MS3 - Production: Sample Evaluation

            Evaluation (750 word)                             

For my production piece I decided to create three television sitcom posters in order to represent American women in an idealistic way. I drew influence from my research project surrounding the popular sitcoms 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.

I viewed existing sitcom posters from the same genre and noted the conventions, themes and styles that I would later adopt in my own work. I found that I had to work closely with the mise-en-scene of each poster as the preferred reading of each visual text was to suggest ‘glamour’ and ‘perfection.’

For my first piece entitled ‘EvenJuicier’ I decided to create an enigma through the image. Only until the audience 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 programme or the genre may take an oppositional or negotiated view to the poster, however because of the bold iconography of the image it would immediately make the viewer look, even if they do not appreciate the genre. This I feel this was a successful decision and has been done deliberately to engage the viewer and focus the eye on the image so that the reader decides to look further. The iconography is strong, the red strawberry and lips give connotations of lust and sex, which a female audience will aspire to primarily as the passive male audience appreciates the image. I did this to highlight a point from Laura Mulvey’s theory of the Male Gaze that the camera in film, advertising and in fact any media is male. I used this theory within my research project and found that to engage my female target audience one also has to target the male audience as the camera has taken on the male perspective.

Again on my second poster the image was designed to match the title of the sitcom ‘Sex in the Suburbs’ which was subsequently layered on top of the image. The mise-en-scene was very important, as the image 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 ideology in a modern society; therefore I chose to shoot my image within a kitchen. This was used in an ironic way to highlight another part of Mulvey’s theory to demonstrate the inequality in women and that these images similar to my own are not shocking but seem almost natural. Implemented within my work I also learnt how to use fragmenting 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 message. Nevertheless I had to edit lighting into my shot because I did not have the means for natural or focused sunlight. I felt this was a negative aspect of my work and would have looked more natural if I was able to use lighting more effectively.

On my third piece I used four females to represent each character of the sitcom. I chose to create a mask on each of my characters, edit them to black and white and highlight each object they were holding in red. This is called equating women with objects, taken from the Male Gaze, and is mirrored in sitcoms such as Desperate Housewives and Sex and the City, where the central characters are placed with objects such as apples and knives to create the lustful, dangerous look. I did this to aim to attract my target audience of 18+ females, and therefore the male audience because of the sexual way it was shot. I had a positive response and successfully created a poster that attracted this demographic, as the audience were able to identify with the women in the poster.

All the characters in the posters are young attractive white females, and the text on each poster is seductive and risky, I feel that somebody from an ethnic background or an older audience may take an oppositional reading due to the narrative representations.

Another downfall to my production work would be that the characters used are not models or actresses therefore my posters may seem a little unrealistic especially when all the actresses are in the 18+ demographic range, therefore portraying the meaning 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 demographic could highlight the brutal reality of society’s ideals today, to re-enforce Mulvey’s theory that women have not overcome this patriarchal society but have simply conformed to it at an earlier age. Nevertheless I felt my strengths shone through within my work, my ability to edit each photo through Photoshop using the spot healing brush to create a flawless look proved very successful. This was common to each piece to heighten the theme of ‘glamour’ and to appeal to the audiences so that they aspired to look like the characters. 

I feel that during the process of creating my production pieces, my original idea of using a laundrette as a background was too ambitious as to create these images successfully it had to look believable, and often poster sets are made to suit the occasion. If I was to create this effectively or to enhance my original posters I would need a better camera as posters like these are enlarged for billboards. 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 professional, and give cohesion to my research project.

Methods for Analysing Media Representations

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.

The following are some steps involved in conducting studies, following by specific aspects associated with analysing representations:

• Select a specific group, topic, issue, or phenomenon, and then discuss different representations of this topic/phenomenon in your texts.

• Note patterns in these representations in terms of similarities in portrayals/images instances of stereotyping or normalising categories.

• Note value assumptions in terms of who has power, who solves problems, how problems are solved.

Define the intended audiences for these representations:

• What messages are conveyed to what audiences?

• Whose beliefs or values are being reinforced or validated?

• How are certain products linked to certain representations for certain audiences?

Define what’s missing or left out of the representation:

• What complexities or differences are not discussed?

• What is included and what is excluded?

Find alternative or counter-examples (this way you construct an argument)

Consider the potential consequences of stereotyped representations of gender, class, race, or age on people and the way they behave

List descriptions of others or oneself and note instances of stereotyping (how have values been altered)

Note how consumer practices reflect the need to live up to representations (aspirations)

In analysing representations, students can focus on the following aspects:

Images. 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., “Codes, Chronotypes, and Everyday Objects” )

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.

