Thursday 8 December 2011
Monday 5 December 2011
Sound | Editing | Paragraphs: Skins
The dialogue between the father and the son shows a reversal in audeince expectations. We see the father shouting and swearing at the teenager, which is normally something we would expect to hear from the teenager. The father's aggressive reaction to the diegetic rock music plays to the stereotype that teenagers play loud music and are inconsiderate to older people. His reaction also plays to the stereotype that teenagers frustrate their parents.
The image of the protagonist's sister of being rebellious in contrast to her brother is reinforced by the diegetic sound which is magnified of her heels on the pavement. This emphasises the stereotype that she has been out all night and also suggests that she is trying to act more like an adult. This stereotype is used in effect to portray to the audience that all teenage girls behave in a more adult way and dress in a way to make themselves more desirable to the opposite sex. On the other hand, non-diegetic sound is used to represent the protagonist's routine, having a repitive beat alongside the montage. This challenges to stereotype that teenagers are unorganised and cannot commit themselves to a regular routine.
Parallel editing is used to show that the boy and girl are related and have a strong relationship. We can see through the parallel editing that they lead very different teenage lives, showing binary opposite characters. She is coming home; rebelling against house rules and he has been in his own bed. This conforms to Levi Strauss' idea that all narratives have opposites. The two narrative threads come together as she reaches the window and the cut aways show that she relies on him to cover up for her.
Action editing is used when the protagonist begins to excercise in his bedroom, using short and fast cuts to emphasise that it is the character's regular routine and is dealt with effectively. Although this style of editing conforms to the stereotype view that teenagers have a hectic life it also challenges it as the protagonist clearly has an organised lifestyle. This is also represented in a montage so the audience can see the different exercise movements and see that the routine is fast and tiring; which conforms to the stereotype that teenagers take great care in their appearence. The linear narrative is continued when an eyeline match is used to view the protagonist's perspective when he is looking out of the window at his nude neighbour. This emphasises the stereotype that teenagers are sexually charged. Cut away is used to focus on the sister away from the protagonist which reinforces to the audience that both teenagers have different lifestyles, the boy being organised and responsible and the girl being rebellious and carless. This complies to Straus' theory that binary opposites are used in narrative to represent the seperate lives of both characters.
The image of the protagonist's sister of being rebellious in contrast to her brother is reinforced by the diegetic sound which is magnified of her heels on the pavement. This emphasises the stereotype that she has been out all night and also suggests that she is trying to act more like an adult. This stereotype is used in effect to portray to the audience that all teenage girls behave in a more adult way and dress in a way to make themselves more desirable to the opposite sex. On the other hand, non-diegetic sound is used to represent the protagonist's routine, having a repitive beat alongside the montage. This challenges to stereotype that teenagers are unorganised and cannot commit themselves to a regular routine.
Parallel editing is used to show that the boy and girl are related and have a strong relationship. We can see through the parallel editing that they lead very different teenage lives, showing binary opposite characters. She is coming home; rebelling against house rules and he has been in his own bed. This conforms to Levi Strauss' idea that all narratives have opposites. The two narrative threads come together as she reaches the window and the cut aways show that she relies on him to cover up for her.
Action editing is used when the protagonist begins to excercise in his bedroom, using short and fast cuts to emphasise that it is the character's regular routine and is dealt with effectively. Although this style of editing conforms to the stereotype view that teenagers have a hectic life it also challenges it as the protagonist clearly has an organised lifestyle. This is also represented in a montage so the audience can see the different exercise movements and see that the routine is fast and tiring; which conforms to the stereotype that teenagers take great care in their appearence. The linear narrative is continued when an eyeline match is used to view the protagonist's perspective when he is looking out of the window at his nude neighbour. This emphasises the stereotype that teenagers are sexually charged. Cut away is used to focus on the sister away from the protagonist which reinforces to the audience that both teenagers have different lifestyles, the boy being organised and responsible and the girl being rebellious and carless. This complies to Straus' theory that binary opposites are used in narrative to represent the seperate lives of both characters.
Thursday 1 December 2011
Mise-en-scene | Camera Angle | Paragraphs: Skins
The mise en scene of the protagonists bedroom challenges and conforms to stereotypical views about youth culture. The establishing shot suggests that the series targets a teenage audience and it will follow the life and experiences of a teenager. The duvet cover shown is of a double bed with a naked man and woman, suggesting that this age group is sexually charged. The protagonist is positioned in the middle of the two bodies suggesting that he is sexually inexperienced. It could also be suggesting that he is alone and confused about his sexuality, which conforms to teenage sterotypes. In this shot natural lighting is used to give a sense of realism so the teenage audience identifies with the life of the protagonist.
The personality of the protagonist is displayed further to the audience as him being neat and organised, when the clothes in his draws are neatly tidied and through the montage we see a neat room. This challenges the stereotypical view that teenagers are messy so the teenage audience can assume that this character is very different to what they expect. This contrasts to the representation of his sister as we see that she has been out all night and her make-up and hair are not well groomed; with her clothing also being skimpy and provocative. Therefore the brother and sister are binary opposites as they have seperate lifestyles, the brother's being responsible whereas the sister is rebellious by going out when she is clearly not of an mature age (when we see her change into her school uniform).
