tag:blogger.com,1999:blog-50048014342250498442024-03-16T11:52:41.018-07:00A2 Media StudiesA resource for A2 Media students at King Edward VI CollegeJohnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.comBlogger331125tag:blogger.com,1999:blog-5004801434225049844.post-29927857860823630192017-04-26T10:12:00.000-07:002017-04-28T19:26:53.217-07:00MS3 - Production: Sample Evaluation<div class="separator" style="clear: both; text-align: center;">
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Evaluation (750 word)<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; font-weight: normal; line-height: 18px;"> </span></h1>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">For my production piece I decided to create
three television <span class="Apple-style-span" style="color: red;">sitcom posters</span> in order to <span class="Apple-style-span" style="color: red;">represent </span>American women in an
<span class="Apple-style-span" style="color: red;">idealistic</span><span class="Apple-style-span" style="color: yellow;"> </span>way.<span class="Apple-style-span" style="color: red;"> I drew influence from my research project </span>surrounding the
<span class="Apple-style-span" style="color: red;">popular sitcoms</span> Desperate Housewives and Sex and the City. From my project I
found that women are viewed merely for sexual gratification even in today’s
apparent modern society. I wanted to illustrate this within my production work.
<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />
I viewed existing sitcom posters from the same <span class="Apple-style-span" style="color: red;">genre</span> and noted the <span class="Apple-style-span" style="color: red;">conventions, themes</span> and <span class="Apple-style-span" style="color: red;">styles</span> that I would later adopt in my own work. I found that I had
to work closely with the <span class="Apple-style-span" style="color: red;">mise-en-scene</span> of each poster as the <span class="Apple-style-span" style="color: red;">preferred reading</span>
of each visual <span class="Apple-style-span" style="color: red;">text </span>was to suggest ‘glamour’ and ‘perfection.’ <o:p></o:p></span></span></div>
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For my first piece entitled ‘EvenJuicier’ I decided to create an<span class="Apple-style-span" style="color: red;"> enigma</span>
through the<span class="Apple-style-span" style="color: red;"> image</span>. Only until the<span class="Apple-style-span" style="color: red;"> audience</span> read the website credentials at the
bottom do they know what sitcom the poster is promoting. This would mean that
people who were not familiar with the <span class="Apple-style-span" style="color: red;">programme</span> or the <span class="Apple-style-span" style="color: red;">genre</span> may take an
<span class="Apple-style-span" style="color: red;">oppositional</span> or <span class="Apple-style-span" style="color: red;">negotiated</span> view to the poster, however because of the bold
<span class="Apple-style-span" style="color: red;">iconography</span> of the image it would immediately make the viewer look, even if
they do not appreciate the <span class="Apple-style-span" style="color: red;">genre</span>. This I feel this was a successful decision
and has been done deliberately to <span class="Apple-style-span" style="color: red;">engage</span> the viewer and focus the eye on the
<span class="Apple-style-span" style="color: red;">image</span> so that the<span class="Apple-style-span" style="color: red;"> reader</span> decides to look further. The <span class="Apple-style-span" style="color: red;">iconography</span> is strong,
the red strawberry and lips give <span class="Apple-style-span" style="color: red;">connotations</span> of lust and sex, which a female
<span class="Apple-style-span" style="color: red;">audience</span> will <span class="Apple-style-span" style="color: red;">aspire</span> to primarily as the<span class="Apple-style-span" style="color: red;"> passive </span>male<span class="Apple-style-span" style="color: red;"> audience</span> appreciates
the image. I did this to highlight a point from <span class="Apple-style-span" style="color: red;">Laura Mulvey’s theory of the
Male Gaze</span> that the camera in film, advertising and in fact any media is male. I
used this theory <span class="Apple-style-span" style="color: red;">within my research project</span> and found that to <span class="Apple-style-span" style="color: red;">engage</span>
my female <span class="Apple-style-span" style="color: red;">target audience</span> one also has to <span class="Apple-style-span" style="color: red;">target</span> the male <span class="Apple-style-span" style="color: red;">audience</span> as the
camera has taken on the male <span class="Apple-style-span" style="color: red;">perspective</span>. <o:p></o:p></span></span></div>
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Again on my second poster the<span class="Apple-style-span" style="color: red;"> image</span> was designed to match the <span class="Apple-style-span" style="color: red;">title</span> of the
sitcom ‘Sex in the Suburbs’ which was subsequently<span class="Apple-style-span" style="color: red;"> layered</span> on top of the <span class="Apple-style-span" style="color: red;">image</span>.
The <span class="Apple-style-span" style="color: red;">mise-en-scene</span> was very important, as the<span class="Apple-style-span" style="color: red;"> image </span>was to speak for itself, my
model was dressed in 50’s clothing and her hair and make-up was immaculately
done. I wanted to highlight this dated 50’s <span class="Apple-style-span" style="color: red;">ideology</span> in a modern <span class="Apple-style-span" style="color: red;">society</span>;
therefore I chose to shoot my <span class="Apple-style-span" style="color: red;">image</span> within a kitchen. This was used in an
ironic way to highlight another part of <span class="Apple-style-span" style="color: red;">Mulvey’s theory</span> to demonstrate the
<span class="Apple-style-span" style="color: red;">inequality</span> in women and that these <span class="Apple-style-span" style="color: red;">images</span> similar to my own are not shocking
but seem almost natural. Implemented within my work I also learnt how to use
<span class="Apple-style-span" style="color: red;">fragmenting</span> within a shot. By focusing on her face and torso and slightly
blurring out the rest of her body, this section of the body was emphasised in a
sexual way helping re-enforce the <span class="Apple-style-span" style="color: red;">message</span>. Nevertheless I had to <span class="Apple-style-span" style="color: red;">edit</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">lighting</span>
into my <span class="Apple-style-span" style="color: red;">shot</span> because I did not have the means for <span class="Apple-style-span" style="color: red;">natural</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">or focused sunlight</span>.
I felt this was a <span class="Apple-style-span" style="color: red;">negative</span> aspect of my work and would have looked more natural
if I was able to use lighting more effectively. <o:p></o:p></span></span></div>
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On my third piece I used four females to <span class="Apple-style-span" style="color: red;">represent</span> each <span class="Apple-style-span" style="color: red;">character</span> of the
sitcom. I chose to create a mask on each of my characters, <span class="Apple-style-span" style="color: red;">edit</span> them to black
and white and highlight each <span class="Apple-style-span" style="color: red;">object</span> they were holding in red. This is called
equating women with objects, taken from the <span class="Apple-style-span" style="color: red;">Male</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">Gaze</span>, and is mirrored in
sitcoms such as Desperate Housewives and Sex and the City, where the central
<span class="Apple-style-span" style="color: red;">characters</span> are placed with objects such as apples and knives to create the
lustful, dangerous look. I did this to aim to attract my <span class="Apple-style-span" style="color: red;">target</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">audience</span> of 18+
females, and therefore the <span class="Apple-style-span" style="color: red;">male</span> <span class="Apple-style-span" style="color: red;">audience</span> because of the <span class="Apple-style-span" style="color: red;">sexual</span> way it was shot.
I had a <span class="Apple-style-span" style="color: red;">positive</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">response</span> and successfully created a <span class="Apple-style-span" style="color: red;">poster</span> that attracted this
<span class="Apple-style-span" style="color: red;">demographic</span>, as the <span class="Apple-style-span" style="color: red;">audience</span> were able to <span class="Apple-style-span" style="color: red;">identify</span> with the women in the
<span class="Apple-style-span" style="color: red;">poster</span>.<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />
All the characters in the posters are young attractive white <span class="Apple-style-span" style="color: red;">females</span>, and the
<span class="Apple-style-span" style="color: red;">text</span> on each poster is seductive and risky, I feel that somebody from an <span class="Apple-style-span" style="color: red;">ethnic</span>
background or an older <span class="Apple-style-span" style="color: red;">audience</span> may take an <span class="Apple-style-span" style="color: red;">oppositional</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">reading</span> due to the
<span class="Apple-style-span" style="color: red;">narrative</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">representations</span>.<o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />
Another downfall to my <span class="Apple-style-span" style="color: red;">production</span> work would be that the <span class="Apple-style-span" style="color: red;">characters</span> used are
not models or actresses therefore my posters may seem a little unrealistic
especially when all the actresses are in the 18+ <span class="Apple-style-span" style="color: red;">demographic</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">range</span>, therefore
portraying the <span class="Apple-style-span" style="color: red;">meaning</span> successfully may be lost slightly as housewives,
generally speaking, are older. One could argue however that the lack of real
models and a lower age <span class="Apple-style-span" style="color: red;">demographic</span> could <span class="Apple-style-span" style="color: red;">highlight</span> the brutal reality of
society’s ideals today, to re-enforce <span class="Apple-style-span" style="color: red;">Mulvey’s</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">theory</span> that women have not
overcome this <span class="Apple-style-span" style="color: red;">patriarchal</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">society</span> but have simply conformed to it at an earlier
age. </span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Nevertheless I felt my <span class="Apple-style-span" style="color: red;">strengths</span> shone through within my work, my ability to <span class="Apple-style-span" style="color: red;">edit</span><span class="Apple-style-span" style="color: yellow;"> </span>each photo through <span class="Apple-style-span" style="color: red;">Photoshop</span> using the spot healing brush to create a flawless look proved very <span class="Apple-style-span" style="color: red;">successful</span>. This was common to each piece to heighten the <span class="Apple-style-span" style="color: red;">theme</span> of ‘glamour’ and to <span class="Apple-style-span" style="color: red;">appeal</span> to the <span class="Apple-style-span" style="color: red;">audiences</span> so that they <span class="Apple-style-span" style="color: red;">aspired</span> to look like the characters. </span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /> I feel that during the <span class="Apple-style-span" style="color: red;">process</span> of creating my <span class="Apple-style-span" style="color: red;">production</span> pieces, my <span class="Apple-style-span" style="color: red;">original</span> idea of using a laundrette as a background was too <span class="Apple-style-span" style="color: red;">ambitious</span> as to <span class="Apple-style-span" style="color: red;">create</span> these <span class="Apple-style-span" style="color: red;">images</span> successfully it had to look believable, and often <span class="Apple-style-span" style="color: red;">poster</span> sets are made to suit the occasion. If I was to <span class="Apple-style-span" style="color: red;">create</span> this effectively or to <span class="Apple-style-span" style="color: red;">enhance</span> my original posters I would need a better camera as posters like these are enlarged for <span class="Apple-style-span" style="color: red;">billboards</span>. I would also need a bigger budget in order to create sets and maximise lighting effects. Therefore by simplifying my ideas I feel I have created three unique posters that look <span class="Apple-style-span" style="color: red;">professional</span>, and give <span class="Apple-style-span" style="color: red;">cohesion</span> to my <span class="Apple-style-span" style="color: red;">research</span><span class="Apple-style-span" style="color: yellow;"> </span><span class="Apple-style-span" style="color: red;">project</span>. </span>Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-43014710733030574722017-04-25T11:05:00.000-07:002017-04-26T06:53:19.697-07:00Methods for Analysing Media Representations<div class="separator" style="clear: both; text-align: center;">
