FM4 Lesson 1

This document contains questions about the film Vertigo and general film analysis questions. For Vertigo, it asks about how Hitchcock manages the audience's response to the character Scottie, the significance of the recurring spiral image, and themes explored through the Madeleine/Judy character. It also asks if Vertigo can be considered a film about cinema and spectatorship. The general questions ask about applying critical approaches to gain new insights, how critics have shaped the respondent's view, how context influences interpretation, and techniques that trigger emotional responses.

Lesson 1 Emotional Response

This document discusses emotional responses to film. It aims to understand how films create emotional responses in viewers and the relationship between the film and audience. It examines how careful use of film techniques and subject matter can elicit strong emotions. Repeated viewings may lessen or intensify emotional impact. The document also discusses film communication as an interactive process between filmmakers and viewers, with films operating through visual and audio language. It encourages deconstructing films into constructed components to understand creative choices and possible meanings.

A2 Film A-Level Film Studies FM4 Spectatorship Revision

A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.

Spectator theory

Spectatorship explained

This document discusses spectatorship and how different spectators can have varying emotional responses to the same film due to their personal contexts. A spectator's response is dependent on their own experiences, knowledge, ideologies, and how they relate the film to their own memories. The document also presents different types of readings spectators can have, from preferring the intended meaning to having an oppositional reading that does not recognize the intended meanings.

Lesson 2 Film as Consumption

This document discusses film analysis and how meaning is constructed in films. It introduces key concepts like films being a form of communication where filmmakers encode messages for audiences to decode. It also discusses how films can be interpreted in different ways by different audiences based on their own experiences. Students are instructed to analyze short film clips, looking at micro elements like camera work, mise-en-scene, editing and how these techniques are used to elicit emotional responses and create meaning for the spectator. The goal is to understand how filmmakers manipulate audiences and how the spectator plays a role in interpreting meaning.

Spec and Resp - Lesson 1

This document discusses a film studies module that focuses on how popular films produce powerful emotional responses in viewers. The module will examine how two focus films and "Shocking Cinema" manipulate viewers emotionally. It aims to consider the relationship between films and audiences, how films elicit strong emotions, and how shock can be used. Students will be expected to discuss their personal experiences with and emotional responses to the films studied. The document also defines the differences between audiences and spectators in film theory and discusses various theories of spectatorship and the different "selves" that can influence emotional responses to films.

The document discusses how filmmakers can manipulate audiences' emotional responses through techniques that align viewers with characters. It provides examples of cinematography, sound, and themes that can encourage identification or distance. Filmmakers often aim to provoke a shared audience response rather than individual spectator reactions. Some films, like Full Metal Jacket, avoid aligning viewers with any one character to stop them taking a single meaning from the film. The document analyzes how Kubrick introduces the recruits as a uniform group to align viewers with their shared experience rather than individuals.

Fm4 spectatorship emotional response A-Level A2 Film Studies

Spec and Resp - Lesson 4 alignment

The document discusses how filmmakers can manipulate audiences' emotional responses through alignment with characters. It explains that alignment is encouraged through techniques like close-ups, sound design, and relatable themes. When audiences are aligned with characters, they are more likely to experience the filmmaker's intended meaning and share emotional responses with other viewers rather than having individual spectator experiences. The document analyzes how films like Platoon use techniques like realistic scenarios and situations to provoke strong, shared audience emotions and readings of the film.

Lesson 6 2014

This document discusses the concepts of alignment and allegiance in spectatorship theory and applies them to the analysis of the film Full Metal Jacket. It explains that in this film, Kubrick intentionally makes it difficult for spectators to align with individual characters. Instead, spectators are encouraged to align with the group or unit of Marines through repetition of shots showing them as a consolidated group. This alignment with the group is reinforced by costumes, actions, and shared experiences. Private Pyle's character serves to further unite the group in their negative view of him as a threat, encouraging allegiance to the group's perspective.

