Thursday, 11 January 2018
FILM POSTER
Complete the research, planning, poster design & development and deconstruction by Thursday 25 January.
Tuesday, 9 January 2018
Sec A THEORETICAL EVALUATION OF PRODUCTION : NARRATIVE
Make a 'page' for this exam work, entitled Sec A THEORETICAL EVALUATION OF PRODUCTION
Deadline for work: Tuesday 16 January
At A2, I made a trailer for the film Broken Dreams, Pain Perdu, Immanent Threat as part of a promo pack consisting of a trailer, film poster and film magazine cover.
My trailer shows the audience ......
My film genre is....... As such, there are genre codes and conventions that shape the narrative, such as....
Narrative (character and plot) is handled significantly differently in a trailer from the way that it is done in a film because....
A trailer must convey to its target audience who the central characters are very rapidly and efficiently, in particular, major narrative frameworks such the heroes and villains, the central protagonist and his / her concerns, the central thrust of the plot. For Bordwell and Thompson, narrative is ......
This theoretical framework fits with the way that I have handled my narrative because....
It reflects what Barthes called the action code of narrative / the enigma code of narrative because...
A trailer must establish rapidly the values and beliefs of the central characters, to draw in the audience. For Levi-Strauss, this means establishing a set of binary oppositions that are clear, such as, in my film trailer, the tension between.... the conflict between....
Character 'types' are often used as part of the narrative framework as a short cut to help audiences grasp complex narrative. In a film, this often means stereotypes (such as in my trailer, the role of the detective / villain / bent cop / innocent girl / vindictive older woman / foreigner who presents a national threat to security). For Propp, all narrative had a set of recurring character types. In my trailer, .....
Sound and vision editing are important in shaping the narrative structure of a trailer: the audience has only a couple of minutes to identify who the central characters are and what their aims and plans are. I achieved this in my narrative by using devices such as privileging my central character (name him /her) in the frame and through the use of close up. For instance, .....
I also used sound carefully - there is precious little room for diegetic sound in terms of dialogue in a trailer, so my central character is heard to say.... the voice over speaks for my central character to reveal his innermost thought when....... the intertitles clearly position my central character's concerns by.....
All trailers use elliptical narrative, that is, present the broad brush strokes of the action (in order to hook the audience) whilst deliberately withholding the detailed mechanics (which would constitute a spoiler). In my trailer, .....
As Todorov suggests, narrative starts in a state of equilibrium (the status quo) which is disrupted (disequilibrium) before a series of challenges and upheavals that finally settle into a new, often hard-won equilibrium. The satisfaction of know 'how it all turns out' and the 'whodunnit' element are important to audiences, but a trailer must both intrigue or engage an audience but never reveal the final twists and turns of the plot. In my trailer, ....
Trailer editing is very specific to the genre as it must build a sense of compelling urgency and invite audiences into the world of the film by hooking them through the narrative. I used sound codes to support my narrative when .....
Deadline for work: Tuesday 16 January
At A2, I made a trailer for the film Broken Dreams, Pain Perdu, Immanent Threat as part of a promo pack consisting of a trailer, film poster and film magazine cover.
My trailer shows the audience ......
My film genre is....... As such, there are genre codes and conventions that shape the narrative, such as....
Narrative (character and plot) is handled significantly differently in a trailer from the way that it is done in a film because....
A trailer must convey to its target audience who the central characters are very rapidly and efficiently, in particular, major narrative frameworks such the heroes and villains, the central protagonist and his / her concerns, the central thrust of the plot. For Bordwell and Thompson, narrative is ......
This theoretical framework fits with the way that I have handled my narrative because....
It reflects what Barthes called the action code of narrative / the enigma code of narrative because...
A trailer must establish rapidly the values and beliefs of the central characters, to draw in the audience. For Levi-Strauss, this means establishing a set of binary oppositions that are clear, such as, in my film trailer, the tension between.... the conflict between....
Character 'types' are often used as part of the narrative framework as a short cut to help audiences grasp complex narrative. In a film, this often means stereotypes (such as in my trailer, the role of the detective / villain / bent cop / innocent girl / vindictive older woman / foreigner who presents a national threat to security). For Propp, all narrative had a set of recurring character types. In my trailer, .....
Sound and vision editing are important in shaping the narrative structure of a trailer: the audience has only a couple of minutes to identify who the central characters are and what their aims and plans are. I achieved this in my narrative by using devices such as privileging my central character (name him /her) in the frame and through the use of close up. For instance, .....
I also used sound carefully - there is precious little room for diegetic sound in terms of dialogue in a trailer, so my central character is heard to say.... the voice over speaks for my central character to reveal his innermost thought when....... the intertitles clearly position my central character's concerns by.....
