Year10 1/11/07
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This document outlines the objectives, coursework, and activities for a GCSE Media Studies class. The objectives are to develop skills in analyzing media, practical skills like filmmaking, and creating magazines or comics. The coursework includes four pieces, one of which involves planning and creating an original media production. Other assignments can be written, practical, or a combination. There is also a timed exam. Topics covered include film narrative structure, writing a film treatment, creating a film budget, and practicing unusual camera shots.
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Butler’s
Cinema of the Mind –
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(Not so different)
Writing:
a counter-intuitive exercise
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Counter-intuitive:
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5 senses
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omnisensual cinema
Reading is just like going to a cinema
= omnisensual cinema
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No abstractions
Abstractions in stories
= something that you can't directly experience using your five senses
You know it exists, but you can't see it, smell it, taste it, touch it, or hear
DON’T DO IT
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Cut
Pan
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Montage
Dissolve
https://www.youtube.com/watch?v=NvybQ5RpMkc
Cut
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https://www.youtube.com/watch?v=OAH0MoAv2CI
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https://www.youtube.com/watch?v=CWX2L-6pUOQ
2’08”
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htt.
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The document discusses narrative structure in film and how films tell stories. It explains that narrative form provides the structure through which movies convey plots and that narratives are common in many types of media from novels to television shows. The narrative typically involves a string of causally connected events that unfold over time, beginning with an initial situation and equilibrium that is disrupted by a change in events, leading to a new conclusion and restored equilibrium. Key elements of narrative structure in films are also outlined, including exposition, rising action, climax, falling action, and resolution.
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This document discusses various concepts and theories related to narrative structure in storytelling across different mediums. It covers key structuralist thinkers like Tzvetan Todorov and Vladimir Propp who analyzed common patterns in narratives, including equilibrium, disequilibrium, and resolution. It also discusses Roland Barthes' narrative codes that engage audiences like the hermeneutic code involving mysteries and the proairetic code involving actions. Syd Field is mentioned for describing a typical three-act Hollywood film structure of setup, confrontation, and resolution. Stanley Kubrick's concept of "non-submersible units" is explained as essential story elements that hook viewers. Finally, there is discussion of basic narrative functions like organizing events in a cause
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The document provides techniques for crafting engaging presentations using storytelling. It discusses moving beyond bullet points to unleash the power of story by following a character's desire against obstacles. The author also describes a 7-step process for taming stories into an outline with complication, development, and resolution. The goal is to craft presentations that emotionally connect with audiences.
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Class lecture introducing basic Documentary Film concepts and setting up information to prepare students to write a simple treatment. Most information from Bill Nichols and Anthony Friedmann
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This document provides guidance for students on analyzing conventions from real media texts and applying them to their own coursework. It defines conventions as established rules or practices in a genre or medium. Students are instructed to consider conventions in terms of representation, genre, technical aspects, and narrative. Examples of conventions for film openings, thrillers, and music videos are listed. The document emphasizes understanding how knowledge of conventions has helped improve students' work over time from AS to A2 level. Students are given tasks to identify conventions and apply them to their own projects with notes. The goal is for students to be able to evaluate how their skills and application of conventions has developed during the course in order to answer exam questions.
Zak key concepts
Media meaning is created through symbolic and technical codes. Symbolic codes include mise-en-scene elements like colors, lighting, and facial expressions, while technical codes involve camera work like shots, angles, and editing techniques. How audiences interpret media can vary according to Stuart Hall's encoding/decoding model of preferred, negotiated, or oppositional readings depending on their own backgrounds. Symbolic codes are designed to elicit real-life emotions from viewers, while technical codes shape meaning through techniques such as shot types, camera movements, and edited transitions.
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This document discusses how stories can be used to enhance usability in system design. It explains that stories can help designers understand customer needs more deeply and communicate requirements and designs more effectively. Stories that portray users as willful protagonists seeking to overcome obstacles can help designers empathize with the user experience. The document also provides tips for crafting good stories, such as including conflict, emotional progression, and specific descriptive language.
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.