Popular film and emotional response

Rachel Jones

This document discusses theories of emotional response to film. It addresses how film generates emotion through techniques like mise-en-scene, music, and character identification. It also discusses how contextual factors like a viewer's background can influence their response. The document outlines Stuart Hall's concept of how viewers are "positioned" by filmmakers through techniques that encourage certain interpretations. It suggests viewers may have preferred, negotiated, or oppositional readings depending on social and cultural factors. Finally, the document discusses the involuntary psychological process of "emotional contagion" whereby viewers mimic characters' emotions due to film techniques like close-ups of faces.

Film Language: Mise-En-Scene explanation and examples.

A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.

Restrained evaluation 2

mollytricker23

The document discusses how the media product uses, develops, and challenges conventions of real thriller titles sequences. It uses conventions such as POV shots, close-ups, symbolic props, and vulnerable characters. It challenges conventions like atypical titles and pacing. The product was influenced by films like Seven and Silence of the Lambs. It represents social groups through stereotypical gender and age roles. The product could be distributed by companies like Blumhouse or Hammer Films targeting thriller audiences.

Watch Powerpoint Presentation

henleycolmedia

Fm4 Lesson 1

Media evalution main task

chrisd24

In our horror film we have developed some typical horror film conventions while also using some without development: - We developed conventions by having the man die in the opening scene rather than the woman, and by not showing the killer, bringing more variety. - We did not develop conventions in our use of close-up shots of victims' faces or in our typical young person clothing and living room setting, using these conventions to create familiarity and increase fear. - We developed the convention of sound by making our soundtrack more up-tempo and scary to add tension, unlike other films with more eerie sounds. - We used a mix of bright and dark lighting to challenge conventions that usually only use one type

Mise en scene booklet GCSE Film Studies

The document discusses the film technique of mise-en-scene and focuses on settings and props. It explains that settings can provide context for where and when a scene takes place and can suggest things about characters. Films use real locations, studio sets, or computer-generated backgrounds. Real locations immerse viewers but are costly, while studios offer control but lack authenticity. Props provide details about characters. Overall, settings are chosen deliberately by filmmakers to inform the story and audience.

Evaluation notes

haverstockmedia

The document provides questions for each member of a group to answer about their media production project. The questions cover various topics such as how their project used or developed conventions from real media, how it represented social groups, what institutions might distribute it, who the target audience is, how they engaged their audience, what they learned about technologies, and what they learned from the preliminary task to the full project. Each group member must answer each question in a different format, such as a video extra, PowerPoint, or blog post with images, to provide visual and designed responses.

Question 3

charleyyg1412

The document summarizes feedback received on a music video project from questionnaires, social media comments, and font testing. Key points learned include: - The dark purple eye imagery successfully conveyed intended themes of mystery, fear, and rebellion. - Edits were made to avoid unintended sexual connotations and ensure the eye felt intrusive. - Most had heard of the referenced film The Blair Witch Project so stylistic homages would be recognized. - Comments on lip syncing, an ending, and a forest shot were addressed in the final version. - Font testing led to selecting a clearer option that better suited the digipak design.

Film studies induction booklet

Blackpool Sixth Form

This document provides an induction booklet for students taking an AS level in Film Studies. It introduces some key concepts that will be covered in the course, including reading films through their use of film language, codes and signals. It explains some fundamental techniques used in film like camera shots and movements, mise-en-scene, lighting, sound, and editing. Several film extracts are referenced as examples to analyze how these techniques are used to convey meaning and achieve effects. The booklet aims to prepare students to study films in an academic manner by familiarizing them with analytical approaches to reading and interpreting film texts.

Evaluation For Preliminary Task Zabi

JakNakan

1. The document evaluates a short film scene about a police officer, Jiminy Cricket, seeking revenge on Billy Bob for murdering his wife. It was influenced by the films Training Day and Silence of the Lambs. 2. While the filmmakers were pleased with the shots achieved given limited equipment, one scene had to be reshot after the subject's head was cut off. 3. Planning and storyboarding helped visualize the scene before filming, but limited time meant fewer scenes than intended could be storyboarded.