All trailers use elliptical narrative, that is, present the broad brush strokes of the action (in order to hook the audience) whilst deliberately withholding the detailed mechanics (which would constitute a spoiler). In my trailer, .....
As Todorov suggests, narrative starts in a state of equilibrium (the status quo) which is disrupted (disequilibrium) before a series of challenges and upheavals that finally settle into a new, often hard-won equilibrium. The satisfaction of know 'how it all turns out' and the 'whodunnit' element are important to audiences, but a trailer must both intrigue or engage an audience but never reveal the final twists and turns of the plot. In my trailer, ....
Trailer editing is very specific to the genre as it must build a sense of compelling urgency and invite audiences into the world of the film by hooking them through the narrative. I used sound codes to support my narrative when .....
Thursday, 4 January 2018
PRESS REGULATION
Read through the Media Magazine article with a pen in your hand.
Highlight information relating to the regulation of the press.
Highlight information relating to the regulation of the press.
VOICEOVER VIDEO & SCREENSHOTS
A recent report to centres by our Chief Examiner draws attention to the need for creative use of varied digital formats in presenting genuinely reflective critical evaluative responses and the success of video voice overs:
As practice, pick a film magazine to deconstruct and take 5 minutes to make notes on what you will say.
- Quiet is essential so use the studio when it is empty (morning break, lunch, Thursday periods 3, 4, 5) so there is no background noise
- Open Quicktime
- File > new screen recording
- >Internal microphone
- Click on your video, still photo or your PP
- To start recording, press the red button (as below) which opens a white button (find this button at the very top right of your screen). Allow a few seconds lead-in time or your recording will be clipped.
- Save as Quicktime 720 or 1080
- Upload to YouTube for your blog
Wednesday, 29 November 2017
CONSTRUCTION: SCRIPT YOUR INTERTITLES
Write a blog post with the title above.
Do the initial work as a simple blog post and then when it is complete, you could use a more creative presentation platform to present it.
Do the initial work as a simple blog post and then when it is complete, you could use a more creative presentation platform to present it.
- Open the BBFC website which features several trailers for you to rate
- Report that you looked at three trailers of different genres and noted down the inter titles.
- State how and why intertitles are used.
- Screenshot the intertitles from your examples
- Script your own film's intertitles
- Make a BBFC ratings guide using the BBFC guidelines which you can find here.
- There are various templates available
Tuesday, 28 November 2017
CONSTRUCTION: PHOTOFIT CRIMINAL IDENTIFICATION SCENE
From the FutureLearn course Forensic Psychology, we learned about various processes in which witnesses to crimes attempt to identify suspects, such as through line-ups and through the re-creation of faces using software such as Photofit Me, E-FIT and EFIT-V
EFIT-V is the latest composite system to be used by the police. EFIT-V is designed to try and utilise face recognition, rather than face recall. The design of EFIT-V once again demonstrates how important it is to have psychological knowledge of how the mind works when it comes to police investigations.
Our production team used Photofit Me in our trailer. The scene involves PI Andrews in his office trying to make a photographic profile from memory of a possible murder suspect.
We were very excited to incorporate such a convincingly professional method into our film. We believe that this clip lends authenticity to the trailer. We used the process in two types of shots:
EFIT-V is the latest composite system to be used by the police. EFIT-V is designed to try and utilise face recognition, rather than face recall. The design of EFIT-V once again demonstrates how important it is to have psychological knowledge of how the mind works when it comes to police investigations.
Our production team used Photofit Me in our trailer. The scene involves PI Andrews in his office trying to make a photographic profile from memory of a possible murder suspect.
We were very excited to incorporate such a convincingly professional method into our film. We believe that this clip lends authenticity to the trailer. We used the process in two types of shots:
- over the shoulder shot of PI Andrews at work on Photofit Me
- POV shots of what the software that he is working on
 |
| http://www.open.edu/openlearn/body-mind/photofit-me |
CONSTRUCTION: PINTEREST OF GENRE CONVENTIONS (REPRESENTATIONS)
In your individual Evaluation, you analyse the representations that are typical of your film 's genre in a Pinterest entitled GENRE CONVENTIONS (REPRESENTATIONS).
For instance, if your film is a crime thriller and features detectives, police, solicitor's offices, crime scenes, criminal investigation paperwork, you feature these images which signal the genre.
You offer individual critical reflection in the comment box below each image. For higher level marks, draw on theoretical frameworks such as Roland Bathes, Levi-Strauss, Propp.
For instance, if your film is a crime thriller and features detectives, police, solicitor's offices, crime scenes, criminal investigation paperwork, you feature these images which signal the genre.
You offer individual critical reflection in the comment box below each image. For higher level marks, draw on theoretical frameworks such as Roland Bathes, Levi-Strauss, Propp.
Subscribe to:
Posts (Atom)