Would be the audience for your media
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This document discusses the potential target audience for a post-apocalyptic short film. It notes that post-apocalyptic films typically attract male viewers aged 40-50, but that data is biased from male-dominated survey sites. The document argues the film's target audience is young male adults, as teens may not be interested and older viewers watch fewer such films. It features a strong female protagonist, challenging the genre's stereotype of male heroes, which could attract women viewers and film lovers interested in something different.
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How did you attract
Most of the viewers of the film were male aged 0-18 who enjoyed that it had a female protagonist rather than a typical male one. Feedback indicated that some enjoyed the different storyline from normal zombie films but others found it hard to follow without the voiceover and were unsure how the plot would develop into a full film. Responses were mixed with most liking the difference but some concerned it would be difficult to follow for a longer format.
Men women and chainsaws reading
Clover discusses the concept of the "female victim-hero" in horror films. She explains that female characters are often initially portrayed as victims, eliciting sympathy from audiences, before fighting back and becoming heroes themselves. Clover also notes that male audiences often identify with the "final girl" character in slasher films, even though they are female, because they are battling male monsters. Additionally, Clover suggests that research on horror film audiences is problematic due to horror films typically being independently produced with less focus on audience data. She identifies common horror film audience groups as young males alone or in groups, and young male-female couples.
Question 4
This document discusses the target audience for a post-apocalyptic short film. While data shows that typical viewers of post-apocalyptic films are middle-aged males, the author believes their film is aimed more at young male adults. Teenagers may not be interested in the storyline, and older generations may not want to watch post-apocalyptic films or there would not be many interested.
The representations of gender in horror films essay
In horror films, representations of gender are often more complex than in other media. Women may be portrayed as both extremely weak and as strong "final girls" who survive until the end. While women are sometimes sexualized, horror films also allow women to be active protagonists who save the day. The final girl is often presented as more masculine or virginal compared to other female characters. Horror films provide some female role models and allow for more varied portrayals of gender than other forms of media.
Audience research
The group conducted a survey of 8 people to understand perspectives on superhero films. Most respondents enjoyed the thrilling action scenes and mysteries surrounding superheroes' dual identities. However, some felt films like "Thor" prolonged the action too much. Respondents also wanted future films to be less predictable by changing stereotypes such as the hero always defeating the villain. In general, the audience found superhero films entertaining despite a few aspects they would alter.
Eval 4 media
The document discusses research conducted on the target audience for a post-apocalyptic film. Research using the website YouGov found that the film "The Book of Eli," which is in the same genre, attracted mostly middle-aged males. Additionally, the audience for the media product will likely be males between the ages of 12-50, as these demographics usually enjoy action and mystery elements. Features like fighting, tension, and mystery will attract viewers interested in both post-apocalyptic and mystery genres.
Eval 3
The document discusses research conducted on the target audience for a post-apocalyptic film media product. Research using the website YouGov found that the film "The Book of Eli," which is comparable in genre, attracted mostly middle-aged males. Additionally, the audience for the media product will likely be males between the ages of 12-50, as these demographics typically enjoy action and mystery elements. Features like fighting, tension, and mystery will attract viewers interested in both post-apocalyptic and mystery genres.
Question 4
The document discusses potential publications to advertise an independent film called "Forgotten". It analyzes film review magazines and determines Independent Film Quarterly (IFQ) would be the best fit. IFQ focuses on independent films and upcoming filmmakers, as "Forgotten" has a low budget and will be distributed through film festivals. Additionally, IFQ interviews independent filmmakers and hosts its own film festival, providing opportunities to promote "Forgotten" and make it more recognizable. While IFQ also features big studios and stars, it would attract the intended audience of those interested in independent cinema.
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How did you attract
Most of the viewers of the film were male aged 0-18 who enjoyed that it had a female protagonist rather than a typical male one. Feedback indicated that some enjoyed the different storyline from normal zombie films but others found it hard to follow without the voiceover and were unsure how the plot would develop into a full film. Responses were mixed with most liking the difference but some concerned it would be difficult to follow for a longer format.
Men women and chainsaws reading
Clover discusses the concept of the "female victim-hero" in horror films. She explains that female characters are often initially portrayed as victims, eliciting sympathy from audiences, before fighting back and becoming heroes themselves. Clover also notes that male audiences often identify with the "final girl" character in slasher films, even though they are female, because they are battling male monsters. Additionally, Clover suggests that research on horror film audiences is problematic due to horror films typically being independently produced with less focus on audience data. She identifies common horror film audience groups as young males alone or in groups, and young male-female couples.