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While students may have an intuitive sense of how the media represents certain phenomena, they need to learn some particular research techniques for how to analyze these representations. It is often useful to model these different techniques, demonstrating how you use them in analysis of a particular example.<br />
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The following are some steps involved in conducting studies, following by specific aspects associated with analysing representations:<br />
<ul>
<li>Select a specific group, topic, issue, or phenomenon, and then discuss different representations of this topic/phenomenon in your texts.</li>
</ul>
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<li>Note patterns in these representations in terms of similarities in portrayals/images instances of stereotyping or normalising categories.</li>
</ul>
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<li>Note value assumptions in terms of who has power, who solves problems, how problems are solved.</li>
</ul>
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<b>Define the intended audiences for these representations:</b><br />
<ul>
<li>What messages are conveyed to what audiences?</li>
</ul>
<ul>
<li>Whose beliefs or values are being reinforced or validated?</li>
</ul>
<ul>
<li>How are certain products linked to certain representations for certain audiences?</li>
</ul>
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<b>Define what’s missing or left out of the representation:</b><br />
<ul>
<li>What complexities or differences are not discussed?</li>
</ul>
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<li>What is included and what is excluded?</li>
</ul>
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Find alternative or counter-examples (this way you construct an argument)<br />
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Consider the potential consequences of stereotyped representations of gender, class, race, or age on people and the way they behave<br />
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List descriptions of others or oneself and note instances of stereotyping (how have values been altered)<br />
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Note how consumer practices reflect the need to live up to representations (aspirations)<br />
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<i>In analysing representations, students can focus on the following aspects:</i><br />
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<b>Images</b>. The images employed that reflect certain positive versus negative value orientations based on cultural codes and archetypal meanings, for example, uses of dark or black colors to portray an urban area as dangerous or threatening (Lacey, 1998). In this semiotic analysis of representation, students are examining how the meaning of images as signifiers (wearing jeans vs. suits) creates certain signified or implied meanings (casualness/formality/dress for success). (Cullin-Swan, B., & Manning, P. K., “<a href="http://sun.soci.niu.edu/%7Esssi/papers/pkm1.txt">Codes, Chronotypes, and Everyday Objects</a>” )<br />
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These codes are culturally constituted. Stuart Hall (1997) cites the example of the meaning of traffic lights—the fact that the signified meanings of red and green are culturally determined based on a code system that indicates that in certain cultures, red means “stop” and green means “go.” The difference between red and green is what signifies the meaning based on the cultural code. To determine how images are representing a social or cultural world, you need to determine the code system underlying the media texts.<br />
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<b>Sound/music</b>. Media texts represent social worlds through the uses of sound or music. They may represent certain regions of the world by using music associated with those worlds, for example, Samba or Calypso music to represent South American worlds. These uses of sound or music are often based on audience’s prior knowledge of certain types of music as associated with certain types of experiences or worlds.<br />
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<b>Intertextuality</b>. Media representations also depend on audiences’ knowledge of intertextual links between the current texts and other previous texts using the same images, language, sounds, or logos. For example, understanding the Energizer Bunny battery ads, in which the Energizer Bunny suddenly appears at the end of an ad, requires a prior understanding of previous Energizer Bunny ads. Audiences understand the meaning of certain representations because they have knowledge of these intertextual lnks. They enjoy fact that they are “in the know” about the intertextual references being made. In analyzing media representations, you therefore need to determine the intertextual links being employed to previous texts, and how these links are being used to represent a world in a certain manner.<br />
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<a href="http://www.aber.ac.uk/media/Documents/S4B/sem09.html">Dan Chandler’s discussion of intertextuality</a><br />
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Gunhild Agger, Aalborg University, Intertextuality Revisited: <a href="http://www.uqtr.uquebec.ca/AE/vol_4/gunhild.htm">Dialogues and Negotiations in Media Studies</a><br />
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<b>Language</b>. In studying how language is used to represent experience, you are studying how language actually serves to create realities or worlds. The idealized language of advertising is used to create worlds in which flaws or problems are instantly dealt with or solved. The language of sports commentary is used to dramatize the significance of a game to keep viewers watching the game.<br />
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In defining these debates, you are also determining how audiences are being positioned to accept certain representations as “normal” or “common sense” constructions of reality. You may then describe how you are being positioned by these debates by asking the question: “What does this text want you to be or think?”<br />
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For more click <a href="http://www.tc.umn.edu/%7Erbeach/teachingmedia/module5/2.htm">here</a><br />
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com1tag:blogger.com,1999:blog-5004801434225049844.post-62602467267886306252017-02-17T13:32:00.000-08:002017-02-17T13:50:40.943-08:00'A' Grade Exam Response: Film 'Sin City'/'Fish Tank'<div class="separator" style="clear: both; text-align: center;">
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<b>Here is a <u>condensed</u> guide of how to make use of language to approach exam questions (Film)</b></div>
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<b><i><br /></i></b></div>
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<b><i>How <span class="Apple-style-span" style="background-color: red;">typical</span> are your three main texts of their <span class="Apple-style-span" style="background-color: red;">genre</span>?</i></b></div>
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Another <span class="Apple-style-span" style="background-color: yellow;">convention</span> of <span class="Apple-style-span" style="background-color: yellow;">film noir</span> that is evident in <b>'Sin City'</b> is the constant <span class="Apple-style-span" style="background-color: yellow;">visual iconography</span> and <span class="Apple-style-span" style="background-color: yellow;">noir style</span> in the <span class="Apple-style-span" style="background-color: yellow;">mise-en-scene</span>. When a <span class="Apple-style-span" style="background-color: yellow;">character</span> appears from the shadows, wearing a trench-coat in the rain it clearly indicates <span class="Apple-style-span" style="background-color: yellow;">conventions</span> of the<span class="Apple-style-span" style="background-color: yellow;"> film noir </span><span class="Apple-style-span" style="background-color: red;">genre</span>. The use of rain in <b>'Sin City's</b> <span class="Apple-style-span" style="background-color: yellow;">mise-en-scene </span>highlights the dark and gloomy atmosphere of the <span class="Apple-style-span" style="background-color: yellow;">post-war American society</span>, using <span class="Apple-style-span" style="background-color: yellow;">pathetic fallacy</span> as away of <span class="Apple-style-span" style="background-color: yellow;">representing</span> its <span class="Apple-style-span" style="background-color: red;">genre</span>. In this same way the trench-coat Hartigan is wearing also visually references <span class="Apple-style-span" style="background-color: yellow;">film noir protagonists</span>, <span class="Apple-style-span" style="background-color: yellow;">making it </span><span class="Apple-style-span" style="background-color: red;">typical</span><span class="Apple-style-span" style="background-color: yellow;"> of its </span><span class="Apple-style-span" style="background-color: red;">genre</span>.</div>
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As well as its <span class="Apple-style-span" style="background-color: yellow;">visual references to film noir </span><b>'Sin City'</b> also uses <span class="Apple-style-span" style="background-color: yellow;">key visual conventions and iconography </span>of the <span class="Apple-style-span" style="background-color: yellow;">comic-book genre</span>. For example the trench-coat each <span class="Apple-style-span" style="background-color: yellow;">protagonist</span> wears highlights their status as a <span class="Apple-style-span" style="background-color: yellow;">comic-book</span> hero, by referencing the long cape of a superhero. This supports the idea that <b>'Sin City' </b>may be <span class="Apple-style-span" style="background-color: red;">untypical of its genre</span>, as it combines two <span class="Apple-style-span" style="background-color: red;">genres</span> to create irony: a <span class="Apple-style-span" style="background-color: yellow;">parody of conventions</span>, <span class="Apple-style-span" style="background-color: red;">rather than being truly typical</span>.</div>
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<b>'Fish Tank'</b>, my third text, is more <span class="Apple-style-span" style="background-color: red;">typical</span> of its <span class="Apple-style-span" style="background-color: yellow;">social realism</span> <span class="Apple-style-span" style="background-color: red;">genre</span>, and unlike my other films can be defined as <span class="Apple-style-span" style="background-color: red;">more typical</span>. The film deals with <span class="Apple-style-span" style="background-color: yellow;">real life issues</span> and can easily recognised as <span class="Apple-style-span" style="background-color: red;">typical</span> by its <span class="Apple-style-span" style="background-color: yellow;">themes and technical stylistics</span>. The scene when Connor, Michael Fassbender's character, 'grooms' and then sleeps with the underage Mia in a council flat highlights a very real and <span class="Apple-style-span" style="background-color: yellow;">controversial issue in modern day British society</span>. This makes it <span class="Apple-style-span" style="background-color: red;">highly typical</span> of the <span class="Apple-style-span" style="background-color: yellow;">social realist</span> <span class="Apple-style-span" style="background-color: red;">genre</span> as previous films in the <span class="Apple-style-span" style="background-color: red;">genre</span>, such as Ken Loach's <b>'My Name Is Joe'</b> have <span class="Apple-style-span" style="background-color: yellow;">explored similar representations</span> of how <span class="Apple-style-span" style="background-color: yellow;">alcoholism</span> has affected and impacted upon individuals in British society.</div>