The idea that teenagers are curious about sex is reinforced through the over the sholder shot used when he is looking at the older woman getting dressed through the window over the road. The shot is hand held so that the audience can have the same experience as the teenage main character. The following close up shot shows a lack of expression suggesting that this is routine and he has become disaffected by the image. This conforms to the stereotype that teenagers' lives are surrounded by sex and it plays a big part of their life.
The camera angle of the protagonist's sister is a track shot starting from the bushes and working outwards into an eyeline shot of her walking along the street. This creates a sense of secrecy as the camera angle suggests that she has something to hide and by being out in the open she is vulnerable. The audience can then assume that she has been out all night which conforms with the stereotype that teenagers are rebellious and hide secrets from their parents. The protagonist's perspective is shown via a low angle, hand held shot, looking down at her sister; which suggests that he has power over her. Transferring to a high-angle of the sister's point of view of the brother at the window to show her vulnerability; conforming to the stereotype that sister's rely on their brothers for safety.
The personality of the protagonist is displayed further to the audience as him being neat and organised, when the clothes in his draws are neatly tidied and through the montage we see a neat room. This challenges the stereotypical view that teenagers are messy so the teenage audience can assume that this character is very different to what they expect. This contrasts to the representation of his sister as we see that she has been out all night and her make-up and hair are not well groomed; with her clothing also being skimpy and provocative. Therefore the brother and sister are binary opposites as they have seperate lifestyles, the brother's being responsible whereas the sister is rebellious by going out when she is clearly not of an mature age (when we see her change into her school uniform).
The idea that teenagers are curious about sex is reinforced through the over the sholder shot used when he is looking at the older woman getting dressed through the window over the road. The shot is hand held so that the audience can have the same experience as the teenage main character. The following close up shot shows a lack of expression suggesting that this is routine and he has become disaffected by the image. This conforms to the stereotype that teenagers' lives are surrounded by sex and it plays a big part of their life.
The camera angle of the protagonist's sister is a track shot starting from the bushes and working outwards into an eyeline shot of her walking along the street. This creates a sense of secrecy as the camera angle suggests that she has something to hide and by being out in the open she is vulnerable. The audience can then assume that she has been out all night which conforms with the stereotype that teenagers are rebellious and hide secrets from their parents. The protagonist's perspective is shown via a low angle, hand held shot, looking down at her sister; which suggests that he has power over her. Transferring to a high-angle of the sister's point of view of the brother at the window to show her vulnerability; conforming to the stereotype that sister's rely on their brothers for safety.
Thursday 24 November 2011
Monday 7 November 2011
'My Boy Jack' - Notes
Editing
- Fade to close-up of watch implies that time is important to context/against them
- Cross-cutting used to switch between father and son
- Fast cuts on his father to emphasise his rush
- Long cuts on the protagonist to show slow and tense mood
- Shot-reverse-shot - in room/show clear conversation
- Continuity editing - chronological/show time passing
- Eyeline match for protagonist when viewing letters - experience his view
- Super impose used - letters he is seeing/experience his view/audience informed of his impaired vision & also at the beginning credits to set the scene (1914)
- Parallel editing - show two different events
- Cutaway to watch again - not necessary but emphasises that the element of time is still important
- Elipsis - don't see the father walk around/speeds up the action
- Primary audience - older audience/relate to war times/setting of the story appeal to them (1914)
- Message - that if not born into high class family during that time it was difficult to earn a high-rank
- Big star/recognisable actor 'Daniel Radcliffe' appeals to a mass audience - even draws in a younger audience because implies high production budget therefore a more probably chance that it is a good quality drama
- Also represents the change in values since 1914 to modern day i.e. discriminated in what he is applying for because he wears glasses
- Short formal conversation/posh dialect to match characters/relationships not strong
- Use of last names show position
- Diegetic sound for clock
- Sound bridge - clock and music
- Syncronym sound for car
- Parallel sound - it is up-tempo/jolly music with the man's mood
- Non-diegetic sound of string instruments
- Genre - historical/music costume and props contribute to this genre
- Stereotypical that boys watch it than girls
- Daniel Radcliffe appeals as he is a high class actor
- Daniel familiar & other actors
- Characters are well educated - respect but one is presented as snoobish
- Style realistic as it is based on true story
- Character are white-british
- Jack less important because of his Father's job
- Clock ticking - narrative time (appears twice to reinforce this)
- Characters experience along with time
- D.R. shows high value
- Shots are parallel time but not linked
- One-off production drama
- Drama premiere set in 1914 suggested by car style
- Language and tone suggest it too - older english/more defined
- Non-fiction characters suggest good representation of rich class
- Setting countryside (green & warmth) and Manorhouse reinforce the time (1914)
- Polished and shiny statue on car shows the wealth
- Open green field - space and more freedom in life/can afford better living standards
- Clock traditional to time period
- Bright sunny day reflects mood in contrast to nervous boy in dull room
- Clothing- formal suits & uniform - shows rank
- First shot is wide shot establishing scene
- Extreme-close up of seconds hand on watch - belongs to King/he doesn't want to be kept waiting
- Close-ups of car and driver - of the wheel turning to show speed
- Mid-shot of car statue - represent high status
- Close-up of protagonist's eyes to show disadvantage
- Bird's eye view showing protagonist handing paper along with other applicants/shows they are equal
- Long-shot emphasises the long wait
- Hand-held camera - audience has eye-line with D.R. to empathise with him/unsteady camera shows uncertainty
- Mid-shots add realism as it is eye level
- Long shot of corridor & car
- Over-the-shoulder and mid-angle to show conversation (question Father's rank but shocked at it)
- High angle suggest authority
- Shows change in times - lower class find it hard to enter upper-class jobs
- Average suit on protagnoist - lower class in contrast to the uniformed character with medals (clear high rank)
Editing Terminology
Continuity Editing:
When viewer should not be aware of cuts. Presents text in chronological manner to emphasise real-time
Cross-cutting (Parallel editing):
Cuts between two seperate scenes happening in two different locations at the same time.