Question 4
This document discusses the target audience for a post-apocalyptic short film. While data shows that typical viewers of post-apocalyptic films are middle-aged males, the author believes their film is aimed more at young male adults. Teenagers may not be interested in the storyline, and older generations may not want to watch post-apocalyptic films or there would not be many interested.
The representations of gender in horror films essay
In horror films, representations of gender are often more complex than in other media. Women may be portrayed as both extremely weak and as strong "final girls" who survive until the end. While women are sometimes sexualized, horror films also allow women to be active protagonists who save the day. The final girl is often presented as more masculine or virginal compared to other female characters. Horror films provide some female role models and allow for more varied portrayals of gender than other forms of media.
Audience research
The group conducted a survey of 8 people to understand perspectives on superhero films. Most respondents enjoyed the thrilling action scenes and mysteries surrounding superheroes' dual identities. However, some felt films like "Thor" prolonged the action too much. Respondents also wanted future films to be less predictable by changing stereotypes such as the hero always defeating the villain. In general, the audience found superhero films entertaining despite a few aspects they would alter.
Eval 4 media
The document discusses research conducted on the target audience for a post-apocalyptic film. Research using the website YouGov found that the film "The Book of Eli," which is in the same genre, attracted mostly middle-aged males. Additionally, the audience for the media product will likely be males between the ages of 12-50, as these demographics usually enjoy action and mystery elements. Features like fighting, tension, and mystery will attract viewers interested in both post-apocalyptic and mystery genres.
Eval 3
The document discusses research conducted on the target audience for a post-apocalyptic film media product. Research using the website YouGov found that the film "The Book of Eli," which is comparable in genre, attracted mostly middle-aged males. Additionally, the audience for the media product will likely be males between the ages of 12-50, as these demographics typically enjoy action and mystery elements. Features like fighting, tension, and mystery will attract viewers interested in both post-apocalyptic and mystery genres.
Question 4
The document discusses potential publications to advertise an independent film called "Forgotten". It analyzes film review magazines and determines Independent Film Quarterly (IFQ) would be the best fit. IFQ focuses on independent films and upcoming filmmakers, as "Forgotten" has a low budget and will be distributed through film festivals. Additionally, IFQ interviews independent filmmakers and hosts its own film festival, providing opportunities to promote "Forgotten" and make it more recognizable. While IFQ also features big studios and stars, it would attract the intended audience of those interested in independent cinema.
The final girl
The document discusses the "final girl theory" developed by Carol Clover. The final girl is the last character left alive at the end of a slasher film who confronts the killer. She is typically an intelligent, curious, and vigilant character who moves the narrative forward. According to Clover, final girls sometimes have unisex names and occasionally share a history with the killer. While some have criticized the theory as predictable, Clover argued it subverted the typical sexualized representation of women in horror films by positioning the audience to identify with the surviving female character rather than the killer.
Final girl
Slasher movies typically feature certain tropes:
1) The final girl who survives is often darker haired and less sexually active, meant to convey that sex is dangerous.
2) The monster wears a mask, making it scary because it could be anyone underneath and adding to the creepiness.
3) A group of friends who are without parental supervision are usually targeted when the monster attacks.
4) These movies often feature a benefactor, usually an older character like a police officer or doctor, who is seemingly committed the killings but is ultimately revealed to not be at the end.
Precis 1
The novel Fight Club explores men's struggles with masculinity during a period of rising feminism. Many men felt vulnerable or lacked a strong male role model. The narrator and Tyler start a "fight club" where men can experience violence as a way to feel manly. Some men turn to unhealthy behaviors like steroid use or develop mental health issues from feeling confused about their identity and shrinking power in society. The narrator specifically struggles with insomnia until finding a role model in Tyler and a way to boost his confidence through the fight club.
The final girl theory
The document discusses Carol J. Clover's "Final Girl Theory" about horror film tropes. It notes that Clover identified viewers initially share perspectives of both the killer and victims but come to solely identify with the "final girl" - the last surviving female. The main plot of horror films involves a group of victims being hunted one by one by a killer until only one, a final girl, is left to kill the killer or escape. The final girl is often sexually unavailable and pursues the killer actively through curiosity and intelligence, taking on masculine traits like weapons. For a horror film to succeed, it needs the final girl to express abject terror, as viewers would reject this emotion coming from a male character.
Mulvey lesson 8
The document discusses Laura Mulvey's concept of the "Male Gaze" in film. It explains that Mulvey coined the term in 1975 to refer to how audiences are positioned to view characters from the perspective of a heterosexual male. This constructs women as objects to be looked at. Features of the Male Gaze include the camera lingering on female bodies and presenting events that happen to women in the context of a man's reaction. The document also discusses various theorists' perspectives on the Male Gaze and its criticism.