Lesson 1 - Mise en Scene

42RolandMichaud

The document provides definitions and explanations of key media language terminology related to mise-en-scene, including setting, props, costumes, facial expressions, body language, lighting, camera positioning, and more. Examples are given of how these elements of mise-en-scene are used to provide meaning and convey information to the audience about characters, narratives, and themes. The document also instructs students to analyze the use of mise-en-scene in media clips and consider what can be understood about characters and stories through these visual elements.

City of God A-Level Film Studies student booklet e-book workbook study guide

OCR GCSE media studies revision pack 1

MsCalver

This document provides revision materials for a GCSE Media Studies exam on television and promoting media. It includes terminology related to film techniques, conventions of television crime dramas, analysis of crime drama representations, facts about British broadcasters BBC and ITV, and sample exam questions. Key points covered are editing techniques, camera shots, sound devices, character archetypes in crime genres, and how social groups are portrayed. Example pleasures of crime dramas discussed are narrative resolution, escapism, and familiarity from recurring characters.

In what ways does your media product use, develop or challenge forms and conv...

Hxrrywmedia

The document discusses how the media product used and developed conventions of the horror/thriller genre. It analyzed films like "The Hills Have Eyes" to understand typical conventions around diegetic sound, non-diegetic sound, fast-paced soundtracks, fade outs, red text titles, and POV shots. The media product challenged conventions by having younger student characters as victims and the murderer also a student. It opened with a scene set slightly in the future then flashed back to how the murderer "ended up in the mental state he was in."

Media studies AS revision

arron martin

This document provides an overview of key concepts in media studies related to media language and forms. It discusses several elements of mise-en-scene that construct meaning, such as color, camera angles, lighting, sound, and narrative structures. It also addresses semiotics, the study of signs, and how symbolic and technical signs create meaning on both a denotative and connotative level. Various film theories are outlined, including those proposed by Todorov, Levi Strauss, Propp, Barthes, and others.

Emotional response in film 1

This document discusses popular film and emotional response. It aims to consider the relationship between films and audiences and how particular films and sequences can elicit strong emotional responses from viewers. Films may shock audiences in various ways, both disturbing and challenging them. The document examines how emotional effects are achieved through film techniques or subject matter. It also discusses whether subsequent viewings of shocking images lessen or intensify their impact. Additionally, it addresses debates around whether mainstream films manipulate emotions or use them to make deeper points. The document then analyzes film as a communication process and differences between spectators and audiences. It explores the nature of emotion and what determines individual responses. Elements that can create emotive responses in films are discussed. Readers are tasked to analyze

Emotional response to films 1

This document discusses popular film and emotional response. It aims to consider the relationship between films and audiences and how particular films and sequences can elicit strong emotional responses from viewers. Films may shock audiences in various ways, both disturbing and challenging them. The document examines how emotional effects are achieved through film techniques or subject matter. It also discusses whether subsequent viewings of shocking images lessen or intensify their impact. Additionally, it addresses debates around whether mainstream films manipulate emotions or use them to make deeper points. The document outlines perspectives on film as a communication process and differences between spectators and audiences. It also explores what determines individual predispositions to emotional responses and elements within films that can create emotions.

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Similar to FM4 Lesson 1

Emotional response in film 1

Emotional response to films 1

This document discusses popular film and emotional response. It aims to consider the relationship between films and audiences and how particular films and sequences can elicit strong emotional responses from viewers. Films may shock audiences in various ways, both disturbing and challenging them. The document examines how emotional effects are achieved through film techniques or subject matter. It also discusses whether subsequent viewings of shocking images lessen or intensify their impact. Additionally, it addresses debates around whether mainstream films manipulate emotions or use them to make deeper points. The document outlines perspectives on film as a communication process and differences between spectators and audiences. It also explores what determines individual predispositions to emotional responses and elements within films that can create emotions.