Action Match:
Continuing piece of action/movement between shots.
Transitions -
Straight cut:
Goes unnoticed, one shot replaced by another.
Dissolve:
One shots fade out and another gradually appears.
Wipe:
Uses border between two shots to eliminate previous shot.
Long take:
A take that remains of screen for a longer duration before it is cut.
Short take:
A short take is one that is allowed to remain on screen for a short time before it is cut.
Jump cut:
A cut that moves a very similar part of the same scene but misses a piece of action out.
Cutaway:
Shot is not totally necessary but shows related action/object/person etc. before cutting back to the original shot.
Shot-reverse-shot:
Cutting between two people having a conversation.
Slow-motion:
Action is slowed down for emotional or comic effect.
Fast-forward:
Action is sped up.
Visual effects:
Change in colour or showing CGI/CSI to present character's reaction.
Super-impose:
When writing/images/symbols appear on top of an image so both are visible at once.
Split screen:
Screen is split into two part to allow te showing of events taking place at the same time.
Action editing:
Short and fast shots are used to reinforce the action/the audience aware of developing action.
Montage:
Montage is a series of shots edited together to show time passing and something happening in that time.Ellipsis:
The removal shortening of elements of narrative to speech up action.
Eye-line match:
The shot is at eye level when cutting from a character to what they see.
Graphic match:
A cut from one shot to another that visually look the same, that both have a link so the audience can interpret the connection.
Linear narrative:
A narrative with a clear sequence of beginning, middle and end (in that order).
When viewer should not be aware of cuts. Presents text in chronological manner to emphasise real-time
Cross-cutting (Parallel editing):
Cuts between two seperate scenes happening in two different locations at the same time.
Action Match:
Continuing piece of action/movement between shots.
Transitions -
Straight cut:
Goes unnoticed, one shot replaced by another.
Dissolve:
One shots fade out and another gradually appears.
Wipe:
Uses border between two shots to eliminate previous shot.
Long take:
A take that remains of screen for a longer duration before it is cut.
Short take:
A short take is one that is allowed to remain on screen for a short time before it is cut.
Jump cut:
A cut that moves a very similar part of the same scene but misses a piece of action out.
Cutaway:
Shot is not totally necessary but shows related action/object/person etc. before cutting back to the original shot.
Shot-reverse-shot:
Cutting between two people having a conversation.
Slow-motion:
Action is slowed down for emotional or comic effect.
Fast-forward:
Action is sped up.
Visual effects:
Change in colour or showing CGI/CSI to present character's reaction.
Super-impose:
When writing/images/symbols appear on top of an image so both are visible at once.
Split screen:
Screen is split into two part to allow te showing of events taking place at the same time.
Action editing:
Short and fast shots are used to reinforce the action/the audience aware of developing action.
Montage:
Montage is a series of shots edited together to show time passing and something happening in that time.Ellipsis:
The removal shortening of elements of narrative to speech up action.
Eye-line match:
The shot is at eye level when cutting from a character to what they see.
Graphic match:
A cut from one shot to another that visually look the same, that both have a link so the audience can interpret the connection.
Linear narrative:
A narrative with a clear sequence of beginning, middle and end (in that order).
Sunday 6 November 2011
How does the opening of 'My Boy Jack' appeal to audiences?
Firstly 'My Boy jack' the social demographic of the story appeals to a primary audience of a more older generation as it is a period drama set in the beginning of the Great War, so the older audience who take interest in this time in history would watch it. This is continued immediately through mise-en-scene as the drama begins. A clock is shown which has a typical face of that time period; also the protagonist dons a typical suit styled from that period as well as the interviewers who question him are seen in uniform with hats on the table to signify their authority. The car is given the first wide shot to show that the protagonist's father is driving and is also old-fashioned so the audience can relate to the time period. The setting of the country side and the large manor house also conveys a historical and beautiful time which their primary audience, being the older generation, may feel nostalgic about.
