Year10 6/9/07
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The document provides an overview of an introductory media studies course, outlining some of the key concepts and activities. The course will introduce students to the four 'big concepts' in media studies: language, institutions, audience, and representation. Students will analyze various media genres and their codes/conventions. They will also complete coursework that includes written analyses, practical projects such as creating a film trailer, and exams.
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Year10 18/10/07
This document outlines the course requirements and skills developed in a GCSE Media Studies course. Students will analyze various media like TV, film, magazines and comics. Practical skills taught include creating a film trailer, magazine or comic. The coursework exam consists of 4 pieces, one of which is a media production planned and created by the student. Other assessments include written essays and a timed test. Students are assigned to film a short sequence from a film idea and provide a commentary. They also must write a treatment outlining key events in prose format. Storyboarding and filming techniques like matching eyeline and following the 180 degree rule are also covered.
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This document provides an overview of the objectives, assessments, and tasks for a GCSE Media Studies course. It focuses on the key concept of "representation" - how media texts portray people, places, events, and ideas. Students will analyze representation in their chosen film genre, research and present findings, and take photos to represent characters/locations. They will also watch film clips and write notes on representation, and develop a 60-second "pitch" for an original movie in their genre. The course aims to develop students' understanding of representation and skills in analysis, practical media production, and presenting ideas.
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This document provides information about an upcoming controlled test for a media studies class. The test will be worth 120 marks total and will involve tasks related to TV sitcoms. Students will have 3 months to prepare and will complete the tasks over two sessions of 3 hours each in exam conditions without notes. One task will involve pitching an original idea for a new British or American sitcom, explaining its uniqueness and intended audience. The document provides websites for researching existing British and American sitcoms and prompts students to analyze characters from the sitcoms in terms of their roles, values, relationships, stereotypes, development, realism, and identifiability.
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This document outlines the course requirements and tasks for a GCSE Media Studies exam. It includes:
- 4 coursework pieces that can include written essays, practical projects, or a mixture. One must be a media production planned and created by the student.
- One timed written exam testing knowledge of media language, representations, and more.
- Practical tasks where students take photos to storyboard a genre film sequence and analyze representations, shots, and intended effects.
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1. The document outlines the objectives and assessments for a media studies course, including analyzing genres, codes, and conventions through written essays and practical assignments like creating a film trailer.
2. Students are asked to choose a genre and break it down into its typical codes and conventions, like how romantic comedies often use popular soundtracks and portray seemingly mismatched couples who realize they love each other.
3. The document discusses genre hybrids and how directors sometimes blend or modify genres, using horror-comedies and detective movies as examples. Students are then tasked with researching the origins and history of their chosen genre.
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This document provides an overview of the objectives, assessments, and tasks for a GCSE Media Studies course. It focuses on the key concept of "representation" - how media texts portray people, places, events, and ideas. Students will analyze representation in their chosen film genre, research and present findings, and take photos to represent characters/locations. They will also watch film clips and write notes on representation, and develop a 60-second "pitch" for an original movie in their genre. The course aims to develop students' understanding of representation and skills in analysis, practical media production, and presenting ideas.
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This document provides information about an upcoming controlled test for a media studies class. The test will be worth 120 marks total and will involve tasks related to TV sitcoms. Students will have 3 months to prepare and will complete the tasks over two sessions of 3 hours each in exam conditions without notes. One task will involve pitching an original idea for a new British or American sitcom, explaining its uniqueness and intended audience. The document provides websites for researching existing British and American sitcoms and prompts students to analyze characters from the sitcoms in terms of their roles, values, relationships, stereotypes, development, realism, and identifiability.
Year10 15/11/07
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Year10 27/9/07
This document outlines the course requirements and tasks for a GCSE Media Studies exam. It includes:
- 4 coursework pieces that can include written essays, practical projects, or a mixture. One must be a media production planned and created by the student.
- One timed written exam testing knowledge of media language, representations, and more.
- Practical tasks where students take photos to storyboard a genre film sequence and analyze representations, shots, and intended effects.
