Monday, 16 December 2013

Credits

Credits
Two types of credits are traditionally used in films, the purpose of credits are to provide attribution to the cast and crew involved in the productions. Whereas the opening credits usually show acknowledgement of the major roles in a production's cast and crew. This would be the creators, producers, and lead actors. The closing credits on the other hand will acknowledge all positions in the cast and crew.
 When credits are planned it is more common to see them on the left hand side. This is mainly as people instantly go to the left to start reading.

Timelines of credits in opening sequences


BFI Study day

BFI Study day
British Film Institute (BFI) is located on the Southbank in London. The BFI was founded in 1933 and is a charity governed by the Royal Charter. The combine cultural, creative and industrial roles, bringing together the BFI National Archive and BFI Reuben Library, film distribution, exhibition and education at BFI Southbank
and BFI IMAX, publishing and festivals. They award lottery funding to film productions, distributions,
education and research.


We visited the BFI to explore the knowledge the lectures had about opening sequences. Peter Frazer introduced us to ways to develop our blogs, he also discussed opening title sequences. The first thing he did was talk about 5 aspects which included genre, narrative(enigma) provides the audience with the gripping point for the film making them want to see the rest of the film, structure, atmosphere and character. The films included Dawn of the dead, Napoleon Dynamite and Catch me if you can. It was decided that atmosphere hypothetically was one of the key factors in films such as Dawn of the Dead which genre was evidently thriller. We were then shown some student films to analyse and discussed how it is important not to show too much of the plot. We were told to add as many as 22 credits into the film in order to express all the different area productions to make the film fit with all the right conventions for thriller. Peter Frazer also talked about sound Foley,  this simply means producing your own sound effects which would immediately improve your blog altogether. 50% of an opening sequence is about sound, resulting in sound being a key aspect to focus on. The titles were only at the front of the sequence as a result not blending in with the rest of the sequence. It is important to make sure that the titles are combined with the imagery not just at the beginning of the sequence. There was also a strict array of age as most of the people were all the same or similar age where as normally in production there is a mixture of actors ages which creates a sense of realism in the sequence. The sequence should last around 2 minutes for it to be successful or else if it is too long the audience will get disinterested where as if it's too short they will perhaps not gain the right information. Also make sure that the soundtrack matches that of the sequence as a lot of the sequences that we saw did not go with the right genre of the film As a result not generation a sense of realism in the sequence.
 

 
 
 
 
 
 

Thursday, 12 December 2013

Preliminary Task

In groups of no more then four, its a continuity task involving filming and editing a character opening a door, crossing the room and sitting down in a chair opposite another character with whom he or she exchanged a couple of lines of dialogue. This task must demonstrate match on action, shot reverse shot and the 180 degree rule.

       

Monday, 9 December 2013

Log line ideas for my opening sequence

Log line ideas for my opening sequence

A log line is a brief summary of a television programme or film providing both a synopsis of the program's plot, and an emotional hook to stimulate interest.

1) A city awakens to discover a silhouette that will change the world forever, weapons are the least of your worries.
2) A plane comes crashing out of the sky to appear on a island to discover an army of robots, will they defeat them.


Monday, 11 November 2013

Textual analysis of Opening sequences

Textual analysis of Opening sequences


A prezi describing the opening sequence of 'The Silence of the Lambs'




Here is a soundcloud of the opening music to The Silence of the Lambs.



The music throughout the title sequence is sinister therefore depicting a psycho-thriller genre. It creates tension which is essential in a thriller as the uses suspense, tension and excitement as main elements. Thrillers heavily inspire the viewer's mood, it can give them high levels of anticipation, uncertainty, surprise, anxiety and terror. Films of this genre tend to be adrenaline-rushing and fast-paced. The opening music reflects the terror and anxiety thrillers hold.

Another film under the thriller genre I studied the opening sequence of was 'Se7en' starring Brad Pitt and Morgan Freeman.