On the other hand, it also appeals to a mass audience as the protagonist is played by the largely recognisable Daniel Radcliffe. He is shown in close-ups during the opening scene, and given conversation via over-the-shoulder shots with another character so that the audience can understand his character and not wait for his appearance later on in the drama, thus being drawn in immediately. The reputation of Daniel Radcliffe being a high-standard actor also appeals to a wide audience as then they would expect an high value production TV drama and so would watch to see if it meets their expectations. The parallel editing used to switch between the protagonist and his father to show their different situations appeals to the audience as it goes against the typical editing conventions of a period drama which would normally be expected to use continuous time and not simultaneous time. This would appeal to a more modern audience as this modern approach on the editing of a historical drama will cause it to be more interesting in some audience's perspectives.
The uses and gratifications of the drama's background appeals to audience's as it is based on a true story of John Kipling so people may want to widen their knowledge of this situation by watching the drama. The beginning of the drama also gives the audience an insight into society at that time. The audience are informed by the protagonist's conversation with another character who is presented as being snobby that during that time it was difficult to get a high class job unless you were born into a family of that sort. It also shows that also, in the protagonist's case, you could even been prejudiced against for not only the class position of your family but also for wearing his glasses. The dialogue interests the audiences are it gives them information about the protagonist's background with his father being a writer and the other man responds in silence to show his snobbery. The mise-en-scene represent the protagonist as a lower-class man which also emphasises his struggle for the assumed higher ranking job.
On the other hand, it also appeals to a mass audience as the protagonist is played by the largely recognisable Daniel Radcliffe. He is shown in close-ups during the opening scene, and given conversation via over-the-shoulder shots with another character so that the audience can understand his character and not wait for his appearance later on in the drama, thus being drawn in immediately. The reputation of Daniel Radcliffe being a high-standard actor also appeals to a wide audience as then they would expect an high value production TV drama and so would watch to see if it meets their expectations. The parallel editing used to switch between the protagonist and his father to show their different situations appeals to the audience as it goes against the typical editing conventions of a period drama which would normally be expected to use continuous time and not simultaneous time. This would appeal to a more modern audience as this modern approach on the editing of a historical drama will cause it to be more interesting in some audience's perspectives.
The uses and gratifications of the drama's background appeals to audience's as it is based on a true story of John Kipling so people may want to widen their knowledge of this situation by watching the drama. The beginning of the drama also gives the audience an insight into society at that time. The audience are informed by the protagonist's conversation with another character who is presented as being snobby that during that time it was difficult to get a high class job unless you were born into a family of that sort. It also shows that also, in the protagonist's case, you could even been prejudiced against for not only the class position of your family but also for wearing his glasses. The dialogue interests the audiences are it gives them information about the protagonist's background with his father being a writer and the other man responds in silence to show his snobbery. The mise-en-scene represent the protagonist as a lower-class man which also emphasises his struggle for the assumed higher ranking job.
Thursday 3 November 2011
Role of website for a film company
Purposes
- Promote the film company/advertise
- Provide information about background
- Advertise new films
- Fan interaction/build relationship
- Contact details/latest developments on schemes or projects
- Provide 'fan-zine'/blog
- Exclusive clips, photos, diaries
- General marketing and publicity
- Archive/catalogue of previous films
- On Working Title's website they split the main points of information at the top of the website on an easy accessible bar. I think this is good as it clearly demonstrates the different parts such as 'news', 'trailers' , 'films' and 'features'.
- The home page also features slides that have 5 films linking to their trailers; this is good as it enables the audience to see quickly what their latest releases are and whether or not they are interested in them.
- The layout is also very simple and modern, the'site highlight' boxes are clear and vary in colours. This is good as you can distinquish the seperate articles and access the one you like. Although this simple it could be more desirable by having a colour theme relating to the company and/or 3dimensional box type to match the bar.
- They interact with fans by having games relating to their recent films, this is unique as instead of prioritising in providing information regarding their films they can make promoting their films fun. It also allows users to compete against other users so they will might want to come back to it, or perhaps even see the film because the game was fun.
- By shortening their long news feed into 'What's new' on the homepage if gives the audience little tasters to reader on so it is not off-putting but short enough to intise them.
- They also provide information on past films by featuring the opinions of their actors on the bottom of the page titled 'The heritage collection'. This is unique by having their actors opinion and therefore linking further into past film info it attracts them in and they can briefly learn about films they produced they might not have known about.
- The pictures on the front page are also large and bright transitioning from one to the next. This makes it appear more professional and not 'tacky' which other companies may do.
- The search bar on both 'features' and 'news' is good as the audience can shorten the information they want to find quickly and precisely without having the search a long time on the site.
- The news archive is also good as it splits the companies' film achievements into years so making information more concise and not cluttered.
- They also have a 'news letter' section so the audience can quickly type in their email address and recieve regular information from the company. This is good as Working Title will then have a solid base to promote recent film and see how much interest the public have in their company.
Tuesday 1 November 2011
Exam content notes
Mise-en-scene: (everything in the scene)
- Props
- Costumes
- Lighting (back, key, fill)
- Character
- Body languageSetting
- Colour
- Denotation/connotation
- Iconography
- Stereotypes (does it challenge Tessa Perkins theory?)
