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Wjec fm3 step outline guidance structure
This document provides guidance on creating a step outline for a documentary film project. It explains that the step outline should follow an industry standard approach to outline a proposed 30-minute documentary. It should walk through the documentary in approximately 1800 words. The key elements of any documentary that must be considered are the audience and the documentary style or form. An effective step outline uses a formulaic approach to briefly describe each scene and allow the scenes to be rearranged to improve the documentary's flow. A sample step outline is included to demonstrate this structure.
Wjec example of complete step outline
The document provides a 17 scene step outline for a documentary about British film director Michael Powell and his work filming propaganda films during World War 2. In 3 sentences: The outline explores whether Powell used his wartime films to push a subtle anti-war message by highlighting the surreal nature of conflict; it presents various perspectives on Powell's attitude towards women and whether his films were misogynistic; and ultimately questions if Powell was truly "Filming for Victory" or advancing his own artistic agenda through the films.
Intro to course admin, ice breakers and history of media set 2
This document provides an overview of the Year 12 Media Studies course. It introduces the aims of the course, which are to study different media forms and contexts, and how students will be assessed. It then gives an outline of the topics to be covered, including key terms, the history of media, and predictions about the future of media. Students are instructed on course requirements like folders, homework policies, and lesson activities. These activities include icebreakers to get to know classmates, defining media terms, and discussing the evolution of technology and its impact on the development of mass media over time.
Vertigo marxist perspective
A Marxist critique of Alfred Hitchcock's Vertigo examines how the film reflects the social and economic conditions of its production and the ideologies of its creators. It views the film as both a commercial product created by the studio system to make profit, and as a cultural artifact that reinforces aspects of class, gender, and ethnic hierarchies through its representations and treatment of characters. Applying Marxist analysis provides an alternative interpretation of the film's themes of obsession and downfall by linking them to issues of class, gender, and ethnicity in the socio-historical context in which the film was made.
Vertigo marxist perspective
This document discusses applying a Marxist critique to the film Vertigo. It defines Marxism and cultural Marxism, which involves analyzing cultural products like films within their capitalist context and considering how they reflect social institutions and issues of class, race, and gender. A Marxist critique views films as arising from economic circumstances and serving ideological functions. For Vertigo specifically, the document suggests exploring its commercial context as a commodity meant to appeal to audiences, as well as examining how its themes of obsession relate to representations of class, gender, and ethnicity in society at the time.
Macro analysis of teen title sequences student powerpoint template-1
This document analyzes conventions used in the title sequences of teen drama films, comparing high school and youth dramas. It discusses key plot ideas, storylines, and characters introduced in openings, as well as the social groups and stereotypes typically represented, such as binaries between popular and unpopular students.
Concept theory mind maps
This document outlines several media theory concepts - representation, narrative, audience, media language, and genre - and lists various theorists' ideas about each concept such as Goodwin, Mulvey, Todorov, Willis, Hall, Bordwell, and Vernallis. It notes that each concept and associated theories may need revising.
G325 section a revision methods and essay structures
The document provides guidance on how to organize revision for a media exam. It recommends dividing revision into skill areas and concepts. For each skill or concept, list examples from past productions and reflect on how it was used and what was learned. Grids or mindmaps can organize this information and be converted into essay plans. Sample grids are provided showing how to structure examples from an AS thriller and A2 music video for skills like editing, effects and concepts like representation theories. An essay plan template demonstrates how the grid can be translated into paragraph form with introduction, body and conclusion. The purpose is to reflect on skills and concepts developed over the course to demonstrate understanding for the exam.
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Wjec fm3 step outline guidance structure
This document provides guidance on creating a step outline for a documentary film project. It explains that the step outline should follow an industry standard approach to outline a proposed 30-minute documentary. It should walk through the documentary in approximately 1800 words. The key elements of any documentary that must be considered are the audience and the documentary style or form. An effective step outline uses a formulaic approach to briefly describe each scene and allow the scenes to be rearranged to improve the documentary's flow. A sample step outline is included to demonstrate this structure.
Wjec example of complete step outline
The document provides a 17 scene step outline for a documentary about British film director Michael Powell and his work filming propaganda films during World War 2. In 3 sentences: The outline explores whether Powell used his wartime films to push a subtle anti-war message by highlighting the surreal nature of conflict; it presents various perspectives on Powell's attitude towards women and whether his films were misogynistic; and ultimately questions if Powell was truly "Filming for Victory" or advancing his own artistic agenda through the films.