"A film about two homicide detectives' desperate hunt for a serial killer who justifies his crimes as absolution for the world's ignorance of the Seven Deadly Sins. The movie takes us from the tortured remains of one victim to the next as the sociopathic "John Doe" sermonizes to Detectives Sommerset and Mills -- one sin at a time. The sin of Gluttony comes first and the murderer's terrible capacity is graphically demonstrated in the dark and subdued tones characteristic of film noir. The seasoned and cultured but jaded Sommerset researches the Seven Deadly Sins in an effort to understand the killer's modus operandi while the bright but green and impulsive Detective Mills scoffs at his efforts to get inside the mind of a killer."

http://www.imdb.com/title/tt0114369/























Synergy

History of Title Sequences

Wednesday, 6 November 2013

Log line

Log line

A log line is a brief summary of a television programme or film providing both a synopsis of the program's plot, and an emotional hook to stimulate interest.

Some examples of log lines,

Logline 1 - The extraordinary story of a thoroughbred racehorse - from his humble beginnings as an under-fed workhorse to his unlikely rise and triumphant victory over the Triple Crown winner, War Admiral. Seabiscuits

Logline 2 - A 17th Century tale of adventure on the Caribbean Sea where the roguish yet charming Captain Jack Sparrow joins forces with a young blacksmith in a gallant attempt to rescue the Governor of England's daughter and reclaim his ship. Pirates of the Caribbean

Logline 3 - After segueing from a life of espionage to raising a family, Gregorio and Ingrid Cortez are called back into action. But when they are kidnapped by their evil nemesis, there are only two people in the world who can rescue them... their kids! Spy Kids

Logline 4 - Toula's family has exactly three traditional values - "Marry a Greek boy, have Greek babies, and feed everyone." When she falls in love with a sweet, but WASPy guy, Toula struggles to get her family to accept her fiancée, while she comes to terms with her own heritage. My Big, Fat, Greek Wedding

Logline 5 - A young man and woman from different social classes fall in love aboard an ill-fated voyage at sea. Titanic





 

Film Marketing


Film Marketing

Studios spend millions of pounds on letting audiences know about the film they have produced. Marketing a big movie is a very expensive business, especially when the product has a limited time at the cinema. Movies have to be a hit on their opening weekend, even their opening day. If this does not happen the film tends to disappear quickly and the production of the film will make a loss.
Most blockbuster movies already have an audience. The studio has a huge budget for the movie because they already know people will go and see it - often because it is based on a media text that already has an audience. This may be a previous film (e.g. Iron Man 2's audience consists of many people who are fans of the first movie), or the source material (the first Iron Man is based on the Marvel character of the same name created by Stan Lee in 1963). This is why remakes and reboots are so popular. Original movies like Inception and Avatar are the exception to the rule, and represent a huge risk for the studio backing them. Studios have a huge operating overhead, and put out a lot of flops that make no money at all, so they need a guarantee that a blockbuster movie is going to be make not just a small profit, but a comfortable one. After spending $100 million dollars on a movie they can spend 50% as much again (or more) on marketing.





New Media

 Modern film releases will go above and beyond using all modern technology. This is to ensure as many people as possible have knowledge of the film. Facebook, Twitter, YouTube and QR codes on the films advertisement poster, links a related website to the film. This is all possible due to the use of new media and technologies. The film can now be identified where ever people are. All of these modern promotions like twitter help producers to attract a larger audience for the film than what they used to attract. In the Iron Man 2 poster above there is a QR code making the poster interactive with people who see it on the street or where ever it may be. From this people passing will be able to gain knowledge of the film, the plot, timings of screenings.


A code leading to a website with information regarding QR codes.


QR Code













Sunday, 3 November 2013

Media Institution

Media Institution

An institution is something in society that plays a major role in people’s lives. An example, someones family, school, the NHS are all ‘institutions’. The media plays a massive part these days in everyone’s lives .

When a concentration of media companies manufacture high quality media texts and products and distribute them widely and easily. These companies are called ‘media institutions’.

Most of the media is owned by just a handful of companies and individuals.  In the USA just five large corporations control nearly all the 'visual media' such as television and films.
Rupert Murdoch, News Corporation CEO
  • Can you think of any well-known ‘media moguls’ who own a large share of the UK mass media industry – TV, film, newspaper, music, etc?
  • Now being very cynical in your thinking, can you suggest why they wish to own such massive media empires?
  • Now be far more objective an un-cynical and answer the same question!
  • Where do you think the truth lies?
Critics argue that a concentration of media ownership offers an individual or a corporation a huge level of influence and power.