- Angles
- Movements
- Framing (positioning)
- Focus
- Transitions
- Effects
- Speed/pace
- Length of frames
- Continuity
- Shot reverse shot
- 180 Rule
- Narrative time (screen, subjective, compressed, long take, simultaneous, replay, flashforward/back, ambigious)
- Narrative theory (Todorov, Barthez, Propp, Levi Strauss, Enigma/action codes)
- Diagetic/non diagetic sound
- Contrapunctual
- Parallel
- Bridges
Sunday 23 October 2011
Wednesday 12 October 2011
After Thomas: Analysis
Context: 'After Thomas' is a one-off drama produced by ITV in 2006 and tells the story of an autistic child and the struggle his mother faces with his condition.
Editing/Sound:
Beginning -
Editing/Sound:
Beginning -
- Audience presented with scene in slow motion/emphasises the mother's struggle to control her child [Disorientated sound communicates idea of unstable emotions and her current struggle]/Scene has a warm hue which suggests the idea of a calm situation but is ironic as it is not
- Contrapuntal sound becomes in focus/violin suppose to normally emit calm and soothing emotions but contrasts with the screams of the child and the on-screen struggle
- Red colour on credits suggests and element of danger/foreshadowing the mother's problem with her child
- No context is yet defined so it is shown in subjective time/enables audience to experience the same time the characters go through and their emotions
- Close-up also show the distress of the character
- Vehicles cross the screen so audience are now aware of the setting/has connotations that life is going by in a separate world in comparison to the hectic life the characters are experiencing
- Supports Barthes' Theory of narrative as the Enigma code is applied and leaves audience questioning and in mystery after this opening scene
Middle -
- Transition (dissolve) to a white background with plain black font that says "This is a true story" - reinforces the seriousness/transition in combination with removal of sound suggests a transferral from dream to reality
- "1993" allows audience to contextualise the situation
- Long-shots allows audience to familiarise themselves with the characters and setting
- Over-the-shoulder/high angle shot of shop assistant - shows point of view of the protagonist as well as the struggle she is experiencing with the child
- Mid-angle shot of the characters at the counter who judge the situation also encourage audience to make the same, if not, similar judgement on the mother and child (see stereotypes)
- Hand-held shot out of shop gives the idea for the moment that we are by-standers
- Action-editing during mother's struggle with son to emphasise the difficulty she is experiencing as well as sharing the action with the mother/uses real time with cars going by/we are parallel emotionally to what the mother is going through
Ending -
- Diegetic sound used to converse of characters helps us realise that the child has autism
- Non-diegetic sound in office (fire alarm) - audience understand by actions of character evacuating as well as the from their own knowledge it is a fire alarm/increase tension
- Mid-angle in Office/as if audience are viewing from an office chair and in same position as the man they are seeing continuing to do his work/also allows to see the man's annoyance at the situation and his boss's reaction/Typical office props of computer, desks etc enables audience to set the scene and understand his working environment and even job status
- The man in suit in comparison to the working man's shirt and ragged tie suggests that he has higher authority over him/gives audience context
Representation/Theories
- Representation of disability and the reality with coping with it/portrayed by the woman and her struggle to control her autistic child
- Ideology that parents who have to look after a disabled child have to not only cope with their child but with other people's ignorance that she is a bad mother instead
- Stereotypes are present as the on-looking Mother and her daughter make the assumption that the woman is a bad mother as her child is out of control but is unaware until after the child has a tantrum that he has autism and so is hard to control.
- Challenges Propp's theory as it begins with no equilibrium, that there is a state of normality, when in fact the mother and child's life is far beyond normality
- It cooperates with Straus' theory as it contains binary opposites, the 'normal' girl in the store in comparison to the 'subnormal' boy/each other their families' contrasting lives.
Success Criteria: Representations of TV Drama
Mark scheme: 0/50 =
· 0/20
Explanation: why ideas are chosen and what it communicates/clear understanding
Analysis: what the ideas are behind chosen techniques (camera movement/angles/narrative time/editing/transitions/sound)
Argument: challenging of theories as well as relevant to theories/representations - if they match sterotypes or challenge stereotypes
· 0/20
Use of examples (relevance to comments/a range of examples/focus on the set question i.e. representation/appropriate examples)
Mise-en-scene to provide examples (clothing, props, lighting, colour) the connotations behind chosen ideas and what message they portray.
· 0/10
Terminology (use accurately/structure/spelling, grammar, punctuation are correct/frequently used terminology to show understanding/complex issues expressed)
Saturday 8 October 2011
Tuesday 4 October 2011
Sunday 2 October 2011
Friday 30 September 2011
Narrative Theories and Examples
Narrative Theories and ExamplesIncluding: Todorov, Barthes, Straus, and Propp's theories of narrative. And these theories applied to Pixar short film 'Knick Knack'
View more presentations from SianLynes
Wednesday 28 September 2011
Sound Analysis: Apocolypse Now
Diegetic Sound (00:00-00:15)
Diegetic Sound is used at the beginning of this scene as the propellers on the helicopter make a distintive chopping sound and the helicopters are in clear shot of the scene. This helps the audience be aware of the setting of the scene as well as what is happening; that the soldiers are boarding the helicopter and will soon take flight. The sound of the properllers also adds a sense of three dimension to the audience thus adding more realism to the scene.
