Mise-en-scene
On location
- In cab
- Outside hospital
- On the street
- Urban setting
Costume
- Everyday clothes
- Casual
- Makeup - neutral, minimal
Lighting
- Daylight
- Natural
- Low light in office
- Bright/sunny on her face - looks positive changes to Dull/dreary and grey when she comes out - as if she has bad news
Colour
- Dull
- Neutral
- Bright folder - shows importance
Significant props
- Wedding ring
- Knocked over flowers
- Folder (Medical records)
On road
- Cars moving
- People walking
- People sitting at the cafe - everyday life
Friday, 25 March 2011
Cutting it - Camera work
Camera work
- 70 shots in total
- Wide variety of shots throughout
- Close up of wedding ring
- handheld camera when running - Giving his personal perspective
Shots used :
- Close-ups
- Establishing shot
- Two shot
- Over the shoulder
- High angle office
- Shot reverse shot
- Long shot
- P.O.V
- Tracking
- First person
- 70 shots in total
- Wide variety of shots throughout
- Close up of wedding ring
- handheld camera when running - Giving his personal perspective
Shots used :
- Close-ups
- Establishing shot
- Two shot
- Over the shoulder
- High angle office
- Shot reverse shot
- Long shot
- P.O.V
- Tracking
- First person
Cutting it - sound
Sound
Diegetic
- Background noise
- Dialogue
Asynchronous
- Bridging music track - goes in one scene to the next
Synchronous
- Dramatic music
- sad music - fits with the mood in the scene
Effects
- Heartbeat
- Music gets louder
- Car horns
- Car crash
Non-diegetic
- Car crash
- soundtrack, sad music
Diegetic
- Background noise
- Dialogue
Asynchronous
- Bridging music track - goes in one scene to the next
Synchronous
- Dramatic music
- sad music - fits with the mood in the scene
Effects
- Heartbeat
- Music gets louder
- Car horns
- Car crash
Non-diegetic
- Car crash
- soundtrack, sad music
Cutting it - Editing
Editing
Pace & Rhythm
- 70 cuts in total
- Shots are very close together, short shot lengths
- Pace of conversation in the cab - casual, conversational, learn a bit about the characters
Editing style
- Fade to black (end)
- Continuity editing - action flows naturally. Makes narrative easier to follow
Sound & Image
- Diegetic sound - traffic and dialogue
- Synchronous sound - non-diegetic, sad music when she gets hit by the car, sad music in the consultants room
Camera Shots
- Shot reverse shot when they're talking
Pace & Rhythm
- 70 cuts in total
- Shots are very close together, short shot lengths
- Pace of conversation in the cab - casual, conversational, learn a bit about the characters
Editing style
- Fade to black (end)
- Continuity editing - action flows naturally. Makes narrative easier to follow
Sound & Image
- Diegetic sound - traffic and dialogue
- Synchronous sound - non-diegetic, sad music when she gets hit by the car, sad music in the consultants room
Camera Shots
- Shot reverse shot when they're talking
Cutting it extract
Cutting It was a popular BBC television programme set in Manchester, England, which ran for four series between 2002 and 2005.
Representation in the Media
Representation in the Media
Media texts are defined as representations of reality. They are intentionally composed, lit, written, framed, cropped, captioned, branded, targeted and censored by the producers to create entirely artificial versions of the reality we perceive around us.
Every media form is a representation of someone’s concept of existence which has been codified into signs and signals which can be read by an audience.
Without media forms, our perception of reality would be limited. Audiences need artificial texts to make sense of reality.
Representation is a two –way process: producers create their perception of reality and audiences assess the text on its relationship to reality.
Extension/ Restriction of experience of reality
Media texts extend the experience of reality
Producers of the media text select the information audiences receive so experience is restricted
Truth or Lies?
The influence the media exerts has a major impact on the way we view the world. Media representations can reinforce or shatter prejudices.
Audiences generally accept the fictional extent of media texts. However as we base our perception of reality on what we see in the media we shouldn’t assume that there aren’t any elements of truth in media texts.