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The use of <span class="Apple-style-span" style="background-color: yellow;">hand held camera and depth of field </span>in the opening sequence, when Mia is followed through the council estate in an <span class="Apple-style-span" style="background-color: yellow;">extended tracking wide shot</span>, reinforce the <span class="Apple-style-span" style="background-color: yellow;">visual aesthetics</span> of the <span class="Apple-style-span" style="background-color: yellow;">social realist style</span>. The <span class="Apple-style-span" style="background-color: yellow;">style</span> makes it appear more realistic (<span class="Apple-style-span" style="background-color: red;">a typical approach</span>), adding to the impact and sense that these types of events really occur in society: almost as if it was <span class="Apple-style-span" style="background-color: yellow;">'documenting' real life</span>. This connection between the chosen <span class="Apple-style-span" style="background-color: yellow;">style and the context </span>make <b>'Fish Tank</b>'<span class="Apple-style-span" style="background-color: red;"> highly typical</span> of the <span class="Apple-style-span" style="background-color: yellow;">social realist</span> <span class="Apple-style-span" style="background-color: red;">genre</span>; <span class="Apple-style-span" style="background-color: yellow;">characters</span> portray <span class="Apple-style-span" style="background-color: yellow;">real life social problems and the visual style</span> gives it more <span class="Apple-style-span" style="background-color: yellow;">'realism'</span>: unlike <b>'Sin City'</b> which is <span class="Apple-style-span" style="background-color: yellow;">highly stylised</span> and based on a combination <span class="Apple-style-span" style="background-color: yellow;">(or hybrid) of film noir and comic-book</span> <span class="Apple-style-span" style="background-color: red;">genre</span> <span class="Apple-style-span" style="background-color: yellow;">conventions</span>. </div>
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<b>Key strengths:</b></div>
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<span class="Apple-style-span" style="background-color: red;">References to the question:</span><span class="Apple-style-span" style="background-color: white;"> Repeated reference to key words in the question show an engagement with the central issues</span></div>
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<span class="Apple-style-span" style="background-color: yellow;">Use of terminology:</span><span class="Apple-style-span" style="background-color: white;"> Details of stylistic features shows an understanding of how meaning is conveyed</span></div>
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<span class="Apple-style-span" style="background-color: white;"><b>Develops an argument</b>: An argument is supported by reference to key moments & issues in each film</span></div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com3tag:blogger.com,1999:blog-5004801434225049844.post-7880851869712827122017-02-17T13:15:00.000-08:002017-02-17T13:56:34.000-08:00MS4 - Text, Industry & Audience: Fish Tank (Genre/Representation)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ovOkVy9GWs4CWCtgzvpQtk0Lm65W1buWA0c1oTG1d1uePj2MnIXtN7cENHaXIEtC19FBDr0nV6n26a0xwZW8DTSdx-Tdk4TMEI3D73RdjVVEV6YO5OUgKi7Px3ZQXOyHLShlMmxhp24/s1600/fish_tank-andrea_arnold-01.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5661261384572856770" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ovOkVy9GWs4CWCtgzvpQtk0Lm65W1buWA0c1oTG1d1uePj2MnIXtN7cENHaXIEtC19FBDr0nV6n26a0xwZW8DTSdx-Tdk4TMEI3D73RdjVVEV6YO5OUgKi7Px3ZQXOyHLShlMmxhp24/s320/fish_tank-andrea_arnold-01.jpg" style="cursor: hand; cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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Katie Jarvis:</div>
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In this interview in Little White Lies Fish Tank actress Katie Jarvis talks about her crazy last 12 months and her hopes for the future.</div>
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When Katie Jarvis won the Best British Performance award at Edinburgh this year, she didn’t need to thank God, or her hairdresser or any of the acceptance speech regulars. She needed to thank her boyfriend for being a pain in the arse.</div>
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Because if Katie’s boyfriend wasn’t a pain in the arse, they wouldn’t argue so much. And if they didn’t argue so much, she wouldn’t have been mouthing off at him across the platform of Tilbury Town train station in 2008. And if she hadn’t been mouthing off at him across the platform of Tilbury Town train station in 2008, the casting assistant for Andrea Arnold’s Fish Tank would never have noticed her. And if the casting assistant for Andrea Arnold’s Fish Tank had never noticed her, the landscape of young British actors would look subtly but vitally different. Plucked off the streets of Essex with no acting experience, Katie has seen her face plastered across billboards, her name celebrated in exalted circles and her debut film nominated for the prestigious Palme d’Or.</div>
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Fish Tank is the second feature from a writer/director whose hard-bitten debut, Red Road, catapulted her into the front line of young, socially conscious British filmmakers. Fish Tank is a worthy successor, shot entirely on location in Essex, where the urban sprawl of London gives way to the wide open spaces where the Thames meets the sea.</div>
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Read the full interview <a href="http://www.littlewhitelies.co.uk/interviews/katie-jarvis-7054">here</a>.</div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-67330822396073552472017-02-16T11:38:00.000-08:002017-02-17T13:55:37.594-08:00'Fish Tank': Very Good Student Response<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM2BCaYIrUeaaz_mmxZBSOBLHHAXOt_PWyCT6M1WWEc3JsWOzVuW5AMPIWP6IF8zRlJWGc8vn61Qr7kWquZaB82EXSRTYrNDgQDXbJDqBd_FfATKK9O8flgXGOLglJprtkgDVSoI3hMPQ/s1600/fishtankstill4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM2BCaYIrUeaaz_mmxZBSOBLHHAXOt_PWyCT6M1WWEc3JsWOzVuW5AMPIWP6IF8zRlJWGc8vn61Qr7kWquZaB82EXSRTYrNDgQDXbJDqBd_FfATKK9O8flgXGOLglJprtkgDVSoI3hMPQ/s320/fishtankstill4.jpg" width="320" /></a></div>
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'Fish Tank' is a social realist film targeted at a niche audience; this is a film displaying a realistic portrayal of British society and the physical and mental struggles that some individuals face. The actors used in social realist films are usually unknown actors, for example; Mia was selected to feature in 'Fish Tank' because she was caught rowing with her boyfriend at a train station, the use of unknown actors adds to the realism factor of the text. Typically, films within the social realist genre are gritty, urban dramas about the struggle to survive the daily grind; this is true of this particular film. In this particular film, nearly all of the shots are filmed via a handheld camera; the use of the handheld camera in social realist films expresses the characters feelings and makes it more realistic and believable. Shots also used are tracking shots to show her walking at a very fast pace, almost as if she is running away from her problems. For example when Mia is first shown in the opening scene walking briskly through the estate the camera tracks her in a hand-held shot to reinforce the sense of realism. At this point only the diegetic sounds of the Urban estate can be heard with traffic noises recognised some way in the distance. When Mia throws stones and yells abuse at her friends father her attitude and behaviour reveal the working class conventions of the social realist genre. Her East London ascent and her use of swear words; such as <i>"Tell your old man he's a ****"</i> give a clear indication of her lower class upbringing and 'chavvy' representation; once again regular aspects within the genre.</div>
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During one scene Mia is using the hob and a saucepan to boil some water which shows they don’t have a kettle. This also displays the social realist convention of a lack of wealth, which is shown the miss-en-scene of the estate they live; they don’t even close the front door to their property. The horse in the film that Mia tries to free has a significant impact, I believe this is trying to show the fact they are connected in that they are both trapped and facing a struggle, the struggle faced is a convention of this particular genre of film. The lighting in a social realist film is usually natural because it makes the shots more open and doesn’t change the natural effect that the use of staged lighting may destroy. The only time natural lighting isn’t used is when Mia drifts into a fantasy moment and the lighting changes to an orange tint, her breathing also becomes heavier and exaggerated diegetically creating an enigma code as to why she is breathing this way. This enigma code is uncovered when she sleeps with Connor and the heavy breathing is repeated. Issues of representation and particularly Laura Mulvey’s theory of 'the male gaze' are opposed in 'Fish Tank' due to Mia’s female gaze and the way she sees Connor as lustful and the way her scopophillic desires are satisfied. Mia heard her mum having sex with Connor, but also Mia’s younger sister also heard Mia having sex with him, this shows that they are trapped in a cycle of learning behaviour from one another, as they are trapped in such a tightly-knit environment. When the balloon glides away at the end it could be to represent Mia’s freedom and how she has escaped the urban struggle which hopefully moving away with her new boyfriend will eliminate. </div>
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Good work Jack</div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-43494479895957437722017-02-16T10:52:00.000-08:002017-02-17T13:54:59.667-08:00'Fish Tank': It's Relevance to 1950's/1960's British Social Realist Films<div class="separator" style="clear: both; text-align: center;">
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In <a href="http://movies.nytimes.com/person/470286/Andrea-Arnold?inline=nyt-per">Andrea Arnold</a>’s film, <a href="http://movies.nytimes.com/movie/454212/Fish-Tank/overview"><b>“Fish Tank,”</b></a> an unsmiling 15-year-old named Mia (Katie Jarvis), who lives in a housing project in Essex, in England, becomes close to the boyfriend of her uncaring mother. The man, an Irish charmer named Connor, played by Michael Fassbender, gives her money and lends her his video camera so that she can tape herself dancing to hip-hop. It soon becomes apparent that the relationship between Mia and Connor is becoming dangerously intimate.<br />
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Ms. Arnold shot <b>“Fish Tank”</b> in a raw, nonjudgmental and observational style with plenty of hand-held camerawork. The film, which was in the United States on Friday, is recognizably the work of the same unflinching filmmaker who made <a href="http://movies.nytimes.com/movie/348252/Red-Road/overview">“Red Road”</a> (2006) and <a href="http://movies.nytimes.com/gst/movies/titlelist.html?v_idlist=320083;116033;120824&inline=nyt_ttl">“Wasp,”</a> which won the 2005 Oscar for best live-action short. The consistent look and the working-class milieu of Ms. Arnold’s films align them with the three British directors most associated with social realism: <a href="http://movies.nytimes.com/person/99998/Ken-Loach?inline=nyt-per">Ken Loach</a>, <a href="http://movies.nytimes.com/person/99264/Mike-Leigh?inline=nyt-per">Mike Leigh</a> and Alan Clarke, who died in 1990.<br />
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The difficulties in Britain of raising money to make films prohibits cohesive movements in the national cinema, and like other directors who have worked in a social realist style — including <a href="http://movies.nytimes.com/person/53946/Gary-Oldman?inline=nyt-per">Gary Oldman</a> (the actor, who directed “Nil by Mouth”), Carine Adler (<a href="http://movies.nytimes.com/gst/movies/titlelist.html?v_idlist=426951;136421;158697&inline=nyt_ttl">“Under the Skin”</a>), <a href="http://movies.nytimes.com/person/270290/Lynne-Ramsay?inline=nyt-per">Lynne Ramsay</a> (<a href="http://movies.nytimes.com/movie/180030/Ratcatcher/overview">“Ratcatcher”</a>) and Duane Hopkins (<a href="http://movies.nytimes.com/movie/449126/Better-Things/overview">“Better Things”</a>) — Ms. Arnold is something of a lone voice. Her reputation as an auteur could come to rest on whether her films successfully harness her chosen style to express social themes, or whether they are merely anecdotes that look like Mr. Loach’s films.<br />
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Ms. Arnold admits to being a fan of Mr. Loach, but is hesitant about making claims for herself as a social realist. “I guess I am,” she allowed during a recent telephone interview. “When people have suggested it, I’ve said, ‘Oh, am I?’ I know it sounds kind of mad, but I just get on and make my films in my own way as best I can. I’m not aware that I’m joining any group. I know that all the people that have made similar films in the past paved the way for me to be able to do it, and I’m obviously influenced by what came before, but I’m not that conscious of it.”<br />