Film studies induction booklet
This document provides an introduction and overview for students taking an AS level film studies course. It outlines some of the key concepts and approaches that will be covered over the course of the year, including examining films from different eras and movements, investigating reasons for changes in film over time, and analyzing films from both entertainment and sociopolitical perspectives. It encourages students to engage with films on an academic level by learning fundamental techniques for reading and analyzing films, such as considering elements of mise-en-scène, camerawork, and how films use codes and signals to communicate with audiences. Several film excerpts are referenced as examples to illustrate these concepts.
Film studies induction booklet
This document provides an induction booklet for students taking an AS level in Film Studies. It introduces some key concepts that will be covered in the course, including reading films through their use of film language, codes and signals. It explains some fundamental techniques used in film like camera shots and movements, mise-en-scene, lighting, sound, and editing. Several film extracts are referenced as examples to analyze how these techniques are used to convey meaning and achieve effects. The booklet aims to prepare students to study films in an academic manner by familiarizing them with analytical approaches to reading and interpreting film texts.
Btec single camera presentation
This document provides guidance on creating a high-quality presentation for a BTEC Creative Media course assignment. It emphasizes including numerous examples from films and television to support points. The presentation should cover three mandatory sections - formats, narrative structures, and technical elements - analyzed using media terms. For each section, the document provides an outline of topics to cover and example slides demonstrating how to present topics like narrative techniques, cinematography, and genres through elucidated examples from texts like Stranger Things. It advises planning the presentation, focusing on content, and getting feedback to ensure a distinction grade.
A Level Media Studies - Induction Booklet
The document outlines the course outline for an induction booklet covering representation in TV drama, the UK film industry, and creating an opening film sequence. In the first term, students will analyze representations in TV drama and complete an essay. They will also begin planning and preliminary work on creating an opening sequence, including setting up a production blog and research. The second term focuses on a mock exam, completing the opening sequence, and continuing analysis of the film industry. The third term includes a full mock exam, completing evaluations of the opening sequence, and exam revision.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
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Year10 1/11/07
- 1. MEDIA STUDIES TV FILM MAGAZINES COMICS ESSAYS TESTS SKILLS OF ANALYSIS PRACTICAL SKILLS MAKING A FILM TRAILER CREATING A MAGAZINE OR COMIC
- 3. 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
- 4. L.I.A.R.
- 7. Film narrative: Average film length 2 hours Super-inventive to pack a story into this time
- 9. Equilibrium: Characters go about their daily business, unaware they are being watched… Aliens invade in ‘lightning’ and activate the buried ‘tripods’; begin to exterminate humankind Characters try and escape, find refuge, society begins to collapse as alien threat is more fully understood Military and other groups attempt to ‘fight back’, try to find aliens’ weaknesses Aliens succumb to cold virus, die; humankind left to re-build/re-start.
- 10. Paired task: Think of a film you have seen, and try and relate it to Todorov’s structure…
- 13. Told in ‘chapters’, like a book. Events are not in chronological order and often don’t make sense until the end
- 14. Told in ‘reverse’, because the lead character suffers from memory loss and is continually piecing his life together each day
- 15. Film Clip: ‘ Kill Bill: Volume 1’
- 16. Planet earth in the near future. We can cure/ have gotten rid off 99% of diseases and viruses. Life is good. Life expectancy has increased to 115. The world is at peace; nations have settled their differences. An alien spacecraft crashes to earth, and although the aliens are killed on impact, a deadly virus escapes and begins to contaminate. A team of scientists search for a cure as people again have to deal with illness and disease. Conflict and fighting re-start as people try and remain virus free. Some people find they are immune to the virus. Humankind is nearing the verge of extinction… No cure can be found, so humans must live underground, as those few who are immune to the virus become part of a separate society living in the world above…
- 17. CLOSED NARRATIVE OPEN NARRATIVE Tidy ending, things are resolved The path is clear for the story to continue (Sequels?)
- 18. Task: Look again at the story. Re-tell the story using one or more subversions. Change the original version so that the narrative no longer follows the same path
- 19. Feedback: How have you made the narrative structure different and interesting?
- 21. BUDGETS: $73.2m $20m for Bruce Willis $10m for the director $7m for Samuel L Jackson $2.3m for Robin Wright Penn $1.5m ‘perks’ for Willis $20m Rest of cast and crew $10m S.F/X
- 23. Camera Shots: Doing something different and unusual…