Laura Mulvey - The Male Gaze
Laura Mulvey developed the concept of the "male gaze" in her 1975 essay, arguing that mainstream cinema reflects the underlying patriarchal power structure of society by privileging the male perspective over the female. The male gaze objectifies women on screen for the pleasure and view of the presumed male viewer. Women are often displayed as erotic objects to be looked at rather than active agents. This diminishes women's identities and reduces them to their appearance rather than their personality.
Question 4
The document discusses the target audience for a post-apocalyptic film. It notes that the stereotypical audience is middle-aged men from the northwest or south. It aims to attract this audience through showing the male gaze and powerful male characters. However, it also includes a strong female lead to appeal to feminist fans. The film attracts the typical male audience through a relatable plot while also pleasing fans and non-fans through its exploration of humanity's struggle.
The Final Girl Theory by Carol J. Clover
The document discusses Carol J. Clover's "final girl" theory about horror films. The theory proposes that slasher films usually have a sole female survivor who confronts and challenges the killer at the end of the movie. This "final girl" tends to be intelligent, curious, and determined to survive. Examples given include Laurie Strode from Halloween and Sidney Prescott from Scream. The character of Ginny from Friday the 13th Part 2 is analyzed as exemplifying the traits of the resourceful "final girl."
Laura Mulvey and Campion's 'The Piano'
The document discusses and critiques Laura Mulvey's theory of the "male gaze" in cinema. It argues that Mulvey's theory is too deterministic in positioning viewers as always passive and only identifying with male characters. Some disagree that female viewers always identify with the male gaze. The document also discusses Jane Campion's film "The Piano" as an example of a film that challenges the male gaze by having a female protagonist and depicting male characters as objects of desire at times through the "female gaze."
Laura Mulvey - The Male Gaze Theory Essay
The document discusses Laura Mulvey's Male Gaze theory from 1975. The theory proposes that most films and media are viewed from the perspective of a heterosexual male gaze, as men largely control cameras. This results in the objectification and sexualization of women for the male viewer's pleasure. Examples discussed include focusing only on a woman's body in films and using revealingly dressed women in music videos to appeal to male viewers. Some criticize that the theory ignores instances where women seek attention or the gaze is between members of the same sex.
Laura Mulvey Theory
Laura Mulvey is a British feminist film theorist who developed the theory of the "male gaze" in 1975. The male gaze suggests that films are typically shot from the perspective of the heterosexual male viewer, with female characters portrayed in a way that is sexually appealing to men. This positions women as objects to be looked at rather than subjects with their own agency. The male gaze can negatively impact how women see themselves and each other due to unrealistic portrayals in media that are designed to appeal to the heterosexual male viewer. When creating film productions, the theory of the male gaze should be considered to avoid objectifying or sexualizing female characters in a way that simply appeals to the male viewer's gaze rather than portraying women
Laura Mulvey - Male Gaze Theory Research
Laura Mulvey was a British feminist film theorist who developed the influential Male Gaze Theory. She argued that mainstream cinema represented women as sexual objects for the pleasure of the male heterosexual gaze. Films were constructed to be viewed through the perspective of a heterosexual man, which objectified and degraded women on screen. The camera would linger on the female form and present women as "to-be-looked-at." This imbalance between the male gaze and female gaze reinforced patriarchal norms and could negatively impact how women saw themselves. While critics argued her theory did not account for diverse spectator experiences, the Male Gaze Theory was seminal in shifting film theory towards psychoanalysis and feminist perspectives on objectification and representation of
Laura Mulvey’s Theory Of The Male Gaze
Laura Mulvey introduced the concept of the "male gaze" in her 1975 essay "Visual Pleasure and Narrative Cinema." She argued that in films, the audience is positioned to view female characters from the perspective of a heterosexual male viewer. This objectifies and dehumanizes women by reducing them to objects for the male gaze. It also positions women as passive objects to be looked at, while men are active subjects. Mulvey's theory suggests that this reinforcement of patriarchal gender roles and objectification of women has influenced societal views.
Feminist film theory & audience
This document summarizes Laura Mulvey's feminist film theory, specifically her concept of the "male gaze." It explains that Mulvey believes cinema reflects the patriarchal society in which it was created. According to Mulvey, the camera represents the male gaze and objectifies female characters, who are portrayed as passive objects of male erotic desire for both characters and the audience. This constructs the audience as implicitly male and forces women to view films from a male perspective.
Laura mulvey the malegaze theory
Laura Mulvey's Male Gaze theory argues that in film and media, the camera lens represents the perspective of the heterosexual male viewer who objectifies female characters. This denies women their subjectivity and reduces them to objects for the male gaze. Mulvey suggests this reinforcement of patriarchal ideals through media can influence societal norms by making female objectification seem normal or desired. The theory is exemplified through common techniques used in films like James Bond to highlight women's physical features from the male perspective.