The study of representation decodes the different layers of truth and fiction. To fully appreciate representation’s part in a media text you should consider:
• Who produced it?
• What/who is represented in the text?
• How is that thing represented?
• Why was this particular representation (this shot, framed from this angle, this story phrased in these terms, etc.) selected and what might the alternatives have been?
• What frame of reference does the audience use when understanding the representation
Analysing Representation
The factors of representation most commonly addressed are;
• Gender
• Race
• Age
• Disability
Gender and Media Representation
Gender is the basic category for sorting humans and a key issue when discussing representation.
Gender creates essential elements of your own identity and the identity you assume other people to have – what does it mean to be a boy or girl?
Objects are often represented by the media as being masculine or feminine, particularly in advertising. We grow up with an awareness of what constitutes appropriate characteristics.
• Typically masculine – tough, hard, sweaty
• Typically feminine- fragile, soft, fragrant
Representation of Race, Ethnicity and Colour
These comprise of sets of genetically defined, biological, characteristics. There are also cultural elements in these characteristics.
Representation of race in the media can consist of rigid stereotypes similar to those of gender portrayal. Stereotyping of race is seen to be more harmful as media representation may be the only experience of contact with a particular ethnic group that an audience (particularly young audiences) may have.
These stereotypes are often based on social myths which have grown over time. These may provide children with narrow prejudices that will not be challenged elsewhere within their experience.
The priority for political agendas is for more accurate portrayal of the diversity of different races but it will take time for this thinking to filter through to TV programmes and film-making. Hollywood movies are notorious for lazy racial stereotypes.
African-African Representation
Race and Media studies usually focus on the representations of black men and women. The strong African-American counter-culture provides viable alternative role models which should be represented particularly as early racial stereotypes were obvious and offensive.
The success of actors such as Denzel Washington. Will Smith and Halle Berry has meant that black characters are no longer ‘stock’ types.
There are still negative representations of black people, portrayals which seek to incite fear and hatred of other cultures.
Latinos and Asians
Attention is now being paid to the representation of other ethnic groups notably Asian Americans and Latinos who represent a much larger proportion of the US population than their TV coverage would suggest.
Race on UK TV
Racism on TV in the UK exploded as a global issue in 2007 when Shilpa Shetty was subjected to vicious racial slurs by her white housemates. The row reached the House of Commons and became part of a national debate on the undercurrents in the UK’s supposedly multi-cultural society. As a result Channel 4 became very sensitive to allegations of racism.
Race remains a hot topic on UK television, both in fiction and non-fiction programming as it always attracts publicity. It is linked with the immigration issue and national identity. Modern Britain is populated by a diverse range of people so do national media outlets represent different colours and ethnicities proportionally. There will always be heated discussions about how different races are represented and whether these are fair representations.
Case Study: Jersey Shore
The characters of MTV’s Jersey Shore are ethnically Caucasian identify themselves culturally as being Italian-American despite the fact that none of them were born in Italy. The show has created a lot of controversy as other Italian-Americans object to this negative portrayal of their cultural and ethnic group. Within one season the show managed to create a new set of cultural stereotypes and became part of popular discourse.
Representation of Age
After gender and race, age is the most obvious and easiest category under which to file people and there are immediate judgements which come along with that categorisation.
Stereotyping according to age is widespread despite the fact that stereotyping according to race or gender would be considered unacceptable. As a result of this, people go to great lengths to conceal their age so as to avoid harsh stereotypes.
This problem may stem from a youth obsessed media which insists on worshipping beauty (associated with youth) and devaluing wisdom and experience (associated with age) Magazine editors believe that audiences want to see images of only young, smooth skinned models. This establishes youth as the hermogenic norm and when an individual begins to feel that they are deviating from the norm, there is a wide array of ‘age defying’ cosmetics which can remedy this. At a price.
Women are often victimised when it comes to judgements about age and ‘age appropriate’ behaviours, appearance and attitude.
By denying that ageing is a natural living process, you are not acknowledging that tastes and priorities grow and change. An obsession with youth and novelty also means that you disregard lessons of history and devalue experience.