Parallel Sound and Non-Diegetic sound (03:50-04:00)
Patriotic and victorious music is used in the part of the film to show that the soldiers are ready to fight and drop bombs and do their mission which they have been set out to complete. It also ties in with the happy emotions of one helicopter pilot who smiles; this parallel in music and emotions portrays to the audience that the character's emotions are high and are content at what they are about to do. Interestingly, this can also be considered as non-diegetic sound as the background music is clearly not playing whilst the soldiers are fighting and has been edited in later; it helps emit the mood of the character.
Sound bridges (13:36-13:40)
A sound bridge is clear hear when the radio style voice from an army jet is set into the previous sequence on ground before transitioning. This alerts the audience that the scene is about to change; also the audio can be continuous and is not abruptly interrupted by an unexpected change in scene.
Contrapuntal Sound (08:00-08:30)
Contrapuntal sound is used here when the soldiers are landing into attack. However the music is an orchestral piece and is more empowering/cheerful piece. Conclusively, this is contrapuntal as the music should not fit particularly with the scene itself as the soldiers are going into what will be a bloody battle (thus not being a positive thing).
Diegetic Sound is used at the beginning of this scene as the propellers on the helicopter make a distintive chopping sound and the helicopters are in clear shot of the scene. This helps the audience be aware of the setting of the scene as well as what is happening; that the soldiers are boarding the helicopter and will soon take flight. The sound of the properllers also adds a sense of three dimension to the audience thus adding more realism to the scene.
Parallel Sound and Non-Diegetic sound (03:50-04:00)
Patriotic and victorious music is used in the part of the film to show that the soldiers are ready to fight and drop bombs and do their mission which they have been set out to complete. It also ties in with the happy emotions of one helicopter pilot who smiles; this parallel in music and emotions portrays to the audience that the character's emotions are high and are content at what they are about to do. Interestingly, this can also be considered as non-diegetic sound as the background music is clearly not playing whilst the soldiers are fighting and has been edited in later; it helps emit the mood of the character.
Sound bridges (13:36-13:40)
A sound bridge is clear hear when the radio style voice from an army jet is set into the previous sequence on ground before transitioning. This alerts the audience that the scene is about to change; also the audio can be continuous and is not abruptly interrupted by an unexpected change in scene.
Contrapuntal Sound (08:00-08:30)
Contrapuntal sound is used here when the soldiers are landing into attack. However the music is an orchestral piece and is more empowering/cheerful piece. Conclusively, this is contrapuntal as the music should not fit particularly with the scene itself as the soldiers are going into what will be a bloody battle (thus not being a positive thing).
Sunday 25 September 2011
Glossary
Production: The concept of the film is developed from an idea, to script, to filming and editing.
Marketing: Publicity for the film in all countries to release to create interest hype in the lead up to theatrical release.
Distribution: Supplying the product/film to cinemas in hardware/software
Exhibition: The showing of the film to audiences.
Denotation: The literal or primary meaning of a word
Connotation: The underlying/hidden meaning
High production values: A film has a higher budget and typically a better quality of outcome
Blockbuster: A movie that has great commercial success
Above-the-line: The delegation of money before a film has been shot. E.g. Cast, Producer, Director
Below-the-line: The physical production costs of the shoot. E.g. Extras, Location, Food, Equipment
Media conglomerate: A media group or institution that owns large numbers of companies in various mass media. E.g. TV, Films, Internet
Subsidiary company: A company controlled by a separate higher entity.
Narrative: A chain of event in a cause and effect relationship which occurs in a time and space.
Narrative Modes (2 types):
Narrative of events: A more physical unravelling of plot has taken place e.g. a shoot out/explosion
Narrative of drama: Unravelling of plot has taken place by argument/conversation e.g. a truth has been revealed by a tense argument thus having a more dramatic appeal.
Barthes’ Narrative theory: Suggested that texts are either ‘open’ or ‘closed’ and had five codes which are woven into any narrative e.g. The Enigma Code which portrays a mystery to draw the audience in
Todorov’s Narrative theory: Stories begin with an equilibrium which is disturbed by opposing forces and later restored to a new equilibrium
Propp’s Narrative theory: That narrative has 8 specific character roles and 31 narrative functions e.g. A hero
Straus’ Narrative theory: That narrative has binary oppositions and reveals the structure of the text e.g. good vs. evil
Plot: Events that take place either in film/books etc. and how they are organised and represented.
Story: Describes the whole set of events in a narrative that is brought to the plot in order to make sense of it.
Temporal Order: A plot which does not have a strict chronological order i.e. the past is shown via flashback before the present moment
Temporal Duration (3 types):
Screen duration: The time the film takes to show from start to finish
Plot duration: The length of time a plot covers
Story duration: The length of time the story covers (including all events that have been interfered to bring to it)
Temporal Frequency: An event which occurs in a film once but we are aware it may of happened many times in the story (to shorten the time for the viewer). E.g. 4 battles in a film are shown that are most important but we know many others may have taken place
Space: The location a film might take place, either on screen or off-screen e.g. knowing a character has gone on holiday but never witnessing this ‘space’
To what extent do you agree with Tessa Perkins?