Male gaze theory 2016
Laura Mulvey developed the theory of the "male gaze" which argues that cinema and visual media are typically constructed from a masculine point of view that objectifies and sexualizes women for the pleasure of the male viewer. She identified two ways women are depicted: "voyeuristic", seen as sexual objects, and "fetishistic", seen as madonnas. Examples are given of Hollywood pin-ups like Marilyn Monroe being voyeuristic. The theory also holds that male viewers identify with powerful male protagonists who control the film's fantasy. Mulvey's theory was influential in explaining how media representation enforces patriarchal social norms.
Laura Mulvey's Female Gaze Theory
Laura Mulvey introduced the concept of the "male gaze" in her influential essay "Visual Pleasure and Narrative Cinema." She argued that in most films, the audience is positioned to view female characters from the perspective of a heterosexual male viewer. This denies women their humanity and reduces them to objects for the male gaze. Mulvey suggested that mainstream films typically portray women in passive roles that exist only in relation to male characters and provide visual pleasure or inspiration for men's actions.
Clover’s final girl theory
Carol Clover developed the "Final Girl" theory to describe the last female character who confronts the killer in horror films, especially slashers. The Final Girl is often a virgin or sexually unavailable, smart, and curious. She survives to tell the story. For example, in Scream, Sidney Prescott fits this role as the intelligent virgin teenager who fights back against the killer across multiple films, growing stronger each time.
Question 2
The document discusses how the media product represents social groups. It focuses on the sole female character who is portrayed as weak when confronted with paranormal forces, reflecting common stereotypes. Additional characters introduced later would represent other groups like police officers, teenagers, and children. Police could be shown as helpful or useless, teenagers as adventurous but rebellious, and innocent children are included to make the story scarier for audiences.
Women in film
This document discusses gender roles in films from different time periods. It provides examples of how gender roles were portrayed traditionally in films like You've Got Mail from 1998, compared to more modern portrayals in films and TV shows like Sex and the City that showed more independent women. It also discusses how magazines like Cosmopolitan aimed to "liberate" women sexually and how little mainstream media content explicitly targets LGBT audiences due to being produced through a heterosexual male gaze.
Question 2
The document discusses representations of social groups in films. It focuses on representations of teenagers and females. For teenagers, it notes common stereotypes in films that portray them as troublemakers who use drugs and alcohol. For females, it discusses stereotypes of them as the weaker sex who are easily scared and vulnerable. The author's film opening portrays the main character, a teenage girl, in stereotypical ways at first by showing her as innocent, vulnerable, and wearing pink clothes. This is intended to help audiences understand the story by starting with expectations, while her character develops strength later in going against stereotypes.
Question 2
The document discusses representations of social groups in films. It focuses on representations of teenagers and females. For teenagers, it notes common stereotypes in films that portray them as troublemakers who use drugs and alcohol. For females, it discusses stereotypes of them as the weaker sex who are easily scared and vulnerable. In the filmmaker's film, the main character is a teenage girl portrayed initially through these stereotypes by showing her as innocent, vulnerable, and wearing pink nightclothes. This is intended to help audiences feel sympathy for her and understand the film's storyline, which pushes boundaries of what is possible.
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The final girl
The document discusses the "final girl theory" developed by Carol Clover. The final girl is the last character left alive at the end of a slasher film who confronts the killer. She is typically an intelligent, curious, and vigilant character who moves the narrative forward. According to Clover, final girls sometimes have unisex names and occasionally share a history with the killer. While some have criticized the theory as predictable, Clover argued it subverted the typical sexualized representation of women in horror films by positioning the audience to identify with the surviving female character rather than the killer.
Final girl
Slasher movies typically feature certain tropes:
1) The final girl who survives is often darker haired and less sexually active, meant to convey that sex is dangerous.
2) The monster wears a mask, making it scary because it could be anyone underneath and adding to the creepiness.
3) A group of friends who are without parental supervision are usually targeted when the monster attacks.
4) These movies often feature a benefactor, usually an older character like a police officer or doctor, who is seemingly committed the killings but is ultimately revealed to not be at the end.
Precis 1
The novel Fight Club explores men's struggles with masculinity during a period of rising feminism. Many men felt vulnerable or lacked a strong male role model. The narrator and Tyler start a "fight club" where men can experience violence as a way to feel manly. Some men turn to unhealthy behaviors like steroid use or develop mental health issues from feeling confused about their identity and shrinking power in society. The narrator specifically struggles with insomnia until finding a role model in Tyler and a way to boost his confidence through the fight club.