Week 1 Emotional Response

This document discusses how popular films produce powerful emotional responses in viewers and examines the relationship between films and audiences. It aims to understand how films create emotions and considers whether emotional effects come from film techniques or subject matter. It also discusses film communication as a process, where films transmit intended meanings but audiences can interpret them variably. Viewers are encouraged to note their emotional responses to films and analyze how film construction and identification with characters influence those reactions.

FM4: What is emotion?

The document discusses emotion and emotional response in relation to film. It defines emotion as the movement of the mind or soul caused by exciting experiences that are manifested physically. While films aim to elicit emotions from viewers, individuals will experience emotions differently depending on their personal predispositions and life experiences. Filmmakers deliberately use techniques like mise-en-scene, cinematography, editing and sound to engage viewers emotionally. When analyzing films, it is important to consider the individual spectator's social, cultural, personal and desiring selves that influence how they respond emotionally.

Tears for fears

tdcjackson

The document discusses the topic of "Tears for Fears: Popular Film and Emotional Response" which will be presented at the Media Studies Conference. The presentation will explore how popular films construct various emotional responses in spectators through film techniques and the use of genres like horror, comedy, and romantic comedy. It notes that emotional response is a complex topic, as the same film may elicit different reactions from different viewers. The document provides guidance on studying popular films and emotional response for an A Level Film Studies course, including recommending focusing on how films intentionally manipulate viewers' emotions through genres, stars, and other cinematic elements.

FM4: Week 2 for blog

This document discusses the concept of emotion and emotional response in relation to film. It provides several definitions of emotion, including that emotion involves the mind or soul being moved in either a pleasing or painful way, and that emotions embody the range of feelings humans experience in response to external stimuli. The document notes that different people will experience emotions like fear, pleasure, and shock differently when watching the same film. It asks the reader to think about what determines their individual predisposition to emotional responses. Overall, the document explores how film elicits emotional responses from spectators through its use of techniques like cinematography, editing, sound, and narrative structure.

Revision 2014

Naamah Hill

This document discusses how popular films generate emotional responses in spectators. It addresses questions around how films use techniques like mise-en-scene, music, and character identification to elicit emotions. The document also discusses how contextual knowledge and cultural backgrounds can influence a spectator's response. It explores ideas around emotional involvement, alignment with characters, and differing audience interpretations based on preferred, negotiated or oppositional readings. The document suggests spectators may have contradictory emotional responses due to both intentional film techniques and individual viewer perspectives.

A clockwork orange – final session

This document provides an overview of a film analysis session on Stanley Kubrick's A Clockwork Orange. It discusses various micro-elements of film construction that can be used to elicit emotional responses from audiences, such as camerawork, character alignment, narrative, sound, mise-en-scene, and editing. Students are tasked with watching clips to analyze how these elements are used and link it to film theories. Several relevant film theories are then outlined, such as the hypodermic needle model, uses and gratifications, and the impression of reality. Students are divided into groups to discuss how A Clockwork Orange manipulates audience emotion based on these theories.

Week 12 pro-forma audiences & products (1)

Jack Booth

This document discusses various theories related to audiences and media consumption. It defines passive consumption as audiences simply accepting media messages without response. The hypodermic needle model suggests audiences will immediately believe anything in media. Active consumption is when audiences interact with and influence media. Uses and gratifications theory explains why audiences consume media for information, identity, social integration, and entertainment. Reception theory looks at how audiences interpret encoded media messages based on their own experiences and decoding. Spectatorship theory examines how audiences make meaning based on their social, cultural, private, and desiring selves. Different frameworks can lead to varied interpretations of the same media. The document uses these theories to analyze audiences' interactions with the Alien film franchise.

Teaching inception

Mike Gunn

This document outlines teaching methods for analyzing the film Inception based on spectatorship theory. It suggests conducting debates about how different factors influence audience interpretation, such as a viewer's mood, context, and life experiences. Key topics of debate include the spectrum of passive to active audiences, emotional manipulation, and preferred readings. Techniques like narrative elements, character development, and cinematography are also discussed in the context of how they position audiences and create meaning. The goal is to get students to examine their own reactions to the film and consider different theoretical perspectives on spectatorship.

