The key assessment objectives for Institutions and Audiences and TV Drama are:
AO1: Demonstrate knowledge and understanding of media concepts, contexts and critical debates, using terminology appropriately and with accurate and coherent written expression. ( 30% of the mark)
AO2: Apply knowledge and understanding to show how meanings are created when analysing media products and evaluating their own practical work. ( 20% of the mark )
Write a brief plan which addresses the question's most important key words.
Think about your institution(s) and how they target their audiences in the UK.
what are/were the issues and patterns for:
Production
Distribution and Marketing
Exhibition
Exchange
Technological Convergence (can be in any of the above)
Synergies (can be in any of the above)
Cross Media Ownership, etc.?
Remember to analyse the exam question for its key words and phrases to ensure that your answer's ARGUMENT is relevant. It's good exam technique to use some of the question's key words and phrases in your introduction to get you started with your essay's argument. You also need to refer to the question's key words and phrases regularly in subsequent paragraphs in which you make various points in your argument.
AO1 is the most important assessment objective for Institutions and Audiences: (The UK Film industry if you're in Miss Frearson or Miss Elger's group, Music if in Mr Ford and Mr Smith's group) You can show a broader context by making comparisons with big US institutions and their films/artists to throw light on the issues facing UK based institutions for choices of genre, budgets, casting, technology, special effects, marketing, exhibition, the targetting of audiences, critical reception, etc.
Practice Exam Questions
Answer the questions below, making detailed reference to examples from your case study material to support the points made in your answer.
1. Eric Fellner, who heads Working Title Films argues, "It's not the film industry, it's the film business".
To what extent to you agree with this statement? (obviously only do this if you've studied film)
2. "Media production is dominated by global instutitions, which sell their products and services to national audiences." To what extent do you agree with this statement?
3. To what extent is production, marketing and distribution important for an institution's success in the British marketplace?
4. How important is technological convergence for institutions and audiences within a media area which you studied?
5. To what extent have audiences influenced and affected an instution which you have studied?
6. Discuss the issues raised by an institution's need to target specific audiences within a media industry which you have studied.
7. To what extent has exhibition and exhange affected an institution which you have studied?
Showing posts with label Exam Skills. Show all posts
Showing posts with label Exam Skills. Show all posts
Thursday, 20 May 2010
Monday, 3 May 2010
Sunday, 21 March 2010
Editing - the invisible art
In film-world editing is known as "the invisible art" - and it's probably the hardest to teach. After the director, the editor is the next most important person on the production side of making films. Once the film has been shot the editor gets to work and the process of shaping and creating a story out of a film's thousands of miles of footage can take months - and sometimes years!
Most of the terms you need to understand for editing in TV drama can be found in the link below. This link has most of the BASIC information on editing you need to know.
For practice in seeing how editing works in TV drama we can view a few sequences to identify the main types of edits and how they create meaning and narrative in a sequence from a TV drama.
Meanwhile, have a look at these abridged Youtube sections from "The Cutting Edge: the magic of movie editing". This is a "must see" for understanding the "invisible art". In Hollywood "the more invisible the cuts the better the editor".
Taken from AS and A2 Media Studies blog
Most of the terms you need to understand for editing in TV drama can be found in the link below. This link has most of the BASIC information on editing you need to know.
For practice in seeing how editing works in TV drama we can view a few sequences to identify the main types of edits and how they create meaning and narrative in a sequence from a TV drama.
Meanwhile, have a look at these abridged Youtube sections from "The Cutting Edge: the magic of movie editing". This is a "must see" for understanding the "invisible art". In Hollywood "the more invisible the cuts the better the editor".
Taken from AS and A2 Media Studies blog
Thursday, 18 March 2010
A detailed essay plan for an Institutions and Audiences question
Consider why it is most sensible to begin at the end (with Exhibition - Audiences and Exchange) rather than with production and distribution, etc.