The final girl theory
The document discusses Carol J. Clover's "Final Girl Theory" about horror film tropes. It notes that Clover identified viewers initially share perspectives of both the killer and victims but come to solely identify with the "final girl" - the last surviving female. The main plot of horror films involves a group of victims being hunted one by one by a killer until only one, a final girl, is left to kill the killer or escape. The final girl is often sexually unavailable and pursues the killer actively through curiosity and intelligence, taking on masculine traits like weapons. For a horror film to succeed, it needs the final girl to express abject terror, as viewers would reject this emotion coming from a male character.
Mulvey lesson 8
The document discusses Laura Mulvey's concept of the "Male Gaze" in film. It explains that Mulvey coined the term in 1975 to refer to how audiences are positioned to view characters from the perspective of a heterosexual male. This constructs women as objects to be looked at. Features of the Male Gaze include the camera lingering on female bodies and presenting events that happen to women in the context of a man's reaction. The document also discusses various theorists' perspectives on the Male Gaze and its criticism.
Laura Mulvey - The Male Gaze
Laura Mulvey developed the concept of the "male gaze" in her 1975 essay, arguing that mainstream cinema reflects the underlying patriarchal power structure of society by privileging the male perspective over the female. The male gaze objectifies women on screen for the pleasure and view of the presumed male viewer. Women are often displayed as erotic objects to be looked at rather than active agents. This diminishes women's identities and reduces them to their appearance rather than their personality.
Question 4
The document discusses the target audience for a post-apocalyptic film. It notes that the stereotypical audience is middle-aged men from the northwest or south. It aims to attract this audience through showing the male gaze and powerful male characters. However, it also includes a strong female lead to appeal to feminist fans. The film attracts the typical male audience through a relatable plot while also pleasing fans and non-fans through its exploration of humanity's struggle.
The Final Girl Theory by Carol J. Clover
The document discusses Carol J. Clover's "final girl" theory about horror films. The theory proposes that slasher films usually have a sole female survivor who confronts and challenges the killer at the end of the movie. This "final girl" tends to be intelligent, curious, and determined to survive. Examples given include Laurie Strode from Halloween and Sidney Prescott from Scream. The character of Ginny from Friday the 13th Part 2 is analyzed as exemplifying the traits of the resourceful "final girl."
Laura Mulvey and Campion's 'The Piano'
The document discusses and critiques Laura Mulvey's theory of the "male gaze" in cinema. It argues that Mulvey's theory is too deterministic in positioning viewers as always passive and only identifying with male characters. Some disagree that female viewers always identify with the male gaze. The document also discusses Jane Campion's film "The Piano" as an example of a film that challenges the male gaze by having a female protagonist and depicting male characters as objects of desire at times through the "female gaze."
Laura Mulvey - The Male Gaze Theory Essay
The document discusses Laura Mulvey's Male Gaze theory from 1975. The theory proposes that most films and media are viewed from the perspective of a heterosexual male gaze, as men largely control cameras. This results in the objectification and sexualization of women for the male viewer's pleasure. Examples discussed include focusing only on a woman's body in films and using revealingly dressed women in music videos to appeal to male viewers. Some criticize that the theory ignores instances where women seek attention or the gaze is between members of the same sex.
Laura Mulvey Theory
Laura Mulvey is a British feminist film theorist who developed the theory of the "male gaze" in 1975. The male gaze suggests that films are typically shot from the perspective of the heterosexual male viewer, with female characters portrayed in a way that is sexually appealing to men. This positions women as objects to be looked at rather than subjects with their own agency. The male gaze can negatively impact how women see themselves and each other due to unrealistic portrayals in media that are designed to appeal to the heterosexual male viewer. When creating film productions, the theory of the male gaze should be considered to avoid objectifying or sexualizing female characters in a way that simply appeals to the male viewer's gaze rather than portraying women
Laura Mulvey - Male Gaze Theory Research
Laura Mulvey was a British feminist film theorist who developed the influential Male Gaze Theory. She argued that mainstream cinema represented women as sexual objects for the pleasure of the male heterosexual gaze. Films were constructed to be viewed through the perspective of a heterosexual man, which objectified and degraded women on screen. The camera would linger on the female form and present women as "to-be-looked-at." This imbalance between the male gaze and female gaze reinforced patriarchal norms and could negatively impact how women saw themselves. While critics argued her theory did not account for diverse spectator experiences, the Male Gaze Theory was seminal in shifting film theory towards psychoanalysis and feminist perspectives on objectification and representation of
Laura Mulvey’s Theory Of The Male Gaze
Laura Mulvey introduced the concept of the "male gaze" in her 1975 essay "Visual Pleasure and Narrative Cinema." She argued that in films, the audience is positioned to view female characters from the perspective of a heterosexual male viewer. This objectifies and dehumanizes women by reducing them to objects for the male gaze. It also positions women as passive objects to be looked at, while men are active subjects. Mulvey's theory suggests that this reinforcement of patriarchal gender roles and objectification of women has influenced societal views.