Intro to course admin, ice breakers and history of media set 2
This document provides an overview of the Year 12 Media Studies course. It introduces the aims of the course, which are to study different media forms and contexts, and how students will be assessed. It then gives an outline of the topics to be covered, including key terms, the history of media, and predictions about the future of media. Students are instructed on course requirements like folders, homework policies, and lesson activities. These activities include icebreakers to get to know classmates, defining media terms, and discussing the evolution of technology and its impact on the development of mass media over time.
Vertigo marxist perspective
A Marxist critique of Alfred Hitchcock's Vertigo examines how the film reflects the social and economic conditions of its production and the ideologies of its creators. It views the film as both a commercial product created by the studio system to make profit, and as a cultural artifact that reinforces aspects of class, gender, and ethnic hierarchies through its representations and treatment of characters. Applying Marxist analysis provides an alternative interpretation of the film's themes of obsession and downfall by linking them to issues of class, gender, and ethnicity in the socio-historical context in which the film was made.
Vertigo marxist perspective
This document discusses applying a Marxist critique to the film Vertigo. It defines Marxism and cultural Marxism, which involves analyzing cultural products like films within their capitalist context and considering how they reflect social institutions and issues of class, race, and gender. A Marxist critique views films as arising from economic circumstances and serving ideological functions. For Vertigo specifically, the document suggests exploring its commercial context as a commodity meant to appeal to audiences, as well as examining how its themes of obsession relate to representations of class, gender, and ethnicity in society at the time.
Macro analysis of teen title sequences student powerpoint template-1
This document analyzes conventions used in the title sequences of teen drama films, comparing high school and youth dramas. It discusses key plot ideas, storylines, and characters introduced in openings, as well as the social groups and stereotypes typically represented, such as binaries between popular and unpopular students.
Concept theory mind maps
This document outlines several media theory concepts - representation, narrative, audience, media language, and genre - and lists various theorists' ideas about each concept such as Goodwin, Mulvey, Todorov, Willis, Hall, Bordwell, and Vernallis. It notes that each concept and associated theories may need revising.
G325 section a revision methods and essay structures
The document provides guidance on how to organize revision for a media exam. It recommends dividing revision into skill areas and concepts. For each skill or concept, list examples from past productions and reflect on how it was used and what was learned. Grids or mindmaps can organize this information and be converted into essay plans. Sample grids are provided showing how to structure examples from an AS thriller and A2 music video for skills like editing, effects and concepts like representation theories. An essay plan template demonstrates how the grid can be translated into paragraph form with introduction, body and conclusion. The purpose is to reflect on skills and concepts developed over the course to demonstrate understanding for the exam.
As film studies editing pp final
Editing is the process of assembling shots into a narrative through techniques like cuts, transitions, speed adjustments, and special effects. Some common editing techniques include match cuts, jump cuts, cross cuts, and montage. Editing is a key way to connect shots and convey meaning through coherent sequences or implied time frames. The choice of specific edits can have implications for the tone and pacing. Editing works together with other filmic elements like cinematography and sound design to subtly shape the overall story.
2013 past exam questions section a urban stories paragraph planning templates
This document contains past exam questions for an A2 Film Studies course focusing on urban stories as a topic. The questions are from exams given in June and January from 2010 to 2012. They address how film techniques impact films about urban stories, the social issues and attitudes presented, how cinematography/editing communicate issues in cities, and how stylistic choices shape the narratives and meanings of the films.
As media editing pp
Editing involves juxtaposing different shots to construct a narrative and set tone. When analyzing editing, three key things to look for are screen time of characters, pace created by cutting rate, and perspective conveyed through shot selection. There are different types of edits including cuts, transitions between shots, variation in speed, and special effects. Editing is important as it connects shots into a coherent sequence to convey meaning, with implications of the edit choices, and works together with other elements like sound to tell the story.
Wexman critic as consumer film quaterly vol 39, no 3 spring 1986
The article discusses how the film industry has historically portrayed women as either virgins or whores, with few roles in between. It analyzes how this limited female characterization has evolved over time as social norms changed, but the film industry was slow to reflect more progressive attitudes about women's sexuality. While some films in the 1980s showed more independent female characters, Hollywood remained reluctant to fully depict women's sexuality on an equal level as men's.
A2 media cid lesson 7 fiske theory slides_handouts
TV characters are represented through a combination of textual elements, the actor, and narrative context. This complex representation allows for varied audience interpretations. Viewers can identify with characters on personal, social, or ideological levels depending on their own experiences. Identification is active, as audiences imagine how characters feel and think. Different audiences may relate differently to the same character. Polysemic readings are possible because representation incorporates stereotypes but also invites seeing characters as multidimensional individuals.
