequence of Eraserhead establishes the surreal and disturbing tone of the film. It begins with white text on a black background introducing David Lynch as the director. The title sequence cuts to a shot of a man with a translucent appearance moving around the screen in a paranoid manner. His face contorts and a strange creature emerges from his mouth. The creature moves towards a deformed man living in a makeshift house on what appears to be the moon. This man pulls levers that seem to affect the horizontal man, and the creature falls into a crater. The opening ends by cutting to black and then showing a white circle that the camera zooms into, transitioning to a new location.
Question 3 questions
The document contains 17 questions about a music video asking the respondent's opinions on various technical and artistic elements including overall impression, genre, production quality, performances, narrative, editing, visual effects, set design, strongest and weakest parts, and potential improvements.
Question 4 list
The document lists various technologies including photo and video editing software like Photoshop and Final Cut Pro, social media platforms like Facebook and YouTube, media players and downloaders like iTunes, Quicktime, and YouTube Downloader, online services for maps, images, cloud storage, and blogging, as well as common productivity applications like Microsoft Word and Powerpoint, and various digital media devices like cameras, camcorders, and SD cards.
Draft notes for question 2
This document contains notes for designing ancillaries like advertisements and album packaging to accompany a musical product. It recommends keeping consistent fonts, colors, characters, and imagery across the main product and ancillaries to reinforce the theme and brand identity. It also lists typical design elements for ancillaries like barcodes, release dates, tracklistings, and reviews.
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The rip lyrics breakdown
- 1. "The Rip Lyrics Breakdown" (0.00) This will be the introduction to the lyrics. Will help set up opening shot. As she walks in the room Scented and tall (0.33) (0.34) Hesitating once more (0.39) (0.40) And as I take on myself And the bitterness I felt I realise that love flows (0.48) (0.49) Wild, white horses (0.52) (0.53) They will take me away (0.59) (1.00) And the tenderness I feel (1.04) (1.05) Will send the dark underneath (1.09) (1.12) Will I follow? (1.14) (1.15) Through the glory of life (1.17) (1.18) I will scatter on the floor (1.21) (1.22) Disappointed and sore (1.24) (1.25) And in my thoughts I have bled (1.28) (1.29) For the riddles I've been fed (1.32) (1.33) Another lie moves over (1.38) (1.39) Wild, white horses (1.41) (1.42) They will take me away (1.46) (1.47) And the tenderness I feel (1.51) (1.52) Will send the dark underneath (1.57) (1.58) Will I follow? (2.01) (2.54) Wild, white horses (2.57) (2.58) They will take me away (3.02) (3.03) And the tenderness I feel (3.08) (3.09) Will send the dark underneath (3.13) (3.14) Will I follow? (3.16) (3.17) Narrative concludes (4.36) The video will open with one single long take, as it will be able to summarise the whole narrative easily for the viewer. It will however add a mysterious note onto the whole music video. The one take will be used to create a unique artistic opening to a haunting and unconventional song. Many of the shots during the video will be slow and long during the beginning and the end of the song. During the middle of the song, the cuts will be more conventional but will play on the more haunting parts of the narrative. There will be two extremely long gaps in the lyrics of this song. In these sections the song will heavily rely on thought beats and show a montage of shots that are focused on the rabbits and the artist in the forest. The concluding shots will have a long zooming out take to create a sense of tension and ambiguous conclusion to the ending.