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Source: <a href="http://www.nytimes.com/2010/01/17/movies/17fish.html?_r=0">nytimes.com</a></div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-49184529970502471402017-02-15T11:55:00.000-08:002017-02-17T13:51:21.565-08:00'A' Grade Exam Response: Section A - Text (Film)<div class="separator" style="clear: both; text-align: center;">
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<b>How typical are your three main texts of their genre?</b></div>
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The three texts chosen are a mixture of genres. Postmodern films in today's society are growing more prominent, two of the three films are hybrids of two or more genres, these two being <b><i>'Sin City'</i></b> and <i style="font-weight: bold;">'District 9'</i>. The third is <b><i>'Fish Tank'</i></b>, a purely social realist film.</div>
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<b><i>'Sin City'</i></b> is a hybrid of film noir, comic book and horror conventions which is not only postmodern but is also typical in its use of genre conventions. <i style="font-weight: bold;">'Sin City' </i>uses classic film noir conventions such as a cynical protagonist in the form of two main characters Hartigan and Marv, rain-soaked streets, low-key lighting and a voice-over narrative. A good example of this cynical protagonist convention is Marv who states that <i>"Hell is waking up every goddam day and not knowing why you're here"</i> in a voice over. This shows how much he despises himself, it also shows a typical film noir genre convention in his character portrayal and the way his thoughts are conveyed. This stems from the theme of paranoia, an aspect of all film noir characters which originates from the 1940's view of society in the wake of World War II and the possibility of a new 'cold war'.</div>
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Another example of 'cold war' paranoia can be seen through Bruce Willis's character Hartigan. One scene reflects this mood when Hartigan is shot in the back by his cop 'buddy' Bob, again this displays the typical noir convention of corruption and anxiety present in such classic films as <b><i>'Double Indemnity'</i></b> and <b><i>'The Maltese Falcon'</i></b>. Hartigan's heroic actions are demonstrated in his desire to save the innocent girl Nancy from the corrupt Senator's son, he clearly wishes to stop evil which is dominating the powerful leaders in the city. He cannot depend upon friends and is impelled by his conscience to oppose 'sin' as a moralistic cause which leads to his demise as females tend to do in typical noir narratives.<span style="font-style: italic; font-weight: bold;"></span></div>
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In terms of mise-en-scene the trench coat Hartigan wears is typical of the noir genre but it also resembles the typical comic-book convention of a 'caped super-hero', making the film somewhat of a hybrid. Applying Propp's character roles within the comic-book genre in <i style="font-weight: bold;">'Sin City' </i>we can see how the cape has been used to represent a superhero, constantly blowing in the wind. However when Marv goes to kill or hurt somebody he removes his trench coat showing he is carrying out a good deed, his character is more complex, more of an anti-hero another typical noir convention.</div>
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Noir films typically also contain a <i>femme-fatale</i> and <b><i>'Sin City'</i></b> contains many.<i> </i>Each male character has contact with a female character who could, in some way, be said to resemble this common character; for Hartigan it's Nancy, for Marv it's Wendy and for Dwight it's Shelley & Gail. Wheras Wendy and Shelley are typical <i>femme-fatales</i>, Nancy is also seen as an innocent young girl, displaying how the genre can be made different for a postmodern audience.</div>
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<b><i>'District 9'</i></b> is also a hybrid genre, mixing typical Sci-Fi conventions with documentary stylistics and narrative structure. Typical Sci-Fi conventions can be seen with the use of advanced technology, aliens, robotics and spaceships. These conventions are mixed though with a documentary style approach to the narrative structure creating a feeling that the events are 'real'. The use of <i>'faux'</i> stock footage of news reports and interviews with experts and civilians makes the events seem more truthful or realistic. The use of hand-held camera also reinforces this reading as this is a typical cinematic technique of a documentary.</div>
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In the opening scenes of <i style="font-weight: bold;">'District 9' </i>we see interviews with various 'expert' witnesses giving us clear exposition to the events which have led up to the alien landings. This is important in developing a realistic documentary approach to the narrative, something that may be seen as new to the typical Sci-Fi conventions of other films such as <i style="font-weight: bold;">'The Fly' </i>or<i style="font-weight: bold;"> 'Invasion Of The Bodysnatchers'</i>. The interaction between the main character Wikus and the cameraman, when he is unable to remove his microphone from his clothing, is playful in its approach to mixing the realistic and the fictional elements of the film. This is something not typical of the Sci-Fi genre but shows how genres repeat conventions and also make them different by mixing styles.</div>
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<i style="font-weight: bold;">'Fish Tank' </i>however is not a hybrid, it follows the codes and conventions of the social realist genre very closely. Its <i>kitchen sink </i>style relates to well established generic techniques and themes. It revolves around topical social issues (family dysfunction & underage sex), makes use of hand-held camera and can be viewed as gritty and realistic in terms of its representation of British social life. The mise-en-scene of a working class council estate can be seen in the opening sequence and is typical of the genre. In this scene we can instinctively conclude that this is of the social realist genre as Mia shouts <i>"Tell your old man that I think he's a c*nt"</i>. This alone clearly shows her working class upbringing; but the use of long takes, hand-held camera and use of only diegetic urban sounds as she quickly walks through the estate can be seen as typical stylistic conventions of the social realist genre. Her brisk walking continues throughout the film and suggests a character who is going nowhere fast. Original social realist films of the 1960's such as <b><i>'Saturday Night and Sunday Morning'</i></b><span style="font-style: italic; font-weight: bold;"> </span>and <b><i>'A Taste of Honey'</i></b> dealt with similar social issues and also contained similar techniques, but they tended to include non-diegetic music to support the action and emotional context to appeal to a mainstream audience. This shows how the genre has developed over time, as all genres do, but <i style="font-weight: bold;">'Fish Tank' </i>has pushed the genre to new depths of realism by attempting to create more realistic representations of social situations. </div>
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The narrative issue of 15 year old Mia's desire for a sexual relationship with Connor, her mother's boyfriend, could also be seen as a controversial topic in today's society to spark debate, a regular consequence of the generic conventions of social realism. </div>
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In conclusion, all three texts are very typical of their genres, using many classic conventions from each different genre. In some cases these may be mixed with other genres to develop a wider audience and create difference for modern audiences. <i style="font-weight: bold;"> </i> </div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-24942228157719963532017-02-15T08:09:00.000-08:002017-02-17T13:52:42.129-08:00MS4 - 'A' Grade Exam Response: Text, Industry & Audience<div class="separator" style="clear: both; text-align: center;">
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<i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">B4. ‘Most media texts target a range of different audiences.’ How true is this for your chosen texts? </span></i></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> It is true that most media texts target a range of different audiences by making themselves suitable for more than one type of person, by selecting, constructing and anchoring its meaning, spreading out to a wider population. This can be said of the three film texts that I have chosen, Neil Marshals’ ‘Dog Soldiers’, Richard Curtis’ ‘Bridget Jones’ Diary’ and Edgar Wrights’ ‘Shaun of the Dead’. Whilst these three films certainly have a particular audience in mind whilst being created, they also have traits and go to certain lengths to make sure that they target a range of audiences, in a means to attract more people to the box office, resulting in a higher gross profit for the film in question.<br /><br />Neil Marshal’s British horror feature film Dog Soldiers is a typical horror film. It involved werewolves, gun fire, action and gore. And yet it received strong attention at the box office from a range of audiences, including young women as well as men. The film did particularly well within the United Kingdom as well as being very well received within the United States too, something almost unheard of for a British horror film.<br /><br />Dog Soldiers manages to attract its multiple audiences in a number of ways. The action is set around a group of British marines who are sent on a training exercise in a remote part of the Scottish countryside. Soon they realise that all is not what it seems and a pack of hungry mythical creatures are after them. By setting the action within Britain, with an entire British cast, enables the film to grab the attention of the aforementioned, not just British audience, but a foreign one too. British audiences wish to see this film because it has a strong, likeable British cast, whilst Americans wish to view it because the idea of a successful horror film coming out of the UK was almost unheard of in this decade at that point. <br /><br /> Dog Soldiers received both praise and higher audience figures because of its gritty realism, which had begun to disappear in the American horror figures, which favoured over the top gore over reality. The film touches not only on the horror genre, but of the survival, thriller genre too, gaining wider recognition from audience members who perhaps would not have normally gone to see a horror picture. <br /><br />The film manages to attract a female audience by including the female character of Claire. She is the only female featured within the film, and is portrayed as sensible, strong and courageous., subverting horror stereotypes that all women must be weak, damsels in distress, which appeared to be a female audience drawing them in to watch the film. As a whole, this film works well to attract different types of audiences, both genders, as well as overseas viewers. </span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Bridget Jones’ Diary, which follows the title characters mishaps and triumphs within her love life was a box office hit, and managed to target a wide range of diverse audience members. The film achieved this in many ways, starting with its initial stages such as casting the film. To attract a female audience, the casting team had to select an actor that would entice to women. They found already formed British heartthrob Hugh Grant, whose success with previous box office hits such as ‘Four Weddings and a Funeral’ and ‘Notting Hill’, guaranteed them an audience percentage. The director and costume designers then constructed Hugh Grant to make him seem even more irisistable to a female audience, by dressing him in well tailored, expensive suits and made him look perfect on screen with the aid of clever make up and lighting. Finally, to anchor the preferred reading of the character to the audience, Hugh Grant is given, as the character of Daniel, seductive lines which he will read in his coy British accent, guaranteed to entice a female viewer. The male audience is attracted both by casting Renee Zellwegger in the lead role, already a hit with the male audience, but also by advertising the film with such slogans as ‘the perfect date film’ ensuring that men take their girlfriends to see this film.