The obsession with adhering to a hermogenic norm has long been the fantasy stuff of literature and film. The mythology that vampires are beautiful and forever young has evolved so much that their physical beauty is valued more than their lack of a soul. We disregard the fact that they are monsters because they are so photogenic.
There is higher visibility of older actors in a traditionally youth orientated media; this is because older audiences demand to be fairly represented in film and literature. UK television has always demonstrated that older characters are just as interesting as younger ones (Grandpa in Outnumbered)
Disability in the Media
Semantically the word ‘disabled’ causes much debate. The ‘dis’ suffix is a negative one and the dictionary defines the word as ‘made ineffective, unfit or incapable’ Quite rightly those members of the population who find themselves labelled thus feel tarred with a distasteful brush
Images of Disability
In magazines the only images of the disabled tend to be in charity advertisements and their disabilities are the main focus of the representation. Often we are encouraged to pity the person represented or give them support in another way. Ideologically speaking disabled is not sexy and does not sell stuff.
Disabled sport is seen as a poor relation to its so called able bodied counterpoint.
In film, disability is seen as a great storyline – one to inspire pity in audiences and gain Oscar nominations from peers (Tom Cruise ‘Born on the Fourth of July’ Leonardo Di Caprio ‘What’s Eating Gilbert) These actors are applauded for their fine performance as if the portrayal of disability is a particularly skilful or dangerous thing.
Genuinely disabled actors do not get major parts in films. Amputees generally get good work in Hollywood, particularly when they are needed to attach prosthetic limbs to.
Media texts are defined as representations of reality. They are intentionally composed, lit, written, framed, cropped, captioned, branded, targeted and censored by the producers to create entirely artificial versions of the reality we perceive around us.
Every media form is a representation of someone’s concept of existence which has been codified into signs and signals which can be read by an audience.
Without media forms, our perception of reality would be limited. Audiences need artificial texts to make sense of reality.
Representation is a two –way process: producers create their perception of reality and audiences assess the text on its relationship to reality.
Extension/ Restriction of experience of reality
Media texts extend the experience of reality
Producers of the media text select the information audiences receive so experience is restricted
Truth or Lies?
The influence the media exerts has a major impact on the way we view the world. Media representations can reinforce or shatter prejudices.
Audiences generally accept the fictional extent of media texts. However as we base our perception of reality on what we see in the media we shouldn’t assume that there aren’t any elements of truth in media texts.
The study of representation decodes the different layers of truth and fiction. To fully appreciate representation’s part in a media text you should consider:
• Who produced it?
• What/who is represented in the text?
• How is that thing represented?
• Why was this particular representation (this shot, framed from this angle, this story phrased in these terms, etc.) selected and what might the alternatives have been?
• What frame of reference does the audience use when understanding the representation
Analysing Representation
The factors of representation most commonly addressed are;
• Gender
• Race
• Age
• Disability
Gender and Media Representation
Gender is the basic category for sorting humans and a key issue when discussing representation.
Gender creates essential elements of your own identity and the identity you assume other people to have – what does it mean to be a boy or girl?
Objects are often represented by the media as being masculine or feminine, particularly in advertising. We grow up with an awareness of what constitutes appropriate characteristics.
• Typically masculine – tough, hard, sweaty
• Typically feminine- fragile, soft, fragrant
Representation of Race, Ethnicity and Colour
These comprise of sets of genetically defined, biological, characteristics. There are also cultural elements in these characteristics.
Representation of race in the media can consist of rigid stereotypes similar to those of gender portrayal. Stereotyping of race is seen to be more harmful as media representation may be the only experience of contact with a particular ethnic group that an audience (particularly young audiences) may have.
These stereotypes are often based on social myths which have grown over time. These may provide children with narrow prejudices that will not be challenged elsewhere within their experience.
The priority for political agendas is for more accurate portrayal of the diversity of different races but it will take time for this thinking to filter through to TV programmes and film-making. Hollywood movies are notorious for lazy racial stereotypes.