If one person owns a large deal of the media, they have the opportunity to limit  and manipulate the points of view the media depict to the public. Mainly to those that are sympathetic towards certain value and those values are likely to fit in with the ‘way things are’.


















Monday, 21 October 2013

Representation Theory

Representation Theory

Media re-presents the world we already know to us. On one hand media is showing us how life really is and on the other educating us on how it should really be. You could say media dictates representations not just reflects society. 
The main representations in media are:
  1. Masculinity
  2. Femininity
  3. Social class
  4. Sexuality
  5. Race and Ethnicity
  6. National Identity
  7. Age
Hegemonic Cultural Stereotyping

Media reinforces and circulates traditional representations and re-presents them to an audience as a common sense, for example, men and women should behave in a certain way:
  • Masculinity- Bruce Willis in Die Hard, James Bond
  • Femininity- weak and vulnerable female characters, female victim 
  • Social Class- stereotype of Hugh Grant as a middle class twit in Notting Hill
  • Sexuality- Graham Norton, hyper real camp representation
  • Race and Ethnicity- Ali G, extreme exaggerated Asian stereotype
  • National Identity- Combo in  This is England
























Wednesday, 16 October 2013

Representation of men in Thriller

Representation of men in Thriller

In the thriller genre the way that gender is represented is stereotypical. In most films under the thriller genre the male is depicted as the hero, protagonist or antagonist whilst the female is usually seen to be the victim or in aid of help. However, females are also shown as the hero's side kick, someone able to help fight the antagonist. In the thriller genre females are usually depicted as a sex symbol or a sexual attraction for the male protagonist.


World War Z (2013) Poster

"Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies. After barely escaping the chaos, Lane is persuaded to go on a mission to investigate this disease. What follows is a perilous trek around the world where Lane must brave horrific dangers and long odds to find answers before human civilization falls."

http://www.imdb.com/title/tt0816711/





In World War Z we see a typical representation of the male gender. Brad Pitt plays the independent protagonist.

Men are normally depicted as both physically and mentally strong, they are seen to be emotionless. In media terminology the majority of heros in thriller films are 'average Joes' meaning they are normal men that find themselves in dangerous situation and must use their masculine advantages to help solve the quest.

However, we also have a subversive representation of gender in thriller. An example of where we see this is in the film Mr & Mrs Smith. This is mainly a subversive representation of the female gender, stereotypically women are seen to be vulnerable and weak. Whereas, in Mr & Mrs Smith we see the woman equal to the male character, we even see her sometimes going above and beyond the male character. 






"John and Jane Smith are a normal married couple, living a normal life in a normal suburb, working normal jobs...well, if you can call secretly being assassins "normal". But neither Jane nor John knows about their spouse's secret, until they are surprised to find each other as targets! But on their quest to kill each other, they learn a lot more about each other than they ever did in five (or six) years of marriage."
http://www.imdb.com/title/tt0356910/














Monday, 14 October 2013

Film rating

Film rating
 
All classification decisions are based on the BBFC's published and regularly updated Guidelines. The Guidelines are the product of extensive public consultation, research and the accumulated experience of the BBFC over many years. They reflect current views on film, DVD and video game regulations.  
 
 
In theory, anyone can see a U or a PG, although you and your parents and teachers are encouraged to think carefully about whether a PG film will be suitable for you if you are younger than 8 or 9 years old.
With 12A films you must be 12 or older to go and see them, unless you have an adult with you. It is up to that grown-up to decide that you won’t be upset or disturbed by anything you see.
Anyone wanting to release a film, video or DVD for showing in cinemas or watching at home has to make sure that their film has a BBFC age rating symbol. It's against the law to try and sell videos and DVDs without this. Films that you see at the cinema also have to display the right rating.
 