Tessa Perkins (1979) identifies 5 such assumptions;
• Stereotypes are not always negative (e.g. 'The French are good cooks').
• They are not always about minority groups or the less powerful ( e.g. 'upper class twits').
• They can be held about one's own group.
• They are not rigid or unchanging ( e.g. the "cloth cap worker of the 1950's became the
1980's 'consumerist home-owner who holidays in Spain').
• They are not always false.
To extent do you agree with Tessa Perkins? Explain your answers and refer to stereotypes in TV drama.
First of all, I agree with Tessa Perkins on the basis that stereotypes are not always negative or perceived to be degrading to a certain group or race. For example, most of the time women are seen as being the more faithful partner when being in a relationship with their male counterpart, who is deemed less faithful to their relationship. Although it is a negative for males, it is a positive for females as they are then seen as more trustworthy and this is usually a popular dynamic in TV drama or Film.
Again, I would have to agree that it is not usually minority groups or the less powerful that are a popular choice to be singled out and stereotyped. A common stereotype is of "posh snobs", those who live a higher class life and look down upon their social inferiors; this often gives them a ignorant and hateful characteristic about them. However, in modern day TV dramas this stereotype is seen less of as the social barriers between different classes have since broken down. But in TV dramas such as "Lark Rise to Candleford" the lower class are in an entirely separate village (Lark Rise) whereas the higher earning class are situated in the thriving economics of Candleford; which sets the scene for the drama as it focuses on the differences in their lives and thus there will no doubt be a "posh snob" character who does not like to affiliate themselves with Lark Rise residents.
Stereotypes held against your own group opens a more varied debate. For instance, modern day teenagers may think that the majority of themselves are trouble makers even though they are not trouble makers themselves; but they see the stereotype placed upon them and may agree or disagree with it. Another example would be of a British citizen seen by other countries, that the typical British person would drink tea and eat fish and chips; and some may agree more with this positive stereotype as it is a common tendency among British life to do these things.
However, I would disagree with the fact that stereotypes are not subject to change. For instance, before WWI women were not seen as the breadwinner of the family but instead this role was left for the man of the family to go out and work whilst the woman cares for her family and does house duty. But since then that social barrier has changed, when it was made compulsory for men to go out fight in the war it was left to the women to earn wages in factories and take duties that men would normally take. This stereotype collapsed again after WWII and it was acceptable for women to go out and work; which leaves us with present day, where it is the norm for women to earn their own wage as well as the man.
On the last assumption, I agree that all stereotype are not always false. For instance, old men are stereotyped into being grumpy and upset with their unfulfilled life. This example is portrayed in school based BBC TV drama 'Waterloo Road', where Mr Grantly Budgen is a teacher of older age and is always depicted as being angry at fellow students and having a pessimistic outlook on life:
In contrast to this, older men can also have the opposite stereotype where they are seen as cheerful and bubbly people; this typical stereotype is seen in the myth Santa Claus (although not a TV drama) this is the main cause for the opposite stereotype and thus incorporated in other characters.
• Stereotypes are not always negative (e.g. 'The French are good cooks').
• They are not always about minority groups or the less powerful ( e.g. 'upper class twits').
• They can be held about one's own group.
• They are not rigid or unchanging ( e.g. the "cloth cap worker of the 1950's became the
1980's 'consumerist home-owner who holidays in Spain').
• They are not always false.
To extent do you agree with Tessa Perkins? Explain your answers and refer to stereotypes in TV drama.
First of all, I agree with Tessa Perkins on the basis that stereotypes are not always negative or perceived to be degrading to a certain group or race. For example, most of the time women are seen as being the more faithful partner when being in a relationship with their male counterpart, who is deemed less faithful to their relationship. Although it is a negative for males, it is a positive for females as they are then seen as more trustworthy and this is usually a popular dynamic in TV drama or Film.
Again, I would have to agree that it is not usually minority groups or the less powerful that are a popular choice to be singled out and stereotyped. A common stereotype is of "posh snobs", those who live a higher class life and look down upon their social inferiors; this often gives them a ignorant and hateful characteristic about them. However, in modern day TV dramas this stereotype is seen less of as the social barriers between different classes have since broken down. But in TV dramas such as "Lark Rise to Candleford" the lower class are in an entirely separate village (Lark Rise) whereas the higher earning class are situated in the thriving economics of Candleford; which sets the scene for the drama as it focuses on the differences in their lives and thus there will no doubt be a "posh snob" character who does not like to affiliate themselves with Lark Rise residents.
Stereotypes held against your own group opens a more varied debate. For instance, modern day teenagers may think that the majority of themselves are trouble makers even though they are not trouble makers themselves; but they see the stereotype placed upon them and may agree or disagree with it. Another example would be of a British citizen seen by other countries, that the typical British person would drink tea and eat fish and chips; and some may agree more with this positive stereotype as it is a common tendency among British life to do these things.