- An ICT task where students research and present on representations of people/places in a genre through a Publisher document.
- Group photo shoots representing characters/locations in their chosen genre through shots, framing, lighting, and more.
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This document outlines the objectives and requirements for coursework in GCSE Media Studies. It includes instructions for students to write and present a 60-second pitch for an original movie idea, including genre and potential stars. Students must then storyboard and film a 1-2 minute sequence from their pitched movie. They are provided information on film budgets, star salaries, and continuity editing guidelines to follow. The goal is for students to gain practical skills in analyzing, planning, and creating media productions.
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1. The document outlines the objectives and assessments for a media studies course, including analyzing genres, codes, and conventions through written essays and practical assignments like creating a film trailer.
2. Students are asked to choose a genre and break it down into its typical codes and conventions, like how romantic comedies often use popular soundtracks and portray seemingly mismatched couples who realize they love each other.
3. The document discusses genre hybrids and how directors sometimes blend or modify genres, using horror-comedies and detective movies as examples. Students are then tasked with researching the origins and history of their chosen genre.
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The document outlines objectives for completing posters, a screenplay, and storyboards for a film trailer project. It discusses the purpose of storyboards as visual representations of film scenes that show the sequence and details of shots. Students are instructed to finish their screenplay first before beginning to visualize the series of shots for their trailer through creating storyboards using provided blank sheets. Resources like digital cameras and ICT are available to help with location scouting and developing the storyboards.
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Section A (1 hour 15 minutes) involves analyzing representations in an unseen TV drama extract. Students will watch a drama clip and take notes, then answer an essay question analyzing how representations of topics like class, gender, or ethnicity are constructed through production elements.
Section B (45 minutes) involves one compulsory essay question on a pre-prepared case study related to media institutions and audiences.
The document outlines the skills students must demonstrate, including analyzing representations and how they are constructed through filming techniques, as well as showing an understanding of institutional and cultural contexts. It also briefly defines
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This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
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This document provides homework assignments for a film studies class analyzing the film City of God. Students are asked to:
1) Finish writing a paragraph and further research the film's location and social representations.
2) Analyze how the film represents the ideology that the city's outskirts embody "war, hatred and chaos" by supporting an argument about one of the film's key scenes with evidence.
3) Recap narrative theory and consider how other narrative devices are used in the film. Analyze how the camera and violence are used to represent human misery.
4) Write a short review applying Stephen M. Hunt's ideology that "war, hatred and chaos are the order of the day" to
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Introducing tv drama and representation for g322 ocr media studies
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Documentary Research & Pre Production, Unit 2 Brief
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The document provides guidance on the pre-production phase for creating a film trailer or short sequence. It recommends conducting research on film genres, conventions, target audiences, and representation. This includes analyzing existing trailers, questionnaires, and considering representation in the chosen genre. It also suggests researching institutions, creating treatment, script, storyboard, shot list, schedule, test shots, locations, props, and soundtracks. The goal is comprehensive planning to facilitate high quality production and evaluation blog posts.
Lost audience targeting
The document summarizes key aspects of the television show Lost that help attract a mainstream audience. It discusses how Lost uses an ensemble cast representing a diversity of races, genders, ages, and nationalities. It also combines elements of escapism through its mystical island setting with relatable plotlines featuring in flashbacks and flashforwards. Additionally, Lost is classified as a hybrid genre blending elements of action, adventure, and fantasy. The use of enigma codes, film scores, and mainstream narrative devices further help attract a wide audience.
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Btec level 2 intro
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Terminology Log (Terms used so far)
This document provides definitions and examples of various filmmaking and media terminology related to camera shots, angles, editing, sound, and semiotics. It defines common shot types like close-up, medium shot, and long shot. It also defines camera angles, movements, and techniques like Dutch angle, tracking shot, and push/pull focus. Additionally, it covers terminology around editing, sound, narrative, and semiotics/audience analysis. Key terms defined include transition, diegetic/non-diegetic sound, exposition, and primary/secondary audiences.