Documentary 2011 revision

The document provides guidance for analyzing documentaries, including key questions to consider about how documentaries portray reality and potentially shape viewer perspectives. It lists example exam questions focusing on documentary techniques, viewer relationships to subjects, and how documentaries compare to fiction films. Finally, it outlines criteria for achieving Level 4 on exams, including demonstrating excellent knowledge, precise referencing, structured writing, and a sophisticated understanding of documentaries and film issues.

Studies in world cinema

tdcjackson

The exam is 1 1/2 hours long and consists of two sections - Section A is worth 30 marks and focuses on analyzing films through close examination of textual features, while Section B is worth 20 marks and asks students to consider broader contexts and representations in films. Students will choose one question from three options that may ask them to analyze scenes, themes, or social/political messages in the film City of God.

Spectatorship ideas

jonreigatemedia

This document discusses spectatorship and emotional response to popular films, particularly genres like horror, melodrama, and thriller that elicit strong emotions. It suggests focusing a study on one genre for a less diffuse analysis. The document also notes an ideological dimension around audience manipulation and the pleasure of surrendering to a film. Finally, it defines popular films as those made to reach a broad mainstream audience through conventional styles, narrative techniques, and star personas that provide audience pleasure.

Questions to answer when analysing a documentary

NWAce

This document outlines 14 questions to consider when analyzing a documentary film. It asks about the film's subject and purpose, whether it makes arguments or critiques positions. It inquires about the use of recorded footage, voiceovers, interviews, and other production elements. It examines how the film is edited, the use of sound and cinematography, and how these aim to communicate the filmmaker's point of view. Finally, it prompts evaluating the effectiveness of the documentary.

Evaluation notes

LewisTowse7

The document provides guidance for students to reflect on various aspects of creating their media product and preparing for evaluation. It prompts them to consider how their product uses or challenges conventions, how it represents social groups, potential distributors, the target audience, techniques to appeal to audiences, technologies used in the process, learning from preliminary tasks, and approaches to evaluation. Students are asked to make notes on each section reflecting on creative decisions, research, production, and how to present their evaluation.

Week 5 Instructor GuidanceOne of the topics we’ve been talki.docx

cockekeshia

Week 5 Instructor Guidance One of the topics we’ve been talking about throughout this course is how we can track both the personal and societal impact of film. In fact, your Week One Introduction post asked you to consider this issue and, as we progressed through the class and learned new terminology--new ways of looking at film, we were able to reconsider and develop our perspectives on this. Both of your discussion posts this week touch on this issue, and it comes up in relation to your final written assignment as well. While everything we’ve learned has helped us develop a critical capacity for talking about film, deepening our appreciation of the medium itself, ultimately our understanding of the (sometimes very personal) way film intersects with society is the key to unlocking another layer to the material from this course. Students sometimes wonder about this course, asking how the material directly impacts their study of a chosen major. Students may even go a step beyond that and ask about how the material they've been studying has bearing on their anticipated career field at all! That's why it's important to take a step back, away from the camera, away from the specifications of shots or the varying aspects of cinematography. It's time to pull our eyes away from the screen and look around at the world that surrounds us. We should be able to identify and consider the many ways film can impact society . . . as well as how society may impact film! In this way, we can start to consider how we can apply what we've learned in this class! A recent study conducted by the University of Rochester (NY) finds that watching and discussing movies about relationships is as effective in lowering divorce rates as other, more intensive, early marriage counseling programs! Watch this video presentation. Follow this link for more information about the study, and to download information about the films the couples watched, as well as the different questions the researchers asked the couples to reflect on after they watched specific movies. As you reflect on your own journey in this class--how you watch movies and the kinds of impacts that films can have on people--try to think deeply about the many ways we engage with film and what it can really mean to us in our majors, in our careers, and in our lives! Many of the movies we respond to are made for mostly for entertainment. No matter their artistic value, or how intelligent the plot may be, the main goal is to find an audience and get them to pay money to watch what unfolds onscreen. Individual members of the creative team--the director, the writer, specific actors--might have other more lofty aims, but at the root there is a basic economic principle at work. Therefore, it would be easy to write these films off and focus more exclusively on documentaries or smaller budget movies made by guerilla filmmakers who aren't tied to the money making Hollywood scheme of things. We could focus on films that try.