However, I would disagree with the fact that stereotypes are not subject to change. For instance, before WWI women were not seen as the breadwinner of the family but instead this role was left for the man of the family to go out and work whilst the woman cares for her family and does house duty. But since then that social barrier has changed, when it was made compulsory for men to go out fight in the war it was left to the women to earn wages in factories and take duties that men would normally take. This stereotype collapsed again after WWII and it was acceptable for women to go out and work; which leaves us with present day, where it is the norm for women to earn their own wage as well as the man.
On the last assumption, I agree that all stereotype are not always false. For instance, old men are stereotyped into being grumpy and upset with their unfulfilled life. This example is portrayed in school based BBC TV drama 'Waterloo Road', where Mr Grantly Budgen is a teacher of older age and is always depicted as being angry at fellow students and having a pessimistic outlook on life:
 |
| Mr Grantly Budgen of Waterloo Road |
Sunday 18 September 2011
Camera Movements
Track (01:26-01:29)
This quick track here follows the characters are they run away from another. It creates a fast and dramatic effect as the audience are aware of the risk they are in as they begin to flee the scene.
Pan (0:26-0:28s)
This pan follows the moving subject as he rushes by on roller skates. It is used the highlight the speed at which the character is going by the window as he disturbs another character. This also gives it a more comical effect as the character goes by.
Whip pan (00:46-00:47)
In this scene, the whip pan creates a sense of urgency as the character moves quickly to inspect developing action. It also enables the audience to see the distress of the characters face as he moves fast to see the action.
Tilt (00:05)
This tilt of the camera shows the audience the height of the character above the occurring scene. It also gives a dramatic effect as the characters below are unfamiliar with the anonymous character.
Rolling (00:25-00:30)
Although not shot as a character's point of view, but this scene is shot blurry and askew as it represents the sick feeling all the characters are feeling as they discover another dead character. The shots are unlevel and part blurred out to create a miserable and
Arc (01:14-01:31)
With the camera moving around the character, it shows the audience the super power which one of the character's possess. Thus, the audience can also see the reaction of the characters surrounding the central character in this shot which adds to the action and amazement.
Crane shot
(Not available in this show) But normally, or if it were to be used, it would show the audience the setting of the scene around the characters and the position they are currently in.
Overhead (00:58s-1:00)
This shot enables the audience to see the dilemma which surrounds the character. It shows that he is beginning to be closed in and in need of serious help. From this shot, the audience knows that there is no way of escaping around the character.
Aerial Shot (00:06-00:05s)
This technique is used to show the audience of the character arrangement on the ground. The greater height also gives a brief insight into the surrounding area and so sets the scene for the audience.
Hand-held shot (00:19-0:28)
This shot adds to the immediacy in the scene as the characters duck for cover; so the impact that they are in trouble conveys more to the audience. The hand-held shot also adds realism to the scene as the camera shot is less artificial.
Zoom (0o:15-00:16)
The zoom here is used the add impact to the scared emotions on the character's face. It also gives the character a more dramatic look to the audience and to make it clearly visible at what the character feels towards the scene.
This quick track here follows the characters are they run away from another. It creates a fast and dramatic effect as the audience are aware of the risk they are in as they begin to flee the scene.
Pan (0:26-0:28s)
This pan follows the moving subject as he rushes by on roller skates. It is used the highlight the speed at which the character is going by the window as he disturbs another character. This also gives it a more comical effect as the character goes by.
Whip pan (00:46-00:47)
In this scene, the whip pan creates a sense of urgency as the character moves quickly to inspect developing action. It also enables the audience to see the distress of the characters face as he moves fast to see the action.
Tilt (00:05)
This tilt of the camera shows the audience the height of the character above the occurring scene. It also gives a dramatic effect as the characters below are unfamiliar with the anonymous character.
Rolling (00:25-00:30)
Although not shot as a character's point of view, but this scene is shot blurry and askew as it represents the sick feeling all the characters are feeling as they discover another dead character. The shots are unlevel and part blurred out to create a miserable and
Arc (01:14-01:31)
With the camera moving around the character, it shows the audience the super power which one of the character's possess. Thus, the audience can also see the reaction of the characters surrounding the central character in this shot which adds to the action and amazement.
Crane shot
(Not available in this show) But normally, or if it were to be used, it would show the audience the setting of the scene around the characters and the position they are currently in.
Overhead (00:58s-1:00)
This shot enables the audience to see the dilemma which surrounds the character. It shows that he is beginning to be closed in and in need of serious help. From this shot, the audience knows that there is no way of escaping around the character.
Aerial Shot (00:06-00:05s)
This technique is used to show the audience of the character arrangement on the ground. The greater height also gives a brief insight into the surrounding area and so sets the scene for the audience.
Hand-held shot (00:19-0:28)
This shot adds to the immediacy in the scene as the characters duck for cover; so the impact that they are in trouble conveys more to the audience. The hand-held shot also adds realism to the scene as the camera shot is less artificial.
Zoom (0o:15-00:16)
The zoom here is used the add impact to the scared emotions on the character's face. It also gives the character a more dramatic look to the audience and to make it clearly visible at what the character feels towards the scene.
Saturday 17 September 2011
Thursday 15 September 2011
Thursday 8 September 2011
Monday 5 September 2011
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