</span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> Along with a thoughtful script that provides love and romance for a female audience, and crude innuendos and sexual imagery for men, Bridget Jones is able to target both genders as well as appealing to overseas markets. The film takes a quaint look on British life appealing to American audiences, as well as the British sense of humour that they love so much. In all Bridget Jones’ Diary, is successful in targeting different types of audiences through both script and casting. <br /><br /> Finally, Edgar Wright’s zombie comedy ‘Shaun of the Dead’, released in 2004, was a worldwide hit, managing to target a vast range of audiences including men, women, horror fans, comedy fans, as well as fans of his previous television series, ‘Spaced’ broadcast several years previous on channel 4. <br /><br />Whilst the script was certainly strong enough to attract a large majority of audiences on its own, the film did not just rely on the strength of its plotline. Special attention was taken to construct a strong cast of likeable personalities that would appeal to the public, as well as different audiences, gaining a higher profit at the Box Office. </span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />The central protagonists are Shaun and Ed, played by Simon Pegg and Nick Frost already fairly well known for their work on aforementioned television series ‘Spaced’ and whilst were not ultimately household names at the time, their likeable personality and ability to play off one another proved vital to attracting a young male audience, whose relationships with close male friends were not unlike that of characters Ed and Shaun. The character of Dianne is portrayed by actress Lucy Davis, acclaimed for her work as character Dawn Tinsley Ricky Gervais’ hit comedy ‘The Office’, already a great success. Her well known face helped to secure Shaun of the Dead, both a female audience as well as fans of The Office. Penelope Winton and Bill Nighy were cast to give an older perspective within the plot, and aided the film as they managed to secure the film with an older target audience, who enjoyed the more mature characters outlook on the stories zombie attack. </span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br />The film worked well to target both fans and of the horror and comedy genres, giving equal measures to each within the film, providing light comical relief within moments of terror and vice versa. This is reflected within the films advertisements; where the film posters and trailers are both comical as well as chilling, appealing to both audiences drawing them into watch the text. The fact that one of the films tag lines was ‘a comedy with zombies’ ensures that it will receive the target audience it requires whilst including the older and female characters on advertisements too will also ensure that a larger target audience is received. <br /><br />In conclusion all three film texts work well to gain a large diverse, target audience gaining both genders, different ages and different countries to create a stronger box office total.</span><br />
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-90099596705711883462017-01-16T13:00:00.000-08:002017-12-24T13:23:18.624-08:00MS4 - Text, Industry & Audience: Fish Tank (Genre/Representation)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNT1uAL1xa9xLnlVXqImu4nABRLnEitG2yoA0p2mLPWOWPRAQMNPNoZLW8H2I2gSAhAS-qwZoA5CcBuqWiBWhPxUEkTqfkRcoYVGVEORbTrWXu8T5jKwHvYEXngAIzf616vQuDrw0aoA/s1600/fishtank+2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5660839821240580674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNT1uAL1xa9xLnlVXqImu4nABRLnEitG2yoA0p2mLPWOWPRAQMNPNoZLW8H2I2gSAhAS-qwZoA5CcBuqWiBWhPxUEkTqfkRcoYVGVEORbTrWXu8T5jKwHvYEXngAIzf616vQuDrw0aoA/s320/fishtank+2.jpg" style="cursor: hand; cursor: pointer; display: block; height: 183px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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Social Realism</div>
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Better than any other genre, social realism has shown us to ourselves, pushing the boundaries in the effort to put the experiences of real Britons on the screen, and shaping our ideas of what British cinema and British life can be. </div>
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Social realism in films is representative of real life, with all its difficulties. The stories and people portrayed are everyday characters, usually from working class backgrounds. Typically, films within the social realist genre are gritty, urban dramas about the struggle to survive the daily grind.</div>
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One of the strongest images of postwar British cinema is that of factory worker Arthur Seaton downing a pint in one at the end of another week in <b>Saturday Night and Sunday Morning (1960)</b>. Also in <b>A Taste of Honey (1961)</b> prejudices and social values were explored in British cinema for the first time.</div>
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These films dealt with prostitution, abortion, homosexuality, alienation and relationship problems; issues that were seen as controversial at the time. Here were factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalised, poor and depressed.</div>
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This British New Wave was symptomatic of a worldwide emergence of art cinemas challenging mainstream aesthetics and attitudes. The New Wave protagonist was usually a working-class male without bearings in a society in which traditional industries and the cultures that went with them were in decline. Directors like Ken Loach and films such as those by Mike Leigh's High Hopes (1988) and The Full Monty (1997) have addressed the erosion of regional and class identities amid a landscape rendered increasingly uniform by consumerism and social structures.</div>
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Descendants of this style at the BBC in the 1960s, Ken Loach and Mike Leigh assessed the impact of the consumer society on family life, charting the erosion of the welfare state and the consensus that built it. Looking back, Loach's work seems to reflect the shift from the collectivist mood of the war years to the individualism of the postwar decades in its very form. Loach's films went from the improvised long-take naturalism of Poor Cow and Kes (both 1969) to the 'social melodrama' of Raining Stones (1993). </div>
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In the 1980s, publisher-broadcaster Channel 4 attempted to cultivate a cinema audience for realism. Responding to the moralistic entrepreneurialism of the Thatcher years, 'Films on Four' My Beautiful Laundrette and Letter to Brezhnev (both 1985) followed characters from the margins as they attempted to stake a claim in the new order. Meanwhile, more lethal and complex representations of men and women appeared in Shane Meadows' A Room for Romeo Brass (1999) and This Is England (2006) added more diverse representations of modern culture.</div>
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'Fish Tank' can be seen as a direct descendant of this type of cinema in its portrayal of a young girl disillusioned by her lifestyle, social insignificance and prospects who seeks escape in her passion to express herself in dance.</div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-63904705101471459132017-01-16T12:27:00.000-08:002017-02-17T13:54:27.414-08:00Genre & Narrative Theory<div style="text-align: center;">
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-13680313185817923892016-10-15T08:00:00.000-07:002016-10-14T14:22:07.935-07:00Scoop.it Resource Page<div class="separator" style="clear: both; text-align: center;">
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We have now set up a <b><a href="http://www.scoop.it/t/a2-media-studies">Scoop.it Resource page</a>,</b> <i><u>that can be found in the right hand column</u>,</i> to blog any sites that may be of use for your <b>A2 Media 'Research Investigation'</b>.<br />
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This will<b> </b>also contain <b>extra features and sources</b> for the <b>key texts.</b> <b> </b>Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com3tag:blogger.com,1999:blog-5004801434225049844.post-63541975712100246132016-10-15T07:53:00.000-07:002016-10-14T14:21:25.224-07:00Common 'Research Investigation' Faults<div class="separator" style="clear: both; text-align: center;">
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<li>Make sure you use quotes/statistics from your <b><u>research</u></b></li>
<li>Make sure your <b>research </b>is from a wide variety of sources</li>
<li>Make sure you <b>research the theory </b><i>(include sources in Bibliography)</i></li>
<li>Make sure you<b> apply the theory </b><i>(use key quotes to support your points)</i></li>
<li>Analyse <b>sequences from your texts</b> to apply the theories in depth <i>(don't generalise across a whole film/programme/CD etc <b>be detailed </b>and <b>be specific</b>)</i></li>
<li>Reference <b><u>all</u></b> sources of information in the <b>'Investigation'</b> & <b>Bibliography</b></li>
<li><b>Texts</b> should be items <b>(1)</b> and <b>(2) in the Bibliography</b></li>
<li><b>Use media terminology throughout (remember this is A2)</b></li>
<li>You have probably chosen an issue/topic because you know it exists or is valid - it needs to be remembered though that <b>if you can't prove this through research, your viewpoint has no validity</b></li>
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If you look over your work and can't see evidence that you have covered the above, it is likely that your mark will be low. If you're still unsure then <b>ask for help and guidance</b>. The completed <b>'Research Investigation' (final draft) </b>needs to submitted before we <b>break for Christmas</b>.</div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-37710223058739683672016-10-14T13:20:00.000-07:002016-10-14T14:16:56.145-07:00Further 'Research Investigation' Advice<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuy-njmQ_k1jgCu_Qh9b_myY1wgrwjIQY3JqUNjv9CbAOC_axRuP-D7qW7IZZaeZhjEXhZmG0O6tzoKa8x4GvixCfYFJaXBPdxSqh2hVk66eMgyhxb_KPUFzvp5-GJI07ByFXnB8-G5E/s1600/Daniel-Craig-as-James-Bond.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5661548282486045218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuy-njmQ_k1jgCu_Qh9b_myY1wgrwjIQY3JqUNjv9CbAOC_axRuP-D7qW7IZZaeZhjEXhZmG0O6tzoKa8x4GvixCfYFJaXBPdxSqh2hVk66eMgyhxb_KPUFzvp5-GJI07ByFXnB8-G5E/s320/Daniel-Craig-as-James-Bond.jpg" style="display: block; height: 234px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 320px;" /></a><br />
<div>
<b>Research Investigation Advice:</b></div>
<div>
<br /></div>
<div>
• In your introduction you should provide a thesis statement* <b>which refers to the point(s)</b> in the question, <b>answering the question in this opening paragraph, if possible</b>.</div>
<div>
<br /></div>
<div>
• You should progress (develop) <b>your argument</b> by building on <b>key</b> <b>points</b> from paragraph to paragraph. Directly referring to key aspects of the text in detail.</div>
<div>
<br /></div>
<div>
• Signpost new paragraphs clearly by leaving a line gap or indenting. You do not have to do both. Also, don’t be tempted to start a new line just because you are beginning a new sentence.</div>
<div>
<br /></div>
<div>
• Don’t digress: <b>each of your paragraphs should be focused on the topic of the question</b>. Use actual wording from the question from time to time so that you don’t go off the point.</div>
<div>
<br /></div>
<div>
• <b>Be logical</b>: if you are deconstructing an advert, film sequence or narrative, discuss it in chronological order; focus on what happens at the beginning, then the middle, then the end.</div>
<div>
<br /></div>
<div>
• Use <b>key arguments</b> to make your points fluently and clearly. Phrases and connectives help you to make sense when discussing points in a text or linking ideas in and between paragraphs. </div>
<div>
<br /></div>
<div>
<b>These will also help the reader to ‘navigate’ your essay</b>. For example:</div>
<div>
<br /></div>
<div>
At the beginning of the film…</div>
<div>
At the start of…</div>
<div>
At first / firstly…</div>
<div>
<br /></div>
<div>
Later on in the text…</div>
<div>
Further on…</div>
<div>
Next we see…</div>
<div>
Subsequent scenes…</div>
<div>
Secondly…<br />
<br />
As stated by....<br />
An opposing argument suggests that....<br />
Fans have stated that ..... <b>"<i>insert quote"</i></b><br />
In terms of the uses & gratifications theory this means that.....<br />
Reviews state that ....<b><i>"insert quote"</i></b></div>
<div>
<br /></div>
<div>
At the end of the advert…</div>
<div>
As the text draws to a close…</div>
<div>
In conclusion / To conclude</div>
<div>
Finally / My final point is…</div>
<div>
<br /></div>
<div>
Similarly / Likewise</div>
<div>
In addition / additionally</div>
<div>
Furthermore</div>
<div>
Moreover</div>
<div>
As well as this<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
<div>
<br /></div>
<div>
However</div>
<div>
Whereas</div>
<div>
Whilst</div>
<div>
Although</div>
<div>
Even though<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
<div>
<br /></div>
<div>
As a result</div>
<div>
Due to (the fact that)</div>
<div>
Since / Because</div>
<div>
Consequently / As a consequence</div>
<div>
Subsequently</div>
<div>
<br /></div>
<div>
• <b>Use the media terminology as a tool </b>– to help you discuss the texts. </div>
<div>
<br /></div>
<div>
• Make sure you reference all <b>quotes</b>, <b>theory</b> and <b>information</b> thoroughly throughout your essay. Indent any quotations that are longer than 2 lines.</div>
<div>
<br /></div>
<div>
• Always <b>write a conclusion by referring back to the main point(s) in the question</b>. </div>