Click on the concept map to enlarge
So that your answer is not too narrowly based be able to make comparisons with a US film institution and film for production, distribution and exhibition. This will give your British case study a wider context and you will be better placed to argue how film practices in the British Film Industry are directly affected by the giant US conglomerates based in Hollywood.
An essay plan for patterns and issues of an institution's ( film) production
This is a cut down version of a similar essay you will write which will later include the distribution and exhibition issues of your film institution. We will work on how you can discuss technological convergence and synergies across all three areas as you produce your blogs. Notice how I've tried to integrate arguments for them on each of the three parts of the institution case study.
Here is the essay question that you began in class. Remember to use its key words and phrases for your answer as you are not expected to reel off everything you know about the institution and a film it recently produced, distributed and exhibited:
The Essay Question
It is not the film industry; it the film business.
( Eric Fellner of Working Title Films )
Using detailed examples from your case studies discuss the issues and patterns which enables your institution to thrive as a film business.
Here is the essay question that you began in class. Remember to use its key words and phrases for your answer as you are not expected to reel off everything you know about the institution and a film it recently produced, distributed and exhibited:
The Essay Question
It is not the film industry; it the film business.
( Eric Fellner of Working Title Films )
Using detailed examples from your case studies discuss the issues and patterns which enables your institution to thrive as a film business.
Click on the image to enlarge. Oops! Missed out on the director. Still, the writer, Richard Curtis, also directed this film.
Wednesday, 17 March 2010
TV - Technical Terms Glossart
CAMERA SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Sunday, 14 March 2010
Approaches to TV Drama - Exam Board advice
Designed for teaching and delivery but there is still some useful information for students.
Approaches to TV Drama
View more presentations from rikhudson.
Sunday, 7 February 2010
Wednesday, 30 December 2009
Key Representaions
Article all about the main aspects of representation as a key concept for studying media studies at A Level and above.
Key Representations Daniel Chandler
Key Representations Daniel Chandler
Monday, 7 December 2009
Title sequence functions - Courtesy of Mrs Hammond
Title sequences
Important because they:
• Make initial contact with audiences
• Signal to the audience what is to follow in terms of genre, themes, tone etc
• Raise expectations
• Prepare and position an audience putting them in the right frame of mind to approach a text
• May contain enigmas (one off dramas) which will later be resolved
Micro elements used in a title sequence:
• Editing – short fast-moving edits or long sequences? Transitions between shots?
• Soundtrack – establishes tone, indicates nature of text – iconic – interpellation (calls out to the audience preparing them for what’s to follow) – consider music, voice over and sound effects
• Details of the title of the drama/film, actors, production company, director, producer
• Camera work – consider shot/angles and their effect
• Mis e en scene – setting, costume, props, lighting
Important because they:
• Make initial contact with audiences
• Signal to the audience what is to follow in terms of genre, themes, tone etc
• Raise expectations
• Prepare and position an audience putting them in the right frame of mind to approach a text
• May contain enigmas (one off dramas) which will later be resolved
Micro elements used in a title sequence:
• Editing – short fast-moving edits or long sequences? Transitions between shots?
• Soundtrack – establishes tone, indicates nature of text – iconic – interpellation (calls out to the audience preparing them for what’s to follow) – consider music, voice over and sound effects
• Details of the title of the drama/film, actors, production company, director, producer
• Camera work – consider shot/angles and their effect
• Mis e en scene – setting, costume, props, lighting
Monday, 16 November 2009
Useful websites for Audience and Institution.
http://www.screenonline.org.uk/film/distribution/distribution1.html
Explains background of film distribution
http://www.lightillusion.com/zippdf/dsn_guidelines.pdf
The influence of digital technology on Film.
http://www.ukfilmcouncil.org.uk/10321
Funding for "This is England" and compares to no. of prints of blockbusters
Explains background of film distribution
http://www.lightillusion.com/zippdf/dsn_guidelines.pdf
The influence of digital technology on Film.
http://www.ukfilmcouncil.org.uk/10321
Funding for "This is England" and compares to no. of prints of blockbusters
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