Age rating issues for U

•  Theme/Topics - Films and DVDs should be about subjects which are generally suitable for younger audiences.
•  Language – At the most there may be occasional very mild bad language.
•  Nudity - There can be occasional glimpses of people who have no clothes on, as long as they are not linked to romantic activities.
•  Sex and relationships - Only mild references (e.g. to 'making love') and mild behaviour (e.g. kissing) are allowed.
•  Violence and Threat - Mild violence only. Some mild threat and menace is allowed.
•  Dangerous Behaviour - There should be no dangerous behaviour that can be easily copied by young children.
•  Weapons - There should be no focus on weapons that are realistic or easy to get hold of.
•  Horror - Moments with ghosts, witches and monsters should be over quickly and not be too scary. Nothing at U should really frighten or disturb young viewers. The    film or DVD should tell children that everything is okay.
•  Drugs - Drugs should not be mentioned, unless the film or DVD teaches that drugs are dangerous.
•  Discrimination - There can be no language or behaviour shown that would offend a person’s religion, colour, gender, sexuality or disability, unless the film or DVD teaches it to be wrong.
 

 

Age rating issues for PG

•  Theme/Topics - Films and DVDs may be about more grown up topics such as crime, racism, bullying or violence in the home. There must be nothing which suggests these are good things.
•  Language - Mild bad language only.
•  Nudity - Some nudity is allowed, but not if it is linked to romantic activities.
•  Sex and Relationships - Sex can be mentioned, suggested or joked about, but only discreetly.
•  Violence and Threat - There can be stronger violence than at U, but without detail. Violence which takes place in a comedy, fantasy, or historical film may be treated less strictly.
•  Dangerous Behaviour - There should be no detail of fighting techniques or other harmful and dangerous activities that children might easily copy.
•  Weapons - There should be no focus on weapons that are realistic or easy to get hold of. Weapons should not be made to look attractive.
•  Horror - Frightening scenes should not be too long or scary. Scary scenes which are part of a fantasy film may be treated less strictly.
•  Drugs - There should be no mention of illegal drugs or drug taking unless completely harmless, or the film carries an anti-drug message.
•  Discrimination - There can be no language or behaviour shown that would offend a person’s religion, colour, gender, sexuality or disability, unless the film or DVD teaches it to be wrong or is presented within a film that is educational or showing historical scenes. Discrimination by a character who is seen as a hero by the audience is also unlikely to be allowed.



 



Age rating issues for 12A & 12

•    Theme - Mature themes are acceptable, but their treatment must be suitable for young teenagers.
•    Language - The use of strong language (e.g. 'f***') must be infrequent. Racist language used as abuse is also a concern.
•    Nudity - Nudity is allowed, but it must be brief and discreet if there is any suggestion of sex.
•    Sex - Sex can be suggested. Sex references may reflect what 12 year olds are likely to have heard about from school, but there should be nothing unsuitable for young teenagers. Frequent rude sex references may not be allowed.
•    Violence - Violence must not dwell on injuries or blood. Sexual violence may only be implied or briefly and discreetly indicated.
•    Imitable techniques - Dangerous techniques (e.g. combat, hanging, suicide and self-harming) should not dwell on things which can be copied or appear pain or harm free. Easily accessible weapons should not be shown as glamorous.
•    Horror - There can be some threat and menace, including scary scenes which are intense or last a while. Only occasional gory moments can be shown.
•    Drugs - Any misuse of drugs must be infrequent and should not be shown as glamorous, or attractive, or teach viewers how to take drugs.
•    Discrimination - The film or DVD as a whole must not approve of language or behaviour that would offend a person’s religion, colour, gender, sexuality or disability. Aggressive use of this type of language and behaviour is unacceptable unless it is clearly disapproved of.

 

General / Age rating issues at 18

18 rated films, videos and downloads can contain very strong material which is only suitable for adults.
This can include very strong language, horror, and violence.













 

Monday, 7 October 2013

Three Act Structure

Three Act Structure

Act 1- the first quarter of a film, used to set the scene and open the film.
Exposition- characters are introduced showing there relationships with each other.
Main characters- the person who's action drives the story
Dramatic premise - the story line
Dramatic Situation -  the circumstances surrounding the action
Inciting Incident - an event that triggers the plot of the film in motion. Approximately 15 minutes through the first act.
Act Two- the following two quarters of the film:
Obstacles - in the second act, the main character is held back by multiple obstacles that prevents him from achieving his goal.
First Culmination - just before half way through the film where the main character seems close to achieving his or her goal/objective. Dramatically everything falls apart, leading to the midpoint.
Midpoint - halfway through the film where the main character reaches his/her lowest point and seems far from fulfilling the dramatic goal.
Act Three- final quarter of the film.
Climax (Second Culmination) - The point at which the plot reaches its maximum tension and the forces in opposition confront each other at a peak of a physical or emotional action.
Denouement - a brief period of calm at the end of a film where a state of equilibrium returns.