As media exam revision guide jan
This document provides guidance for students taking an AS Media Studies exam, including tips for analyzing representations in TV drama, key concepts related to cinematography, editing, mise-en-scene, sound, and representation. It also covers common social groups represented on TV like gender, ethnicity, disability and more. Students are given examples of shot types, camera movements, depth of field, and framing to help with their analysis of a TV drama clip shown in the exam.
Aud music promo reintroduction
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Genre subgenre hybrid
The document discusses film genres, subgenres, and hybrids. It defines genres as categories that films can be grouped into, and provides examples of common genres like drama, comedy, and horror. Subgenres are more specific categories that combine two main genres, such as romantic comedies. Hybrids combine three or more genres. The document emphasizes identifying conventions for each genre and subgenre. Students will complete a genre exploration assignment demonstrating their understanding of genres, subgenres, conventions, and providing film examples.
Acting and Acting StylePrepareAs we have been discussing, .docx
Acting and Acting Style
Prepare
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. As you prepare to write this discussion, take a few moments to do the following:
· Read any required and recommended reading materials for this week, especially Chapter 5 (Mise en Scene and Actors).
· Review the grading rubric for this discussion.
· Select a full-length film from the AFI 10 Top 10 list.
Reflect
Mise en scène refers to different technical elements used in making a film such as lighting and sound, both of which you have already analyzed in this course. The term also encompasses the role of actors in a film, their physical positioning and movements within the frame, as well as the different styles and types of acting.
You can classify an acting category using only one film as reference, but these categories are subject to change. Each new role helps to clarify or shift an actor’s designation. Do some actors always fall into the same category? How can actors change from category to category? Does genre have any effect on the acting styles present in a given film?
Write(due Thursday, Day 3)
Please view the video Adding Pictures and Video to Discussions and Introductions for guidance on how to integrate multimedia with your response.
Using specific examples from your chosen film, write an initial post of at least 200 words which should
· Identify three actors from your film and classify each according to the acting category listed in your text.
· Explain your reasons for classifying the actors as you do. Use specific references to the film and pay special attention to how these decisions impacted characterization. Also, consider the impact of any realistic or stylized portrayals within the film.
· Focus on one of the actors you’ve discussed. Based on other films the actor has been in, would this actor always be placed in the same category? If so, what does this say about the category or actor? If not, what can you infer about the flexibility of these categories? Provide evidence (references from other films, including film clips and stills) to support your argument.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center.
Respond to Peers(due Monday, Day 7)
Respond to at least two classmates who chose different actors or different categories than you did. In your responses, reference your initial post and show how your ideas relate to those of your peers. Your responses should be 150 to 175 words each.
Please view the video Accessing Feedback in the Gradebook for guidance on how to review your instructor’s feedback when the post is graded.
The Cinematic Auteur
Prepare
As you prepare to write this discussion, take a few moments to do the following:
· Review the Modeled Discussion.
· Read any required and .
Week 1 Instructor GuidanceThe techniques used to study any f.docx
Week 1 Instructor Guidance
The techniques used to study any form of literature–-close reading, analysis of style, and assessing those basic literary elements such as character, setting, tone, etc.–-are about the same as the kind of close scrutiny we should apply to watching films. What this means is that a particular kind of concentrated attention will be rewarded. That’s what this class will focus on, the premise from which it springs: that closely studying and analyzing certain films will lead to greater insights about the situations in those films, as well as film in general, which should spur us on to greater insights about ourselves. Which means, in this figuration, that we use film to develop vital critical skills to impact our lives, our studies, and our future career fields as well.
But don't take my word for it!
Here's a snippet from the Syllabus, from under the heading Course Design:
ENG225 takes a formalist approach to understanding film structure (i.e., how individual "parts" contribute to the overall film experience). Students will learn to recognize and investigate the artistic and technical components of the cinema and evaluate the ways that films create meaning through their narrative and stylistic elements.