Question 1 b revision

Naamah Hill

This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.

Fm4 Lesson 3

This document discusses emotional responses and pleasure in film. It explores how films elicit emotions from viewers through storytelling and allowing viewers to empathize with characters. While this process is generally pleasurable, the document examines what specific emotions are evoked by violent or shocking scenes, and whether viewers find these emotionally engaging scenes pleasurable or not. It also considers the illusion of reality created by films and how viewers actively participate in that illusion.

Genre final

Naamah Hill

Genre theory proposes that genres are defined by shared conventions of content, themes, and stylistic elements. Generic conventions refer to common narrative structures, character types, visual elements, and themes seen across films within a genre, such as action sequences and fights in action films. Identifying conventions involves analyzing typical narratives, micro-level details, and themes. While genres provide familiar frameworks that audiences enjoy, over-reliance on conventions can make films repetitive; some challenge expectations to keep genres fresh. Categorizing films by genre aids marketing but risks pigeonholing creativity.

Red Blue Green Illustrative English Media Documentary Film Conventions Pres_2...

joemmbrillantes

This document provides an introduction to documentary film conventions for year 11 students. It defines documentaries as films that tell real stories using real footage. Documentaries can inform, raise awareness, or convey opinions. Key conventions discussed include: exposition to engage viewers, a focaliser to guide viewers, voiceover narration to provide context, actual footage of events, archival footage from other sources, reconstructed dramatizations, and interviews of subjects. Footage types and the purpose of various sounds are also outlined. The document aims to explain documentary techniques used to construct and shape reality for audiences.

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The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.

Michael Jackson - Black or White analysis

Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.

Half term homework (Yr9)

Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.

Film FM2 December homework

This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.

1. Intro 2016 (FM2 (Section C)

This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.

Film pitch

The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.

Genre elements

The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.

Examples of binay opposites

Unit 8 – assignment 1 task 2

The document discusses key concepts related to media ownership and distribution, including: - Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry. - Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries. - Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more. - Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach

The Walt Disney Company

The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.

Unit 8 – assignment 1 task 2

The document discusses key concepts related to media ownership structures and distribution, including: - Monopoly and oligopoly market structures, with examples of companies dominating certain markets. - Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media. - Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry. - Franchises that expand original creative works across multiple forms of media through licensing agreements. - The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.

Pressure - Contextual

The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.

3. sapphire contextual research

Between 1948-1962: - Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages. - Racial tensions rose as attacks against black people occurred. - Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration. - Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.

Pressure notes and screening questions

Exam lessons 3 (audiences) Section A A2 Media Exam

The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.

Exam lessons 3 (representation) - Section A A2 Media Exam

The document provides guidance on analyzing representations in media productions using the concept of representation and related theories. It discusses how representations construct versions of reality and ideology. It encourages focusing an analysis of a soap opera trailer on how gender, social groups and places are represented through media language tools and what ideological messages are communicated. Key theories discussed include those relating to cultural hegemony, stereotypes, feminism and the male gaze. The document suggests deconstructing the various production stages and choosing elements to focus on how representations were constructed and their intended effects.

G325 representation (Collective Identities)

The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.

1. Collective I.D. lessons

This document provides information about Section B of the G325: Critical Perspectives in Media examination. Section B focuses on contemporary media issues and will require candidates to answer one question from a choice of six topic areas. For each topic area, candidates must demonstrate understanding of the historical, contemporary, and future aspects as they relate to at least two media forms and include references to relevant media theories and critics. The document provides examples of topic areas such as representations of Black Britain, prompts questions for each area, and suggests texts and theorists candidates could draw from to demonstrate their knowledge in the exam.

A2 G325: Critical Perspectives in the Media (Section A)

This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.

G325 Section A – past exam questions