<div>
<br /></div>
<div>
• And finally, above all…if you are unsure of something, or uncertain about what you want to write, don’t write it. Keep your points simple in this case, and don’t try to use vocabulary that you don’t understand.</div>
<div>
<br /></div>
<div>
* A thesis statement is the statement that begins a formal essay or argument, or that describes the central argument of your discussion.</div>
<div>
<br /></div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-26316052374189649002016-10-14T08:25:00.000-07:002016-10-14T14:20:01.536-07:00Sample: Question/Opening Paragraph/Bibliography <!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimoRAZFqrAS31L16q6ues39idqkz2rrRTpzP4Kn59UNUR8Ui3xectLt1NCaNqwxje4YfRe7AG7YkNWs-_sXEci9p-2sJKChBq5k7npXIyyLnjYsLZ4FCSHgsdYdGJDXsTrXykJjD9F7bI/s1600/Tom_Ford_Violet_Blonde_ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimoRAZFqrAS31L16q6ues39idqkz2rrRTpzP4Kn59UNUR8Ui3xectLt1NCaNqwxje4YfRe7AG7YkNWs-_sXEci9p-2sJKChBq5k7npXIyyLnjYsLZ4FCSHgsdYdGJDXsTrXykJjD9F7bI/s320/Tom_Ford_Violet_Blonde_ad.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">To make sure that your <b>Research Investigation</b> includes referencing and a clear bibliography here are some sample extracts to use as a guide. <i>(they are all from different projects)</i></span></span></div>
<div class="MsoNormal">
<b><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span></i></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><b><u>Sample Question/First Paragraph</u></b></span></span></div>
<div class="MsoNormal">
<b><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span></i></b></div>
<div class="MsoNormal">
<b><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">How are women
represented in contemporary advertisements, paying particular attention to Tom
Ford and Dior campaigns? </span></span></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The
representation of women differs significantly within advertising, and through
various theories, I will explore this. Different aspirations are exposed to the
public life influencing how women should act or how they are supposed to be
viewed in reality. The two adverts that I am analysing represent women in two
completely different ways, in Tom Fords advertisement women are shown in a
very controversial and objectified way to sell their product to their target
audience, who are mainly men. In Dior’s advertisement women transmit an image
as wealthy and inspirational, which prominent ideology which is influential to
women to buy their product. I will be applying specific theories
such as Laura Mulvey’s theory of 'the male gaze' and possibly the objectification of women
and their stereotypical gender roles. Also I will explore the Hypodermic Model,
paying particular attention to advertising campaigns such as Tom Ford’s “Ford
for Men” [2] and Dior’s “Miss Dior Cherie” advertisements. [1] (see appendix
[1] and [2]) </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>Sample Paragraph</u></b></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="color: #191919; line-height: 18px;">In ‘Lara Croft: Tomb Raider’ (1) directed by Simon West, there is a strong female protagonist; the film is based on the adventures of an archaeologist originally depicted in a series of video games, which gave teenage boys the power to control a beautiful woman and alter camera shots which depicted her. Croft’s character is described as “a beautiful, intelligent and athletic archaeologist-adventurer” (13). There is a clear differentiation from ‘Alien’ (2) here, as Ripley’s character was originally written as a man, the character of Lara Croft is most definitely a woman and this is clearly demonstrated throughout the film; in particular the fact that Croft is supposed to be seen as a powerful but sexualised woman is demonstrated through the use of camera angles. “Lara is super strong, invincibly strong. But also stunningly beautiful, unbelievably beautiful. This combination has characterised film heroines since the 1990s.” (14) Within ‘Tomb Raider’ (1) a large number of camera shots focus on Croft’s chest and thighs- this is where her guns are strapped so every time she uses them the camera focuses here. An example would be in the opening scenes of the film in which Croft fights a robot in a training scene, there is a five second close-up shot of Croft’s thighs. This objectifying of the character is clearly shown on advertising for the film. (Appendix 2) Laura Mulvey’s Theory of the Male Gaze, suggests some “films objectify women in relation to ‘the controlling male gaze’, presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’. Men do the looking; women are there to be looked at.” (5) This would suggest that the character of Croft is simply there for male pleasure rather than alter gender stereotypes; demonstrated in the opening fight scene in which the camera focuses on her breasts, legs and bottom, Croft is noticeably portrayed as a sex symbol.</span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>Sample Bibliography</u></b></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Bibliography<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">[1] The Black Swan (2010)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">[2] The Kings Speech (2010)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 11pt;">[3]<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US"><a href="http://theoryandscience.icaap.org/content/vol002.002/lopezlevers.html"><span style="font-size: 11pt;">http://theoryandscience.icaap.org/content/vol002.002/lopezlevers.html</span></a></span><span lang="EN-US" style="font-size: 11pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 11pt;">[4] </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/List_of_films_featuring_mental_illness"><b><span style="font-size: 11pt;">http://en.wikipedia.org/wiki/List_of_films_featuring_mental_illness</span></b></a></span><b><span lang="EN-US" style="font-size: 11pt;">
<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 11pt;">[5]<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US"><span style="font-size: 11pt;"><a href="http://www.stammering.org/kingsspeech.html">http://www.stammering.org/kingsspeech.html</a></span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">[6] MediaMagazine 6<sup>th</sup> December 2003<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">‘Entertaining madness-representations of mental
illness on screen’<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 11pt;">[7] </span><span lang="EN-US"><a href="http://www.youtube.com/watch?v=UCsOeeEa_6E">http://www.youtube.com/watch?v=UCsOeeEa_6E</a>
</span><span lang="EN-US" style="mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">[8] Oxford Dictionary</span><span class="Apple-style-span" style="font-family: "arial";"><o:p></o:p></span></span></div>
<!--EndFragment--><br />
<!--EndFragment-->Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com1tag:blogger.com,1999:blog-5004801434225049844.post-32875207251263523252016-10-14T07:13:00.000-07:002016-10-14T14:18:39.305-07:00MS3 - Research Investigation<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwIMKUBSsDESx2zy1uhO50SF0XC91A2yuSOXHmwOzFcstkvZ9QpS2iXiBAAB2CtRsJElWM4TaldSN7PFDXEI86Ht2Uoje1Y8BNA4Ru4MxvvTSWHGpEc2esJW1DBDCELZMW5N6-BW8D7_c/s1600/skins1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5671254234803947266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwIMKUBSsDESx2zy1uhO50SF0XC91A2yuSOXHmwOzFcstkvZ9QpS2iXiBAAB2CtRsJElWM4TaldSN7PFDXEI86Ht2Uoje1Y8BNA4Ru4MxvvTSWHGpEc2esJW1DBDCELZMW5N6-BW8D7_c/s320/skins1.jpg" style="cursor: hand; cursor: pointer; display: block; height: 192px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Structure of essay:<br />
<div>
<br /></div>
<div>
<ul>
<li>Introduction - What you intend to research and how? What theories you intend to use?</li>
</ul>
<ul>
<li>Textual analysis - What you are investigating in your texts. What is revealed. Points of discussion should relate to detailed analysis.</li>
</ul>
<ul>
<li>Applying theory - Theoretical approaches need to be applied to reveal similarities and differences. Important discussion points and development of argument. </li>
</ul>
<ul>
<li>Reference to research - Research should support argument and points of your discussion. Referencing should be explicit and related to your bibliography.</li>
</ul>
<ul>
<li>Logical flow to essay - The essay should develop the argument in a logical way.</li>
</ul>
<ul>
<li>Conclusion - Main points of the essay should be pulled together in the conclusion to round off your argument. Don't add new points at this stage.</li>
</ul>
</div>
Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com1tag:blogger.com,1999:blog-5004801434225049844.post-57700106661769624952016-10-14T00:28:00.000-07:002016-10-14T13:38:54.027-07:00Common investigating errorsDescribing a source of research rather than quoting.<br />
<br />
Not actually reading theory or researching. Students who do not do this tend to simply describe their sources/case studies and make general sweeping statements.<br />
<br />
Not using theory to assist in answering your question.<br />
<br />
Misuse of language.<br />
<br />
Lack of media terminology.<br />
<br />
Word count is too high.<br />
<br />
<br />christimothy12http://www.blogger.com/profile/13852082224882597534noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-3651334246017544312016-10-12T16:08:00.000-07:002016-10-14T14:19:06.962-07:00Research investigations - Miss representation quotes<div class="MsoNormal">
The following quotations come from the
documentary entitled “Miss representation” (this can now be viewed on Netflix) and deal with issues of false and
bias female representations in the Media, which help contribute to a
patriarchal society. Some are statistics
the documentary presents via on screen graphics where others are specific
quotations from contributors.</div>
<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
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<ol>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;"> </span></span><span lang="EN-US" style="text-indent: -18pt;">Teenagers on average, spend 10
hours 45 minutes a day consuming Media</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;"> </span></span><span lang="EN-US" style="text-indent: -18pt;">Girls learn from a very early
age, the most important thing is how they look</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">53% of 13 year old girls are
unhappy with their bodies, by 17 the statistic is 78%</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Rates of depression among girls
and woman have doubled between 2000 and 2010</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The ideal image of beauty is
becoming more extreme and impossible than ever before – Jean Kilbourne</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Girls measure themselves
against an impossible standard and end up feeling left wanting</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The non content form of the
media has to be backed up and supported by the content</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">A lot of advertising is based
on making people feel anxious and insecure – Jean Kilbourne</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Girls learn to see themselves
as objects– Jean Kilbourne</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">American woman spend between
12-15 thousand dollars a year on beauty products</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The number of cosmetic surgery
procedures performed on youth under 19 more than tripled from 1997 to 2007</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">At 7 years old little girls and
little boys want to be president of the United States in equal number, 30%, ask
the same question at 15 and a huge gap has occurred – Caroline Heldman</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">In areas where females have
challenged male power, males have responded by representing them in a way that
assists in taking their power away – Jackson Katz</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Congress has the fewest amount
of woman in 30 years</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Females own 5.8% of all TV and
6% of radio</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">97% of publishing companies are
owned by Males</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Woman comprise only 16% of all
writers, directors, producers, cinematographers and editors</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">10% of writers of film are
female</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">People tend to employ
reflections of themselves – Lindy Dekoven</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">We replicate the world we grow
up in – Film Director</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The representation of females
in film has become much more narrow and cartoon like than in the 20s, 30s, 40s
and 50s</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">In the 1990’s studies found a steady