That's the premise of this course in a nutshell. We can train ourselves to be alert and alive to the parts of a thing in an effort to see the whole, and that if we figure out not only what is happening, but also how it happens, this will in turn help us to relate to it and see it in new and exciting ways.
If you haven't yet, please spend some time reading through the Course Home links. Not only does it include all the important policies and requirements for this class, along with handy grids detailing your weekly requirements, but it also helps to give you a broader context for the learning in this course.
While we're on the topic of guidelines, I just want to make a big push in favor of reading the prompts carefully for every assignment in this class. For example, our Post Your Introduction prompt deviates pretty significantly from what you might be used to in other classes. Take the time to read your requirements fully so that you don't lose points for doing things incorrectly.
Many of us have been watching movies for years, and I would hazard to guess that many of us have watched many movies! Maybe you only see one per month, but maybe you see one every day; maybe you see them in the theater, in your home, or on your computer screen. But whether you’re a real devotee of film, or someone who more casually enjoys film as entertainment, you’ve probably noticed something as you watched movie after movie: Some times you like the movie you're watching and sometimes you don't.
Although that seems wildly simplistic, it gives us a good starting point for the study of film. Why?—Because it provides us a criteria, and in some ways, studying anything is a process of applying various criteria to it.
***
On one level, this class is.
Film Genre
Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
Serial drama
1) The document provides guidance for a Media GCSE exam focusing on serial drama. It recommends developing a pitch for an original teen drama series that features realistic teenage characters from diverse backgrounds and avoids stereotypes.
2) Exam questions will likely focus on the elements that make serial drama successful, including engaging narratives, compelling characters, and setting. Students should analyze examples from shows they've watched to address these topics.
3) When pitching their own serial drama idea, students should describe the narrative, setting, and three diverse lead characters. They should also propose ways to promote the show online in the months before its launch.
Music magazines annotation 1a
The document outlines tasks for analyzing magazine front covers, including recapping conventions, completing an analysis of a specific cover, and representing genres. It then defines terms used in magazine cover design like masthead, cover lines, and pull quotes. The remainder of the document provides guidance on analyzing representations, language, and ideologies portrayed in magazine covers.
2012 genre
This document discusses genre in media. It defines genre as a type or category of media that shares similar characteristics. Genres are identified by their codes and conventions, such as characters, settings, narratives, and ideologies. Audiences enjoy genres because of their familiarity and ability to predict elements, while producers benefit from the commercial success of proven genres. However, genres avoid becoming boring by combining familiar and unexpected elements in each new text. The document also discusses genre hybrids that combine conventions of multiple genres.
OCR GCSE media studies revision pack 1
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.
CSUSB Stranger Things Portfolio Taylor 1 Stranger Thi.docx
CSUSB
Stranger Things Portfolio Taylor 1
Stranger Things Portfolio
Background: Analyzing a text like a novel or a poem requires you to be a critical reader, paying attention
to what is written (plot) and how it is written (structure, technique). The same is true when the text is
televisual. Critical viewing isn’t something we automatically do, however. It is a skill we need to learn
and practice. Critical viewing often requires re-watching televisual texts, much like you need to re-read
written texts to see more detail. Additionally, much like written texts, it is crucial to take notes on
televisual texts to keep track of all the things you see and experience while watching. The Stranger
Things Portfolio is a place to compile these notes and to reflect on your experience viewing the series.
This assignment is designed to help you with your critical viewing of Stranger Things and help prepare
you for the Reflective Letter portion of this assignment. Your Notes will also help with Journal entries
and/or in-class activities that may ask you to analyze Stranger Things.
The Assignment: The Viewer Portfolio has three components:
1. Episode Notes – may be handwritten but must be legible.
2. Character Notes – may be handwritten but must be legible.
3. Reflective letter -- should be typed according to specifications.
Episode Notes: These are notes on each episode of the series. You will need to take notes on:
• Plot. The general story of each episode in your own words. What is the main action? What are
some of the sub-plots or smaller stories in the episode? (Do not copy other written synopses.)