Lesson 6 hitchcock as autuer master acronym
Alfred Hitchcock is considered a prime example of an auteur director. He had a long and prolific career spanning the silent era through the 1970s, creating a highly distinctive body of work focused on suspense and crime films. Hitchcock established signature directorial styles and motifs such as the use of confined spaces and manipulation of audiences. His films such as Vertigo exemplify mastery of cinematic techniques and complex narratives that have earned them canonical status.
Amanee, kemi, megan & stella_Urban Stories - PPC - Thematic Comparison of Cas...
Wah discovers that his friend Fly is in debt to Tony, the leader of a rival triad gang, and visits Tony's turf in an attempt to settle the dispute between them. Unable to resolve the issue peacefully, Wah takes Tony's boss hostage and orders Fly to rob the gang's cash register, escalating the conflict and tension between the two criminal organizations. The sequence shows the power dynamics and conflict between the triad gangs.
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Fly and his accomplice are outnumbered and beaten by another gang in Hong Kong to assert their dominance. Fly bets on a pool game but can only pay with fake money, showing their poverty. A fight breaks out between the groups, representing the conflict between those with and without power who live in poverty. At an art gallery, the upper class wield power over the working class, who joke about stealing wine to survive due to their lack of wealth.
May2012 lesson 7 exam requirements requirements, key issues, past questions u...
Hitchcock's Vertigo (1958) is examined. Key issues discussed include the film's themes of obsession and misrecognition, its critical reception over time as an innovative and influential work, and its significance as an exemplar of Hitchcock's auteur style through its cinematography, locations, and recurring symbols. The film is also analyzed in terms of representations of gender, spectatorship, and through applying critical perspectives like feminist theory and auteur theory to gain deeper understanding. Sample exam questions probe critical debates around these areas and the film's exploration of themes through its characters.
Lesson 5 marxist perspective
This document discusses critical approaches to Alfred Hitchcock's film Vertigo, including Marxist critique. It defines Marxism and cultural Marxism, and how they can provide critical analysis of cultural products and films. A Marxist critique views films as reflections of social institutions and analyzes them in relation to issues of class struggle, and representations of class, gender, and race. The document provides examples of how Vertigo invites Marxist critique through its commercial context of production and themes that are tied to representations of class, gender, and race.
Vertigo l1 exam requirements intro to canonical status
Vertigo has achieved canonical status as a masterful film that exemplifies the achievements of Hollywood studio production through its complex narrative, characters, and innovative use of film form and technique. It is seen as a seminal work that advanced cinematography and mise-en-scene to create "pure cinema." The film provokes diverse critical responses regarding its representation of gender, themes of spectatorship and cultural commodification, and merits analysis through auteur theory, psychoanalytic, feminist, and Marxist perspectives to fully appreciate its stylistic innovations and contributions to theoretical understandings of cinema.
Urban stories thematic comparison student notes use this
This document compares themes across four films: As Tears Go By (1988), L'Haine (1995), Head On (2004), and Lilja 4-ever (2002). It examines the representation of time and place, the city, power, and poverty. For each theme, it analyzes how the theme is depicted in the setting, characters, and plots of the four films.
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As film studies editing pp final
Editing is the process of assembling shots into a narrative through techniques like cuts, transitions, speed adjustments, and special effects. Some common editing techniques include match cuts, jump cuts, cross cuts, and montage. Editing is a key way to connect shots and convey meaning through coherent sequences or implied time frames. The choice of specific edits can have implications for the tone and pacing. Editing works together with other filmic elements like cinematography and sound design to subtly shape the overall story.
2013 past exam questions section a urban stories paragraph planning templates
This document contains past exam questions for an A2 Film Studies course focusing on urban stories as a topic. The questions are from exams given in June and January from 2010 to 2012. They address how film techniques impact films about urban stories, the social issues and attitudes presented, how cinematography/editing communicate issues in cities, and how stylistic choices shape the narratives and meanings of the films.
As media editing pp
Editing involves juxtaposing different shots to construct a narrative and set tone. When analyzing editing, three key things to look for are screen time of characters, pace created by cutting rate, and perspective conveyed through shot selection. There are different types of edits including cuts, transitions between shots, variation in speed, and special effects. Editing is important as it connects shots into a coherent sequence to convey meaning, with implications of the edit choices, and works together with other elements like sound to tell the story.
Wexman critic as consumer film quaterly vol 39, no 3 spring 1986
The article discusses how the film industry has historically portrayed women as either virgins or whores, with few roles in between. It analyzes how this limited female characterization has evolved over time as social norms changed, but the film industry was slow to reflect more progressive attitudes about women's sexuality. While some films in the 1980s showed more independent female characters, Hollywood remained reluctant to fully depict women's sexuality on an equal level as men's.