Feminist film theory & audience
This document summarizes Laura Mulvey's feminist film theory, specifically her concept of the "male gaze." It explains that Mulvey believes cinema reflects the patriarchal society in which it was created. According to Mulvey, the camera represents the male gaze and objectifies female characters, who are portrayed as passive objects of male erotic desire for both characters and the audience. This constructs the audience as implicitly male and forces women to view films from a male perspective.
Laura mulvey the malegaze theory
Laura Mulvey's Male Gaze theory argues that in film and media, the camera lens represents the perspective of the heterosexual male viewer who objectifies female characters. This denies women their subjectivity and reduces them to objects for the male gaze. Mulvey suggests this reinforcement of patriarchal ideals through media can influence societal norms by making female objectification seem normal or desired. The theory is exemplified through common techniques used in films like James Bond to highlight women's physical features from the male perspective.
Male gaze theory 2016
Laura Mulvey developed the theory of the "male gaze" which argues that cinema and visual media are typically constructed from a masculine point of view that objectifies and sexualizes women for the pleasure of the male viewer. She identified two ways women are depicted: "voyeuristic", seen as sexual objects, and "fetishistic", seen as madonnas. Examples are given of Hollywood pin-ups like Marilyn Monroe being voyeuristic. The theory also holds that male viewers identify with powerful male protagonists who control the film's fantasy. Mulvey's theory was influential in explaining how media representation enforces patriarchal social norms.
Laura Mulvey's Female Gaze Theory
Laura Mulvey introduced the concept of the "male gaze" in her influential essay "Visual Pleasure and Narrative Cinema." She argued that in most films, the audience is positioned to view female characters from the perspective of a heterosexual male viewer. This denies women their humanity and reduces them to objects for the male gaze. Mulvey suggested that mainstream films typically portray women in passive roles that exist only in relation to male characters and provide visual pleasure or inspiration for men's actions.
Clover’s final girl theory
Carol Clover developed the "Final Girl" theory to describe the last female character who confronts the killer in horror films, especially slashers. The Final Girl is often a virgin or sexually unavailable, smart, and curious. She survives to tell the story. For example, in Scream, Sidney Prescott fits this role as the intelligent virgin teenager who fights back against the killer across multiple films, growing stronger each time.
Question 2
The document discusses how the media product represents social groups. It focuses on the sole female character who is portrayed as weak when confronted with paranormal forces, reflecting common stereotypes. Additional characters introduced later would represent other groups like police officers, teenagers, and children. Police could be shown as helpful or useless, teenagers as adventurous but rebellious, and innocent children are included to make the story scarier for audiences.
Women in film
This document discusses gender roles in films from different time periods. It provides examples of how gender roles were portrayed traditionally in films like You've Got Mail from 1998, compared to more modern portrayals in films and TV shows like Sex and the City that showed more independent women. It also discusses how magazines like Cosmopolitan aimed to "liberate" women sexually and how little mainstream media content explicitly targets LGBT audiences due to being produced through a heterosexual male gaze.
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Similar to Would be the audience for your media
Question 2
The document discusses representations of social groups in films. It focuses on representations of teenagers and females. For teenagers, it notes common stereotypes in films that portray them as troublemakers who use drugs and alcohol. For females, it discusses stereotypes of them as the weaker sex who are easily scared and vulnerable. The author's film opening portrays the main character, a teenage girl, in stereotypical ways at first by showing her as innocent, vulnerable, and wearing pink clothes. This is intended to help audiences understand the story by starting with expectations, while her character develops strength later in going against stereotypes.
Question 2
The document discusses representations of social groups in films. It focuses on representations of teenagers and females. For teenagers, it notes common stereotypes in films that portray them as troublemakers who use drugs and alcohol. For females, it discusses stereotypes of them as the weaker sex who are easily scared and vulnerable. In the filmmaker's film, the main character is a teenage girl portrayed initially through these stereotypes by showing her as innocent, vulnerable, and wearing pink nightclothes. This is intended to help audiences feel sympathy for her and understand the film's storyline, which pushes boundaries of what is possible.