African-African Representation
Race and Media studies usually focus on the representations of black men and women. The strong African-American counter-culture provides viable alternative role models which should be represented particularly as early racial stereotypes were obvious and offensive.
The success of actors such as Denzel Washington. Will Smith and Halle Berry has meant that black characters are no longer ‘stock’ types.
There are still negative representations of black people, portrayals which seek to incite fear and hatred of other cultures.
Latinos and Asians
Attention is now being paid to the representation of other ethnic groups notably Asian Americans and Latinos who represent a much larger proportion of the US population than their TV coverage would suggest.
Race on UK TV
Racism on TV in the UK exploded as a global issue in 2007 when Shilpa Shetty was subjected to vicious racial slurs by her white housemates. The row reached the House of Commons and became part of a national debate on the undercurrents in the UK’s supposedly multi-cultural society. As a result Channel 4 became very sensitive to allegations of racism.
Race remains a hot topic on UK television, both in fiction and non-fiction programming as it always attracts publicity. It is linked with the immigration issue and national identity. Modern Britain is populated by a diverse range of people so do national media outlets represent different colours and ethnicities proportionally. There will always be heated discussions about how different races are represented and whether these are fair representations.
Case Study: Jersey Shore
The characters of MTV’s Jersey Shore are ethnically Caucasian identify themselves culturally as being Italian-American despite the fact that none of them were born in Italy. The show has created a lot of controversy as other Italian-Americans object to this negative portrayal of their cultural and ethnic group. Within one season the show managed to create a new set of cultural stereotypes and became part of popular discourse.
Representation of Age
After gender and race, age is the most obvious and easiest category under which to file people and there are immediate judgements which come along with that categorisation.
Stereotyping according to age is widespread despite the fact that stereotyping according to race or gender would be considered unacceptable. As a result of this, people go to great lengths to conceal their age so as to avoid harsh stereotypes.
This problem may stem from a youth obsessed media which insists on worshipping beauty (associated with youth) and devaluing wisdom and experience (associated with age) Magazine editors believe that audiences want to see images of only young, smooth skinned models. This establishes youth as the hermogenic norm and when an individual begins to feel that they are deviating from the norm, there is a wide array of ‘age defying’ cosmetics which can remedy this. At a price.
Women are often victimised when it comes to judgements about age and ‘age appropriate’ behaviours, appearance and attitude.
By denying that ageing is a natural living process, you are not acknowledging that tastes and priorities grow and change. An obsession with youth and novelty also means that you disregard lessons of history and devalue experience.
The obsession with adhering to a hermogenic norm has long been the fantasy stuff of literature and film. The mythology that vampires are beautiful and forever young has evolved so much that their physical beauty is valued more than their lack of a soul. We disregard the fact that they are monsters because they are so photogenic.
There is higher visibility of older actors in a traditionally youth orientated media; this is because older audiences demand to be fairly represented in film and literature. UK television has always demonstrated that older characters are just as interesting as younger ones (Grandpa in Outnumbered)
Disability in the Media
Semantically the word ‘disabled’ causes much debate. The ‘dis’ suffix is a negative one and the dictionary defines the word as ‘made ineffective, unfit or incapable’ Quite rightly those members of the population who find themselves labelled thus feel tarred with a distasteful brush
Images of Disability
In magazines the only images of the disabled tend to be in charity advertisements and their disabilities are the main focus of the representation. Often we are encouraged to pity the person represented or give them support in another way. Ideologically speaking disabled is not sexy and does not sell stuff.
Disabled sport is seen as a poor relation to its so called able bodied counterpoint.
In film, disability is seen as a great storyline – one to inspire pity in audiences and gain Oscar nominations from peers (Tom Cruise ‘Born on the Fourth of July’ Leonardo Di Caprio ‘What’s Eating Gilbert) These actors are applauded for their fine performance as if the portrayal of disability is a particularly skilful or dangerous thing.
Genuinely disabled actors do not get major parts in films. Amputees generally get good work in Hollywood, particularly when they are needed to attach prosthetic limbs to.