Audience Research

Audience Research

How do we measure media audiences?
  • Sales
  • Subscriptions
  • Rating
  • Figures 
Who measures audiences?
New Media
There are many knew ways we connect with social media. Through Facebook, Twitter, online forums and YouTube.    
There are two main types of research:
  1. Quantitative- questionnaires, number based, very factual, closed questions to generate exact questions.
  2. Qualitative- interviews and focus groups, these are more reliable.
Considering audiences
Audience Engagement- this describes how an audience interacts with media text. Different people react in different ways to the same text.
Audience Expectations- these are the ideas the audience have in advance of seeing a media text. This particularly applies to genre pieces. Don't forget producers continually play with or shatter audience expectations.  

Sunday, 6 October 2013

Audiences

Audiences

An individual or collective group of people who read or consume any media text. Texts are produced with audiences in mind, film producers always ask themselves 'Does it have an audience?' If yes then the producers continue to produce the film. I there is no audience then there is no profit. The mass media is becoming more competitive than ever to attract larger audiences in different ways and to stay profitable.  
Katz and Blumler proposed from their research into audience behaviour that audiences use media texts for a variety of reasons.
They believed these were the reasons:
  1. Information- Hello magazine- this helps our knowledge or recent affairs and events.
  2. Personal Identity- Newspaper- Twitter as you reinforce your personal values.
  3. Integration and Social Interaction- Television soaps- People want a break from their normal lives to empathise with other people in similar or other situations than themselves.
Impact of New Technology on Audience
Old media which used to have high audience numbers must now work harder to maintain audience numbers.
Digital technology has also led to an increasing uncertainty over how we define an audience, with the general agreement that a large group of people reading the same thing at the same time is outdated and that audiences are now 'fragmented'.

Demographic- age, race, gender, class/status and nationality
Psychographic- interests, beliefs and hobbies

Mass audience- often termed 'broadcast audience'. Those who consume mainstream or popular texts such as soaps or sitcoms. Media and communication that targets a very large group of people.



Niche audience-  much smaller but very influential. A niche audience is a small, select group of people with unique interests.




Audience research is a major part of any media company's work. They use questionnaires, focus groups, pre-film screening and spend a great deal of time and money finding out who would be interested in their product.
The link above showns me how audiences are categorized, for example:
Group A- Lawyers, Doctors, Scientists and well paid professionals
Group B- Teachers, middle management and fairly well paid professionals
Group C1- Junior management, bank clerks, nurses and 'white collar' professions
Group C2- electricians, plumbers, carpenters and 'blue collar' professions
Group D- manual workers, drivers, post sorters
Group E- student, unemployment, pensioners

Thursday, 3 October 2013

Monday, 23 September 2013

Narrative #2

Narrative

Narrative in media is the order a story is told. In films, narrative is the organisation of media texts e.g. the storyline, how the story is told. Human brains use narrative to make sense of a film otherwise would be utter confusion.  We connect events and make interpretations based on the connections. Narrative is associate with genre as some genres have typical story-lines we expect to see. An example would be a romantic comedy, we expect the beginning to have a girl and boy meet, to then be followed by the male falling for the woman. We automatically expect there to be complications and obstacles within the romance.

Within media there are narrative plots and narrative stories.    .






Narrative Theorists

Narrative Theorists
When we look at a narrative we examine the conventions of genre, character, form and time.
Very few screen stories take place in real time, a whole persons life can be depicted in 90 minutes.
Examples of time
  • Flashback
  • Dream sequence
  • repetition
  • different characters
  • flash forwards
  • real time interludes
  • pre-figuring of events



                                                                            flashback




                                                                      dream sequence

Levi Strauss
Binary oppositions. Strauss said that all stories 'Accelerated forward by conflict which is caused by opposing characters or events.'  Opposites within a storyline are extremely important in a successful story, as drawing two different worlds or characters together inspires conflict and interesting narrative. The presence of binary opposition in film is an important one as the differences within the world of the story collide.