Inderpreet basran audience research
The document contains opinions from several individuals on what they like and dislike about superhero movies. Some common likes mentioned are the appealing characters, good storylines and morals, and inspiration to younger viewers. Common dislikes include unrealistic elements, too much violence and explosions, and similar storylines across movies. Suggestions are made for superhero movies to be more realistic, feature diverse characters and cultures, and show that heroes can be ordinary people who help others.
Primary research 1
The document contains opinions from several individuals on what they like and dislike about superhero movies. Some common likes mentioned are the appealing characters, good storylines and morals, and inspiration to younger viewers. Common dislikes include unrealistic elements, too much violence and explosion, and similar storylines across movies. Suggestions are made for superhero movies to be more realistic, feature diverse characters and cultures, and show that heroes can be ordinary people who are good at things rather than just having superpowers.
Question 5 textual analysis.
This document discusses theories of audience analysis that have been applied to a film production. It describes targeting an active A-B income bracket audience that will thoughtfully negotiate representations in the film rather than passively accepting them. The film is intended to provoke questions about how society portrays groups like women and those with mental disabilities. It aims to stimulate the audience intellectually by requiring their input to derive meaning from various elements and come to their own conclusions.
Social Group Commonly Featured
Teenagers are commonly featured characters in horror films. They are typically portrayed as naive and lacking common sense, ignoring warnings which leads to their demise. Female teen characters are often sexualized through their clothing and attitudes. Most horror films involve some romantic relationship that ends in death and gore. The document discusses following these stereotypes in a planned horror film or movie in order to conform with genre conventions and allow audiences to easily predict what each character is like based on familiar stereotypes. This focuses their attention on the storyline.
3. research fmp
- The target audience for the movie trailer is primarily male, aged 16-20, from a middle-class background.
- Elements like a relatable main character who is also a male teenager, real-world problems, and some action-crime elements would appeal to this audience.
- An optimal trailer length is around 2 minutes to hook viewers while not losing their attention. Including a "good hook" is important.
- Additional promotional elements like a social media campaign and poster would be effective ways to advertise to this young, digital-native audience.
Short film proposal
The document outlines a proposal for a short film about domestic abuse, targeting an audience aged 15+. It will tell the story of a woman, Sarah, who is being domestically abused by her partner Gary. Her friend Jane helps her get support. The film aims to educate viewers about domestic abuse and show its effects. It has a budget of £6,900 and will be distributed on DVD to schools, youth groups, and prisons to raise national awareness in the UK.
Question 2
The document discusses how the writer represents various social groups in the opening scene of their thriller film. For the female role, the character is portrayed as a stereotypical victim - a young, blonde woman meant to elicit an instant reaction from the audience. For the male role, the antagonist stalks a young girl and is intentionally portrayed as dangerous through his dark clothing and large physique. Both main characters are white to play on stereotypes. The target age range is teenagers to increase relatability, with the female protagonist at 17 and male villain older to fit common thriller tropes.
Evaluation Question 5
The document discusses feedback received on a film noir project's opening scene from its target audience on social media. The summaries are:
1) The feedback suggests the film was successful in appealing to both male and female audiences by making the genre more modern and relatable while retaining classic noir elements.
2) Respondents said they would watch the full film despite not normally preferring the genre, indicating the opening intrigued them.
3) Having diverse main characters further helped engagement and relatability with young, modern audiences.
Media essay
The document discusses the concept of the "male gaze" proposed by feminist theorist Laura Mulvey. The male gaze refers to how media and films typically portray women from the perspective of heterosexual men for the purpose of male pleasure. Women are often objectified and depicted in ways that emphasize their physical attractiveness rather than their humanity. An example is given of Megan Fox's character in the film Transformers, who is portrayed primarily as a sexual object through camera angles focused on her body. The document argues that mainstream media frequently utilizes the male gaze, reflecting an imbalance of power that prioritizes the male perspective and can negatively impact how women see themselves.
Critical Reflection Answer 1
The document discusses conventions and social issues represented in thriller movies and the OP's movie "The Caretaker". It describes how the movie incorporates thriller conventions like an isolated location, building suspense through unclear footage and sound, and focusing on the antagonist. It also represents common social stereotypes like portraying women as weak and reliant on men, while men are dominant. The movie shows the male antagonist murdering his wife for disobeying him, fulfilling the stereotype of aggressive masculinity. It also explores the portrayal of different age groups, showing an innocent child unaware of danger and a troubled teenager unable to understand the source of her distressing memories.
Q4 evaluation
The document discusses the intended audience for a media product described as a thriller film called "PREY". It states that the audience would be around 50% men and 50% women due to elements like a female lead, action scenes, and a tense ending. It would likely attract teenagers and adults rather than children due to violent content suggested by the title and clues in the opening. The film aims to include people of all races and social classes by featuring actors of different races and portraying characters from both upper and lower classes.