Friday, 11 March 2011
The prestige
The prestige 2006. Directed by Christopher Nolan. Warner bros
Narrative function: The story is based on magicians. Its set in the nineteenth century. The film starts in the middle of the story for it to go back to the beginning. The audience feel present in the jury scene as they watch the flash backs with the characters.
Conventions: Warner brothers logo. Titles shown, voice over, no credits
Characters introduced: Alfie Borden (christian Bale), Mr Angier - Magician (Hugh Jackman), Cutter - engineer (Michael Caine)
Cinematography: Dark lighting. Old fashioned costume and wardrobe is key to show when the film is set.
Cameras/editing: Hand held camera, shows how the actors see it, makes the audience feel as if they're there or a part of it. They use a Montage which is a technique which uses rapid editing, special effects and music to present compressed narrative information. The beginning builds tension through the silence. Its the type of film to make the audience ask questions during.
The cleaner
Cleaner 2007. Directed by Renny Harlin. Millenium films
The narrative of the film introduces the main characters job to the audience. Gives the audience the knowledge that he cleans up after there has been a death. He is cleaning up the house after a death.
Conventions displayed: Millenuim films logo, opening credits and titles over sequence. There is also a voice over of the cleaner, Tom(played by Samuel.L.Jackson). He is the only character introduced in the opening sequence.
Cinematography: the scene is muted. This creates atmosphere and questioning from the audience. The colours are very washed out, dull and dark giving the same impression of his job.
Contains many tracking shots of woman walking down the street and following her into appartment.
Many interesting camera movements and clever the way they show certain aspects of the film.
Contrapuntal sound is used so it matches the scene.
Wednesday, 9 March 2011
The mummy
(Trailer for the mummy as I couldn't find the opening sequence)
The mummy, Directed by Steven Summers 1999. The narrative of the film fills the audience in on what's happened e.g. flash backs. It sets up the film. Tells the audience the story of how he became the 'mummy'.
Conventions displayed: Introduces the story, voiceover at the beginning, universal logo and no immediate credits.
Characters introduced: Imhotep - high preist who becomes the mummy. AncksuNamun - Pharaoh's mistress and Imhoteps lover. Pharaoh Seti.
Cinematography: positioning in the frame - close up of pharaohs wife's arm as he smears the paint. This sows it is an important part. A lot of gold colours worn and around the palace. costume - Pharaoh wears a big crown to show his importance. AncksuNamun wears a tight and revealing outfit.
Cameras/editing: graphic match of universal logo becomes the sun. Establishing shot of a pyramid. Panning and crane sots of the city. Over the shoulder shot of pharaoh and city. Sound of AncksuNamun's footsteps . Tracking shots of all the characters named.
Own initial idea
My own initial idea consisted of a party thrown by a teenager in their house. I thought it would be a good idea to have a rich host so their party would be very 'flash'. I suggested this idea and we decided i would be easier to show the after result of the party e.g. the mess.
Tuesday, 8 March 2011
Harry potter and the deathly hallows trailer
Trailers for films are always put on the internet months before they start showing on TV's and in cinemas. This is to gain awareness of the film and hope that it gains interest to an audience. They hope this will help with box office sales.
Film merchandising
Merchandising means maximizing merchandise sales using product design, selection, packaging, pricing, and display that stimulates consumers to spend more. A main type of merchandising is through the media like films. Film merchandising is a good way to raise money for a new and upcoming film. For example the new Harry potter film. Months before the Harry Potter film was set to launch, retailers were selling Harry Potter book-ends, wizard coins and Quidditch card games.
And because of the universal popularity of the Harry Potter phenomenom, consumers seem only too happy to buy so much of the memorabilia.
As a result, global sales of Harry Potter merchandising are expected to generate the sizeable sum of £1.4bn next year, according to industry estimates.
And because of the universal popularity of the Harry Potter phenomenom, consumers seem only too happy to buy so much of the memorabilia.
As a result, global sales of Harry Potter merchandising are expected to generate the sizeable sum of £1.4bn next year, according to industry estimates.
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