Roland Barthes

Proposes that there are codes within film which serves to engage audiences.
The enigma code- generates and controls what information a viewer is aware of within a narrative and holds their interest throughout the film. Problems and puzzles which must be solved as well as mysteries which must be uncovered.
The action code- refers to events which occur that the viewer immediately can identify as being significant to the development of the narrative. Resolution may be achieved through action also.

Tsvetan Todorov

The consists of five stages and is known as Todorov's Theory of Narrative.
  • Equilibrium  (at the beginning of a story),
  • Disruption (when something happens that changes the storyline, usually 15 minutes into the film),  
  • Recognition (we see the effects that the changes have caused, tensions constantly build up),
  • Repair (resolve the damage caused from the disruption) 
  •  New Equilibrium (everything is restored but adapted to the new dynamic)
   
Vladimir Propp also proposes a narrative structure which is similar to Todorov's, but slightly more detailed and complex.
  •  Preparation- Introduction to the story.
  • Complication- keys or clues to the direction of the story.
  • Transference- the donor events.
  • Struggle- dealing with the complications.
  • Return- back to "home" however there are still issues remaining.
  • Recognition- Loose ends tied up.
This ties in directly with Propp's Character Theory, which identifies more character roles than the previously obvious protagonist and antagonist. He states the importance of 'spheres of action' for each character as opposed to rigid character types, with one character having the ability to assume more than one role. Propp identifies seven main roles:
  • The villain
  • The donor- prepares the hero
  • The helper- helps the hero through the quest
  • The princess- object of the heroes desire
  • The princess's father- reward the hero
  • The dispatcher- character to make the lack known and sends the hero off.
  • The hero- weds the princess and completes the quest
  • The false hero




                                    
                                                      

Sunday, 22 September 2013

Hybrid Genre

Hybrid Genre


A hybrid genre is a variety of two or more genres combined into a one theoretically. Hybrid genres usually have a bigger fan base as the multiple genres draws in a bigger audience. An example of this may be the comedy genre. Comedy has a large audience and for this reason film producers would use comedy as the base of a film and build around it to expand the target market. 
There are many comedy hybrid such as:

  • Romantic comedies- I Give it a Year
  • Action comedies- 21 Jump Street
  • Sci-Fi comedies- Men in Black
  • Comedy horror- Scary Movie
  • Fantasy comedies- Shrek
  • Military comedies- Forest Gump









Another way we can refer to hybrid genres would be cross media this is primarily down to the mixed genres for example comedy horror would consist of both a humorous scenes as well as the expected horror content. Due to the use of multiple genre this would immediately broaden the size of the audience.











Saturday, 21 September 2013

Genre

Genre

Conventions are what you expect to see in a media product, for example in action adventure you would expect to see weapons, protagonists and antagonists.
Media products are split into the following genres:

  • Chick-Flicks 
  • Crime
  • War
  • Action Adventure
  • Western
  • Romance
  • Musicals
  • Sci-Fi
  • Comedy
  • Drama
  • Horror
  • Romantic Comedy
We are able to identify these genres by the key conventions we expect to see. The idea of catagorizing films was introduced in Hollywood 1920/30s. The intention to label the films was for the purpose of the audiences so they were fully aware of what to expect, thereby luring them into the cinema. This also helped people that admired a film to identify similar films. Genres were useful for target ages groups as certain genres are appropriate for certain age groups whereas others have an inappropriate content. A huge aspect of catagorization was a money making factor, film studios are able to see which genres are the most successful and will take the most money.


We are able to identify the key conventions representing a romantic comedy in 'I Give it a Year.' The film starts with a voiceover explaining main characters through a female perspective this is a typical convention of a rom-com, the film seen through a female point of view. The expected urban city/work environment used in 'I Give it a Year' also highlights the romantic city atmosphere, typically set around festive season as these times peak relationships. We can also pickup the sexual innuendoes romantic comedies usually have scripted.