Q4 evaluation
The document discusses the intended audience for a media product described as a thriller film called "PREY". It states that the audience would be around 50% men and 50% women due to elements like a female lead, action scenes, and a tense ending. It would likely attract teenagers and adults rather than children due to violent content suggested by the title and clues in the opening. The film aims to include people of all races and social classes by featuring actors of different races and portraying characters from both upper and lower classes.
Who would be the target audience for your media product
The target audience for the media product is males and females aged 15 and up. Research asking 34 people found that teenagers showed the greatest interest, though older people said they may watch as well. The more specific target audience is teenagers. Both a male and female were included in the opening to attract both genders. The target audience would likely enjoy films like The Hunger Games, The Road, I Am Legend, and The Book of Eli since the media product is similar. The media product received a 15 rating since there is strong language and violence but no sexual content. The target is late teens who could relate to being in a post-apocalyptic situation, and also older people aged 30-50 who may enjoy it to
Question 2- AS Media
The documentary represents several social groups:
- Males are portrayed as both antagonists who experimented on females causing widespread death, and as a distressed newscaster. This reinforces stereotypes of males being dominant and powerful.
- The female protagonist is both a weak and fragile sole survivor struggling with isolation, but also strong and independent in her ability to survive on her own. This breaks gender stereotypes of females needing male protection.
- The film portrays only white British citizens due to the filmmakers' limited access to actors of other ethnicities.
- Teenagers are the subjects of the film to make the storyline more relatable and engaging for the target teenage audience.
Evaluation q4 and q5
The document discusses strategies for attracting the target audience for a media product. It aims to attract a younger, male audience around ages 18-25 by including elements of action, violence, and mystery to draw them in. The opening sequence leaves viewers in suspense without revealing much about the story. Feedback from friends suggested adding more thrills and gore while keeping a 15 age rating. Scary elements like being alone and being chased by monsters appeal to the target audience and put them in the perspective of the survivor.
3. representation
This document provides information about the concept of representation that will be useful for analyzing a media production for a critical perspectives exam. It defines representation as how media re-presents or constructs meanings about the world. It discusses key questions to consider when analyzing representation, such as what concepts are highlighted, what representations are generated, and if there are any stereotypes. The document also discusses theories of representation, such as how gender is typically represented in media according to theorists like Berger and Mulvey. It provides several quotes about representation that could be cited. Finally, it discusses concepts like the "male gaze," the "final girl" trope in horror, and how different genres like zombies films can represent cultural ideas.
Eval 3
The document discusses research conducted on the target audience for a post-apocalyptic film. Research using the website YouGov found that the film "The Book of Eli," which is in the same genre, attracted mostly middle-aged males. Additionally, the audience for the media product will likely be males between the ages of 12-50, as these demographics usually enjoy action films involving fighting and mystery. Elements like the opening scene depicting danger through a "Beware" sign add mystery and intrigue the audience to learn more.
Question 1
The document discusses how the film uses conventions of other horror films to tell the story of a shy, lonely girl. It draws influences from films like Carrie and Black Swan to show the girl's transformation from innocent to evil. The title sequence introduces ambiguity and hints at two sides to her personality. The film targets a female audience by focusing on the girl's struggles to overcome her traumatic past.
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Who would be the target audience for your media product
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- 1. “ would be the audience for your media product?” QUESTION 4
- 2. Audience Looking at post-apocalyptic films the stereotyped people who watch it are Male, Usually aged between 40 and 50, These facts are from the website YouGov however most of the people who use YouGov are middle aged males. This give a bias view.
- 3. My Audience I feel that my short film is aimed more at young male adults. I feel like this because I feel like teens wouldn't be interested in the story line of my film. But I feel that the older generation wouldn’t want to watch post-apocalyptic films or if so there wouldn’t be many wanting to watch them. My short film challenges the normal stereotype of a strong male protagonist. As in my film she’s a strong, independent female protagonist and doesn’t have a male to rely on. She also survives as most females in post-apocalyptic films the female ends up dying or having to be saves by a male all the time. Most post-apocalyptic films also have lots of males then females but in this one there's only one of each and the woman tries to stay away from the males to survive and they are trying to hunt her.
- 4. My Audience As a result of challenging the normal stereotypes of a male protagonists I feel could potentially help bring more viewers of my short film for example… Women – I feel more women would watch it because it makes a change of having a male protagonist and women might be more interested in this. Film lovers – because they might want to see how it ends up because its different and challenges the norm of having a male protagonist and a weak woman featuring in the film. As a result to this it could bring more views to the short film and make it more publisied.