increase in explicitly sexual images in advertising</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The exploitation of female
bodies sell products</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Males are taught to not express
emotion</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Females are represented as
young</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">You cant be what you cant see</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Females are not represent in
the Media for doing something, they are represented for how they look</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Many woman are empowered, but
not represented in the Media</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The majority of females on TV
are between 20-30, 71%</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">39% of woman in the world are
under 30</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Woman are represented as
natural enemies of woman</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">The Male Media represents
females in power trivially, often concentrating on appearance, which influences
audience’s opinions of females in power</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Females are represented as
emotional and irrational</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Only 16% of protagonists in
film are female</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">In between 1937 and 2005, there
was only 13 protagonists in animated movies who were female. All apart from one
of them had the aspiration to find romance – Greena Davis</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">As a culture woman are brought
up to be fundamentally insecure</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">Were socializing boys to
believe being a man is being in charge and dominate – Jackson Katz</span></li>
<li><span lang="EN-US" style="font-family: "symbol"; text-indent: -18pt;">·<span style="font-family: "times new roman"; font-size: 7pt;">
</span></span><span lang="EN-US" style="text-indent: -18pt;">More than 20% of teens have sex
before the age of 14</span></li>
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<!--EndFragment-->christimothy12http://www.blogger.com/profile/13852082224882597534noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-42534824340414870482016-10-12T13:49:00.000-07:002016-10-14T14:19:20.265-07:00A2 Media Investigation, advice and guidance on analysis<iframe frameborder="0" height="400" marginheight="0" marginwidth="0" scrolling="no" src="https://www.slideshare.net/slideshow/embed_code/15037998" width="476"></iframe>christimothy12http://www.blogger.com/profile/13852082224882597534noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-81596114164890731932015-10-10T12:58:00.000-07:002015-10-10T15:21:32.345-07:00Sample 'Research Investigation' (Edited)<div class="separator" style="clear: both; text-align: center;">
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<b>With specific reference to <i>'Kidulthood'</i> and <i>'Angus Thongs and Perfect Snogging'</i>, How are teens represented in social realism in comparison to a teen Film genre?</b><br />
In my investigation I will be looking at two very different genres, which represent teenagers in dramatically different ways. In my investigation I will be researching social realism and the typical teen movie, I will establish which one represents reality and whether either have negative effects on teenagers life’s today, referencing Kidulthood[1] and Angus Thongs and Perfect Snogging[2].I will be researching information through the Internet using different websites, and using books to collect other information. …………….………………………………………………………………………………………………………….<br />
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Social realism, ‘the most ‘typically British’ of all film genre’s, better than any other genre, social realism has shown us to ourselves, pushing the boundaries in the effort to put the experiences of real Britons on the screen, and shaping our ideas of what British cinema can be’ [11]. Social realist texts draw in characters that inhabit the social margins of society in terms of status and power. [16] The genre consists of factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalised, poor and depressed; typically, films within the social realist genre are gritty, urban dramas about the struggle to survive the daily grind. [19] KH is all about harsh reality. One of the main problems in KH occurs when Alisa one of the main characters finds out she’s pregnant. This is just one of the problems in Social Realist texts. Her best friend, Becky doesn’t really care or bother about the fact Alisa’s pregnant and just thinks it gets in the way, as Alisa doesn’t want to go out as much. KH is based in a mixed-income area of West London [12] and most people struggle with day to day life [8].<br />
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Teen film is a film genre targeted at teenagers and young adults where the plot is based upon the special interests of teenagers such as coming of age, first love, rebellion, conflict with parents, teen angst, and alienation. [10] Teen films are popular all over the world; they are not just a Hollywood genre. [13] ATPS is based around ‘first love’ and ‘conflict between parents’ two special interests of a teen film. Georgia the main character does everything she can to try and get with a ‘hottie’ at their school, Robbie who has just moved to Eastbourne from London. …………………..<br />
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Near the start of KH, Trife finds out Alisa’s pregnant due to a phone call as their year has the day off because Katie, a girl also in there year is being physically and emotionally bullied by a group of girls led by Shaneek, and is separately threatened by Sam. Her parents do not know the extent of the bullying. After being picked up from school, a distraught Katie flees to her bedroom, writes a note, and hangs herself. [12] Trife, and his mate Jay, are waiting for Mooney to get to Trife’s to go out and do something with their day off they have. Mooney is trying to hitch a taxi form the side of the road, but it’s looking impossible. This could be due to the way he’s appearance, as people might come across that he is a Chav, this could be because of his clothes and the language he is using. ‘’Taxi.. What the fuck man!?’’ [1] Chav’s are said to be aggressive and arrogant teenagers and young adults, of underclass background who repeatedly engage in anti social behavior such as street drinking, drug abuse and rowdiness, or other forms of juvenile delinquency. [15] This representation is a stereotype - “a fixed, over generalised belief about a particular group or class of people.” The use of stereotypes is a major way in which we simplify our social world; since they reduce the amount of processing (i.e. thinking) we have to do when we meet a new person. [21] A ‘Chav’ is an example of a stereotype, by stereotyping we infer that a person has a whole range of characteristics and abilities that we assume all members of that group have. Stereotypes lead to social categorisation, which is one of the reasons for prejudice attitudes (i.e. “them” and “us” mentality), which leads to in-groups and out-groups. [21] This is a disadvantage as it makes society ignore differences between individuals; therefore we make generalisations about people that might not be true [21] The Taxi drivers are stereotyping Mooney as a ‘Chav’ by the way he looks, and ignoring the fact he could be a nice lad behind his trackies and language. Social realism is again showing us an experience, which happens in day-to-day life, but teen film ignores the realism completely.<br />
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Teen pregnancy’s increases every year due to teenagers having unprotected sex. The increased sexual activity among adolescents is manifested in increased teenage pregnancies and an increase in sexually transmitted diseases. [17] In KH, it deals directly with issues such as pregnancy, sex and drugs. Alisa finds out she’s pregnant, she’s only 15. Trife’s the dad, but doesn’t realise how important this is and the consequences he could have, due to his young age of becoming a dad, and just carry’s on playing his game with Jay. This shows that social realism films use real social issues that are going on in people households in this low income area, where as in the teen film ATPS, it revolves around the more superficial act of a first kiss. …………………………...<br />
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Coming from a poor background, the girls have no money to their name, so Becky takes Alisa to an older man's house where they perform sexual acts in return for drugs. Becky is the instigator and Alisa feels that she has to follow her friend's actions. [12] Thanks to the relaxation of censorship, characters had sex lives, money worries, social problems. British 'auteurs' like Karel Reisz, Tony Richardson and John Schlesinger dealt with prostitution, abortion, homosexuality, alienation and relationship problems.[11] <br />
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Teen films are often set in or around high schools as this allows for many different social cliques to be shown. [10] British Social Realism films are filmed on actual, real life locations such as parks and council estates and not in made up sets in studios like mainstream Hollywood films use. [18] ATPS is set in a high school to show the comparison between the different teenagers at the school. Georgia and her friends are not as popular compared to ‘slaggy Lindsey’ who is hitting on Robbie one of the new brothers who moved from London to Eastbourne. ………………………………………………..<br />
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Family dysfunction can be any condition that interferes with healthy family functioning. Most families have some periods of time where functioning is impaired by stressful circumstances (death in the family, a parent's serious illness, etc.). Healthy families tend to return to normal functioning after the crisis passes. In dysfunctional families, however, problems tend to be chronic and children do not consistently get their needs met. Negative patterns of parental behavior tend to be dominant in their children's lives. [20] In the park scene of ATPS, ……………………………. middle class environment, so they have more support if they come from a broken home and will have less dysfunction throughout there lives. KH are also shaped through their working class environment, they have less support coming from a dysfunctional family, this then leads them into drugs, violence and rebelling, and there lives will be full of more dysfunction throughout. <br />
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<b>Bibliography </b><br />
[1] Kidulthood (2006) Directed by Menhaj Huda (KH)<br />
[2] Angus Thongs and Perfect Snogging (2008) Directed by GurinderChadha (ATPS)<br />
[8] <a href="http://www.kidulthood.co.uk/">http://www.kidulthood.co.uk/</a><br />
[11] <a href="http://www.screenonline.org.uk/film/id/1037898/">http://www.screenonline.org.uk/film/id/1037898</a><br />
[13] <a href="http://www.talkingpix.co.uk/ArticleTeenSpeak.html">http://www.talkingpix.co.uk/ArticleTeenSpeak.html</a><br />
[18] <a href="http://www.slideshare.net/hannahmedia123/codes-and-conventions-of-british-social-realism">http://www.slideshare.net/hannahmedia123/codes-and-conventions-of-british-social-realism</a><br />
[20] <a href="http://www.k-state.edu/counseling/topics/relationships/dysfunc.html">http://www.k-state.edu/counseling/topics/relationships/dysfunc.html</a><br />
[21] <a href="http://www.simplypsychology.org/katz-braly.html">http://www.simplypsychology.org/katz-braly.html</a><br />
[23] <a href="http://www.urbandictionary.com/define.php?term=snogging">http://www.urbandictionary.com/define.php?term=snogging</a>Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com1tag:blogger.com,1999:blog-5004801434225049844.post-71520830213277559302015-09-30T11:06:00.000-07:002015-09-30T14:52:51.001-07:00MS3/MS4 - Genre Theory<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Genre Theory</span></h1>
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<b>Do genres in the cinema really exist and if so, can they be defined?</b><br />
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“Genres isn’t a word that pops up in every conversation about films or every review – but the idea is second nature to the movies and our awareness of them. Movies belong to genres much the way people belong to families or ethnic groups. Name one of the classic, bedrock genres – Western, comedy, musical, war film, gangster picture, science fiction, horror – and even the most casual moviegoer will come up with a mental image of it, partly visual, partly conceptual” (Richard T. Jameson, They Went Thataway, 1994, p. IX).<br />
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“The master image for genre criticism is the triangle composed of artist/film/audience. Genres may be defined as patterns/form/styles/structures which transcend individual films, and which supervise both their construction by the filmmaker, and their reading by an audience” (Tom Ryall, quoted by Stephen Neale, Genre, 1980, p. 7).<br />