• Key Scenes. What are some key or memorable scenes (to you) in the episode? If you had to
choose a scene or two that would jog someone’s memory of this episode, what would you
choose?
• Key Themes. What themes does this episode address? (War, poverty, family, home, etc.)
• Other Significant Elements. Anything else you notice in the episode, such as costumes, music,
technology, language, historical allusions, etc. What elements you choose to identify will likely
reflect your own interests and knowledge base. A music major, for example, will likely be able to
hear the significance of the score more easily than someone without any knowledge of music. A
history major may more readily draw connections between the events depicted in the show and
real historical events than someone without a lot of historical knowledge. Someone who has a lot
of knowledge of horror films might recognize common elements of those film genres.
Character Notes: These are notes on the main characters of the series.
• Identify the character’s role in the show and his/her relationship(s) to other characters.
• Identify the character’s defining traits. This includes physical and personality traits.
• Track information about the characters’ history or backstory that helps us understand the
character better
• Track.
Similar to Year10 6/9/07 (20)
Acting and Acting StylePrepareAs we have been discussing, .docx
Acting and Acting StylePrepareAs we have been discussing, .docx
Week 1 Instructor GuidanceThe techniques used to study any f.docx
Week 1 Instructor GuidanceThe techniques used to study any f.docx
CSUSB Stranger Things Portfolio Taylor 1 Stranger Thi.docx
CSUSB Stranger Things Portfolio Taylor 1 Stranger Thi.docx
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2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
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校徽：象征着学校的荣誉和传承。
校名:学校英文全称
授予学位：本部分将注明获得的具体学位名称。
毕业生姓名：这是最重要的信息之一，标志着该证书是由特定人员获得的。
颁发日期：这是毕业正式生效的时间，也代表着毕业生学业的结束。
其他信息：根据不同的专业和学位，可能会有一些特定的信息或章节。
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The Evolution and Impact of Tom Cruise Long Hair
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
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3:国家专业人才认证中心颁发入库证书
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5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
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A legendary musician records an intricate song designed to show off his expert bass guitar chops at a historical Los Angeles studio.
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
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- 1. What is Media Studies?
- 2. MEDIA STUDIES TV FILM MAGAZINES COMICS ESSAYS TESTS SKILLS OF ANALYSIS PRACTICAL SKILLS MAKING A FILM TRAILER CREATING A MAGAZINE OR COMIC
- 4. AQA GCSE Media Studies COURSEWORK EXAM 4 Pieces. For one you plan & create a media production. The other 3 can be written or practical or a mixture of both One ‘timed test’ (3 hrs). This will be on And you will get some info beforehand 50% 50% 120marks 100 marks
- 7. Language (Form, Conventions and Genre) Institutions or Organisations Audience Representation
- 12. L.I.A.R.
- 15. GENRE CODES/ CONVENTIONS What we might expect to find; the ingredients or common elements of a genre…
- 16. ROMANTIC COMEDY Often uses contemporary ‘pop’ soundtrack, mixed with ‘classics’ to enhance ‘mood’ Starts with a seemingly ‘mis-matched’ couple meeting in unusual circumstances We follow the problems in their relationship, but they eventually realise they are in love… May use emotional ‘montages’ to show passages of time, etc… ‘ Best friends’ or ‘sidekicks’ offer support, advice and often ‘comic relief’ And so on…
- 18. Genre conventions are often complex and subtle – it is not enough just to list a few key words/phrases
- 19. Feedback: Your chosen genre conventions…
- 21. = BOND MOVIE ACTION
- 22. SCIENCE FICTION ‘ END OF THE WORLD’ ALIEN INVASION CREATURE FEATURES TECHNOLOGY GONE BAD EXAMPLES OF EACH?
- 25. They reference other horror movies and directors The ‘obvious’ both does and doesn’t happen! Characters know all about horror movies Killings often happen in broad daylight and busy places
- 26. GENRE HYBRID:
- 27. GENRE HYBRID: SCIENCE FICTION HORROR COMEDY ‘ BUDDY’ MOVIE DETECTIVE/COP MOVIE