A2 media cid lesson 7 fiske theory slides_handouts
TV characters are represented through a combination of textual elements, the actor, and narrative context. This complex representation allows for varied audience interpretations. Viewers can identify with characters on personal, social, or ideological levels depending on their own experiences. Identification is active, as audiences imagine how characters feel and think. Different audiences may relate differently to the same character. Polysemic readings are possible because representation incorporates stereotypes but also invites seeing characters as multidimensional individuals.
Lesson 6 hitchcock as autuer master acronym
Alfred Hitchcock is considered a prime example of an auteur director. He had a long and prolific career spanning the silent era through the 1970s, creating a highly distinctive body of work focused on suspense and crime films. Hitchcock established signature directorial styles and motifs such as the use of confined spaces and manipulation of audiences. His films such as Vertigo exemplify mastery of cinematic techniques and complex narratives that have earned them canonical status.
Amanee, kemi, megan & stella_Urban Stories - PPC - Thematic Comparison of Cas...
Wah discovers that his friend Fly is in debt to Tony, the leader of a rival triad gang, and visits Tony's turf in an attempt to settle the dispute between them. Unable to resolve the issue peacefully, Wah takes Tony's boss hostage and orders Fly to rob the gang's cash register, escalating the conflict and tension between the two criminal organizations. The sequence shows the power dynamics and conflict between the triad gangs.
Prezi
Fly and his accomplice are outnumbered and beaten by another gang in Hong Kong to assert their dominance. Fly bets on a pool game but can only pay with fake money, showing their poverty. A fight breaks out between the groups, representing the conflict between those with and without power who live in poverty. At an art gallery, the upper class wield power over the working class, who joke about stealing wine to survive due to their lack of wealth.
May2012 lesson 7 exam requirements requirements, key issues, past questions u...
Hitchcock's Vertigo (1958) is examined. Key issues discussed include the film's themes of obsession and misrecognition, its critical reception over time as an innovative and influential work, and its significance as an exemplar of Hitchcock's auteur style through its cinematography, locations, and recurring symbols. The film is also analyzed in terms of representations of gender, spectatorship, and through applying critical perspectives like feminist theory and auteur theory to gain deeper understanding. Sample exam questions probe critical debates around these areas and the film's exploration of themes through its characters.
Lesson 5 marxist perspective
This document discusses critical approaches to Alfred Hitchcock's film Vertigo, including Marxist critique. It defines Marxism and cultural Marxism, and how they can provide critical analysis of cultural products and films. A Marxist critique views films as reflections of social institutions and analyzes them in relation to issues of class struggle, and representations of class, gender, and race. The document provides examples of how Vertigo invites Marxist critique through its commercial context of production and themes that are tied to representations of class, gender, and race.
Vertigo l1 exam requirements intro to canonical status
Vertigo has achieved canonical status as a masterful film that exemplifies the achievements of Hollywood studio production through its complex narrative, characters, and innovative use of film form and technique. It is seen as a seminal work that advanced cinematography and mise-en-scene to create "pure cinema." The film provokes diverse critical responses regarding its representation of gender, themes of spectatorship and cultural commodification, and merits analysis through auteur theory, psychoanalytic, feminist, and Marxist perspectives to fully appreciate its stylistic innovations and contributions to theoretical understandings of cinema.
Urban stories thematic comparison student notes use this
This document compares themes across four films: As Tears Go By (1988), L'Haine (1995), Head On (2004), and Lilja 4-ever (2002). It examines the representation of time and place, the city, power, and poverty. For each theme, it analyzes how the theme is depicted in the setting, characters, and plots of the four films.
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2013 past exam questions section a urban stories paragraph planning templates
2013 past exam questions section a urban stories paragraph planning templates
Wexman critic as consumer film quaterly vol 39, no 3 spring 1986
Wexman critic as consumer film quaterly vol 39, no 3 spring 1986
A2 media cid lesson 7 fiske theory slides_handouts
A2 media cid lesson 7 fiske theory slides_handouts
Amanee, kemi, megan & stella_Urban Stories - PPC - Thematic Comparison of Cas...
Amanee, kemi, megan & stella_Urban Stories - PPC - Thematic Comparison of Cas...
May2012 lesson 7 exam requirements requirements, key issues, past questions u...
May2012 lesson 7 exam requirements requirements, key issues, past questions u...
Vertigo l1 exam requirements intro to canonical status
Vertigo l1 exam requirements intro to canonical status
Urban stories thematic comparison student notes use this
Urban stories thematic comparison student notes use this