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“…genre can be defined as a structural pattern which embodies a universal life pattern or myth in the materials of language… Genre is universal, basic to human perceptions of life” (John Cawelti, The Six-gun Mystique, 1975, p. 30).<br />
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As Barry Keith Grant writes in the introduction of his genre reader, “the work of defining film genres is surprisingly difficult and complex’” [1] because “…recognition of the importance of genre in the cinema is a relatively recent development….although chronologically it narrowly predates the early work of auteur criticism.” [2] Grant takes notice that until the late 1940s and early 1950s – when Robert Warshow and genre pioneer André Bazin wrote the first significant essays on film genre (about gangster movies and about the Western) – films were only distinguished by a phrase (for example, ‘a war movie’) “used as a convenient label to give one an idea of what the story was like, what to expect generally from a film.” [3] As before in literature, in painting and in other forms of art, “genre became a critical term, providing another conceptual framework for understanding movies.” [4] A genre classification can also double as a precise commercial study because it evokes certain audience expectations and therefore it allows one to establish classifications, comparisons, balance-sheets, valuations for the future and so on. Although it has been helpful for cinema studies, classifying films in accordance with their genre remains a difficult and risky endeavor because genre ‘impurity’ is by now, some twenty years after the solidification of genre study, a constant characteristic and a usual practice of the cinema as art and as industry.</div>
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Extract from: <a href="http://offscreen.com/">Offscreen.com</a></div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-59171382131571247822015-09-29T12:20:00.000-07:002015-09-30T14:52:17.037-07:00How To Analyse Genre: A Brief Introduction - 'The Western'<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 19px; text-align: -webkit-auto;">Genre theory is used in the study of films in order to facilitate the categorisation of films. Genre are dependent on numerous factors such as storyline, whom the director is, what are the audience expectations and what <b>conventions</b> are used.</span><br style="background-color: white; line-height: 19px; text-align: -webkit-auto;" /><br style="background-color: white; line-height: 19px; text-align: -webkit-auto;" /><span style="background-color: white; line-height: 19px; margin-bottom: 16pt; text-align: -webkit-auto;">In order to understand Genre we may look at several examples. When we analyse 'The Western' we may expect to find gunfights, horses and indians, the solitary cowboy and to some degree the actors and directors of such films (all regular <b>conventions</b>). They also expect certain content and a certain style of filmmaking (camera/setting/sound).</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 19px; margin-bottom: 16pt; text-align: -webkit-auto;">When analysing any type/genre of film it is important to recognise and discuss those elements that make it fall within a specific, or possibly a number of categories. </span></span></div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-70663216015324736872015-06-12T14:07:00.000-07:002015-06-12T14:16:43.449-07:00Leavers 2015: A Farewell Message<div class="separator" style="clear: both; text-align: center;">
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Thanks to all A2 Media students for their hard work, effort and support this year. It has been most appreciated. I hope the results in August are what you expected.</div>
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I look forward to hearing of your continued success in the future.</div>
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Please take a moment to watch this video. </div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-35949200191415711412015-05-16T15:11:00.001-07:002015-05-16T15:31:15.195-07:00How Much Does A Band Earn From Each Music Platform? Uniform Notion Shares The Numbers<h3 class="entry-header" style="font-family: 'Pontano Sans', sans-serif; font-size: 19px; font-weight: 400; line-height: 19.066667556762695px; margin: 0px; padding: 0px 0px 8px; text-align: center; text-transform: capitalize;">
How Much Does A Band Earn From Each Music Platform? Uniform Notion Shares The Numbers</h3>
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<a href="http://www.hypebot.com/.a/6a00d83451b36c69e2014e8b857ab3970d-popup" style="color: #6e69b0; float: left; text-decoration: none;"><img alt="image from www.uniformmotion.net" class="asset asset-image at-xid-6a00d83451b36c69e2014e8b857ab3970d" src="http://www.hypebot.com/.a/6a00d83451b36c69e2014e8b857ab3970d-200wi" style="border: 0px; margin: 0px 5px 5px 0px; width: 200px;" title="image from www.uniformmotion.net" /></a>Like most indie and d.i.y. artists, <a href="http://www.uniformmotion.net/" style="color: #6e69b0; text-decoration: none;" target="_blank"><strong>Uniform Motion</strong></a> relies primarily on digital sales and streaming to earn income from their recorded music. Without the benefit of profits from brick and mortar retail, as Uniform Motion released a new recording, they decided to research and share with their fans what each source of income was going to pay them. While its an unofficial snapshot of what one EU based band is earning, it provides <strong>a valuable primer for any artist or label:</strong></div>
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<strong><em>1 EUR = 1.36 USD</em></strong></div>
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<strong><a href="http://open.spotify.com/album/25yeSPTSlUqvH7drGQPXa4" style="color: #6e69b0; text-decoration: none;" target="_blank" title="s">SPOTIFY</a>: </strong></div>
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<li>With Spotify, we’ll get 0.003 EUR/play. </li>
<li>If you listen to the album all the way through, we’ll get 0.029 EUR.</li>
<li>If you listen to the album 10 times on Spotify, we’ll get 0.29 EUR</li>
<li>If you listen to it a hundred times, we’ll get 2.94 EUR</li>
<li>If you listen to the album 1,000 times (once a day for 3 years!) we’ll get 29.47 EUR!</li>
<li>If you use the free version of Spotify, it won’t cost you anything. Spotify will make money from ads. If you use any of the paid versions, we have no idea how they carve up the money. They only disclose this information to the Major record labels…</li>
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<strong><a href="http://www.deezer.com/en/music/uniform-motion/one-frame-per-second-1149229" style="color: #6e69b0; text-decoration: none;" target="_blank" title="d">DEEZER</a>:</strong><em> (A Spotify like service in UK and France)</em><strong><br /></strong></div>
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<li>Deezer seems to pay a little more.</li>
<li>We’ve been getting 0.006 EUR/play from them. That’s 0.052 EUR/album play. If you listen to the album 10 times on Deezer, we’ll get 0.52 EUR. If you listen to it a hundred times, we’ll get 5.2 EUR. If you listen to the album 1,000 times (once a day for 3 years!) we’ll get a whopping 52 EUR! </li>
<li>If you use the free version of Deezer, it won’t cost you anything and Deezer will make money from the ads. If you use any of the paid versions, we have no idea how they carve up the money either.</li>
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<strong><a href="http://www.emusic.com/listen/#/label/Uniform-Motion-TuneCore-MP3-Download/675953.html" style="color: #6e69b0; text-decoration: none;" target="_blank" title="e">eMUSIC:</a></strong></div>
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<li>eMusic is a subscription service. The cost of the album will depend on the plan you have. We get roughly $0.29/song or $2.60/album (9 songs).<strong> </strong></li>
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<strong><a href="http://www.amazon.fr/One-Frame-Per-Second/dp/B00589F5FS/ref=sr_1_1?ie=UTF8&qid=1314802388&sr=8-1" style="color: #6e69b0; text-decoration: none;" target="_blank" title="a">AMAZON MP3</a>:</strong><br />
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<li>You’ll pay 7.11 EUR to download the MP3’s. We will get 4.97 EUR of that. That’s a 70-30 split.</li>
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<strong><a href="http://itunes.apple.com/fr/album/one-frame-per-second/id444520328" style="color: #6e69b0; text-decoration: none;" target="_blank" title="i">iTUNES</a>:</strong></div>
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<li>The album will cost you 8.91 EUR to buy from Apple.</li>
<li>There’s a 70-30% split there too, so we will keep 6.28 EUR/album.</li>
<li>That being said, it costs us 35 EUR/year to keep an album on iTunes, Spotify, and Amazon (105 EUR per year for all 3 of our albums!) so we don’t make any money until 24 people have bought a digital copy of the album on iTunes, or 150 single songs, or if we get tens of thousands of listens on Spotify! In most cases, it’s actually more economically viable not to sell the music at all.</li>
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<strong>But what about if you buy the Digital version directly from us?</strong></div>
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<strong><a href="http://uniformmotion.bandcamp.com/" style="color: #6e69b0; text-decoration: none;" target="_blank" title="b">DIGITAL:</a></strong></div>
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<li>We allow people to pay what they want for the digital version. If you choose to pay 5 EUR, Paypal takes 0.37 EUR, Bandcamp takes 0.75 EUR. Uniform Motion keeps 3.88 EUR. it doesn’t cost us anything to have a page on bandcamp.</li>
<li>If you decide to pay nothing, well, we get nothing, but at least you didn’t give money indirectly to major record labels, which seems to be the case with Spotify!!</li>
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<strong><a href="http://uniformmotion.bandcamp.com/" style="color: #6e69b0; text-decoration: none;" target="_blank" title="b">CD</a>: </strong></div>
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<li>If you buy a CD, directly from us for 10 EUR, Paypal takes 0.515 EUR, Bandcamp takes 1.5 EUR. So there’s slightly less than 8 EUR left for us. But hold on a second, it costs a fair bit to make the CD.</li>
<li>The CD itself costs 1.2 EUR, the booklet costs about 50 cents, the CD packaging is 1.8 EUR and the sticker on the front costs 35 cents.</li>
<li>That’s a total of 3.65 EUR</li>
<li>So in reality, there’s 4.34 EUR left for us.</li>
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<strong><a href="http://uniformmotion.bandcamp.com/" style="color: #6e69b0; text-decoration: none;" target="_blank" title="b">VINYL</a>:</strong></div>
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<li>If you buy a 12” Vinyl from us at 15 EUR, Bandcamp takes 2.25 EUR, Paypal takes 0.646 EUR so there’s 12.10 left. The cost of the Vinyl itself is 3.06 EUR</li>
<li>The labels cost 1.3 EUR. For a total of 4.36 EUR</li>
<li>So there’s 7.75 EUR left for us.</li>
<li>However, we had to press 250 of these (because that’s the minimum order), so it’s very unlikely we’ll make any money on them.</li>
<li>We need to sell 72 copies before we break even on the vinyl edition. We’ve sold about 30 so far.</li>
<li>If we break even, we’ll lower the price a little bit. :)</li>
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<em>via <a href="http://www.techdirt.com/blog/casestudies/articles/20110911/00284415891/how-much-does-band-make-various-music-platforms.shtml" style="color: #6e69b0; text-decoration: none;" target="_blank">Techdirt</a></em></div>
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Johnhttp://www.blogger.com/profile/06534052322505628573noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-11431499444500486442015-05-06T07:06:00.000-07:002015-05-06T03:03:46.462-07:00Evaluation guidance - alternative approach<iframe frameborder="0" height="400" marginheight="0" marginwidth="0" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/33223335" width="476"></iframe>christimothy12http://www.blogger.com/profile/13852082224882597534noreply@blogger.com0tag:blogger.com,1999:blog-5004801434225049844.post-52725117700586197882015-05-06T00:26:00.000-07:002015-05-06T03:04:07.157-07:00Evaluation (10 marks)<iframe allowfullscreen="" frameborder="0" height="356" marginheight="0" marginwidth="0" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/33070179" style="border-width: 1px 1px 0; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="427"> </iframe> <br />
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<strong> <a href="https://www.slideshare.net/christimothy12/evalaution-33070179" target="_blank" title="Evalaution">Evalaution</a> </strong> from <strong><a href="http://www.slideshare.net/christimothy12" target="_blank">christimothy12</a></strong> </div>
christimothy12http://www.blogger.com/profile/13852082224882597534noreply@blogger.com0