Sound/music. 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.

Intertextuality. 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.

Dan Chandler’s discussion of intertextuality

Gunhild Agger, Aalborg University, Intertextuality Revisited: Dialogues and Negotiations in Media Studies

Language. 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.

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?”

For more click here
 

'A' Grade Exam Response: Film 'Sin City'/'Fish Tank'

Here is a condensed guide of how to make use of language to approach exam questions (Film)

How typical are your three main texts of their genre?

Another convention of film noir that is evident in 'Sin City' is the constant visual iconography and noir style in the mise-en-scene. When a character appears from the shadows, wearing a trench-coat in the rain it clearly indicates conventions of the film noir genre. The use of rain in 'Sin City's mise-en-scene highlights the dark and gloomy atmosphere of the post-war American society, using pathetic fallacy as away of representing its genre. In this same way the trench-coat Hartigan is wearing also visually references film noir protagonists, making it typical of its genre.

As well as its visual references to film noir 'Sin City' also uses key visual conventions and iconography of the comic-book genre. For example the trench-coat each protagonist wears highlights their status as a comic-book hero, by referencing the long cape of a superhero. This supports the idea that 'Sin City' may be untypical of its genre, as it combines two genres to create irony: a parody of conventions, rather than being truly typical.

'Fish Tank', my third text, is more typical of its social realism genre, and unlike my other films can be defined as more typical. The film deals with real life issues and can easily recognised as typical by its themes and technical stylistics. 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 controversial issue in modern day British society. This makes it highly typical of the social realist genre as previous films in the genre, such as Ken Loach's 'My Name Is Joe' have explored similar representations of how alcoholism has affected and impacted upon individuals in British society.

The use of hand held camera and depth of field in the opening sequence, when Mia is followed through the council estate in an extended tracking wide shot, reinforce the visual aesthetics of the social realist style. The style makes it appear more realistic (a typical approach), adding to the impact and sense that these types of events really occur in society: almost as if it was 'documenting' real life. This connection between the chosen style and the context make 'Fish Tank' highly typical of the social realist genre; characters portray real life social problems and the visual style gives it more 'realism': unlike 'Sin City' which is highly stylised and based on a combination (or hybrid) of film noir and comic-book genre conventions.   

Key strengths:

References to the question: Repeated reference to key words in the question show an engagement with the central issues

Use of terminology: Details of stylistic features shows an understanding of how meaning is conveyed

Develops an argument: An argument is supported by reference to key moments & issues in each film

MS4 - Text, Industry & Audience: Fish Tank (Genre/Representation)

Katie Jarvis:

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.

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.

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.

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.

Read the full interview here.

'Fish Tank': Very Good Student Response

'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 "Tell your old man he's a ****" give a clear indication of her lower class upbringing and  'chavvy' representation; once again regular aspects within the genre.

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.

Good work Jack

'Fish Tank': It's Relevance to 1950's/1960's British Social Realist Films

In Andrea Arnold’s film, “Fish Tank,” 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.

Ms. Arnold shot “Fish Tank” 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 “Red Road” (2006) and “Wasp,” 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: Ken Loach, Mike Leigh and Alan Clarke, who died in 1990.

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 Gary Oldman (the actor, who directed “Nil by Mouth”), Carine Adler (“Under the Skin”), Lynne Ramsay (“Ratcatcher”) and Duane Hopkins (“Better Things”) — 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.

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.”

Source: nytimes.com

'A' Grade Exam Response: Section A - Text (Film)

How typical are your three main texts of their genre?

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 'Sin City' and 'District 9'. The third is 'Fish Tank', a purely social realist film.

'Sin City' 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. 'Sin City' 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 "Hell is waking up every goddam day and not knowing why you're here" 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'.

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 'Double Indemnity' and 'The Maltese Falcon'. 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.

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 'Sin City' 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.

Noir films typically also contain a femme-fatale and 'Sin City' contains many. 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 femme-fatales, Nancy is also seen as an innocent young girl, displaying how the genre can be made different for a postmodern audience.

'District 9' 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 'faux' 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.

In the opening scenes of 'District 9' 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 'The Fly' or 'Invasion Of The Bodysnatchers'. 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.

'Fish Tank' however is not a hybrid, it follows the codes and conventions of the social realist genre very closely. Its kitchen sink 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 "Tell your old man that I think he's a c*nt". 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 'Saturday Night and Sunday Morning' and 'A Taste of Honey' 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 'Fish Tank' has pushed the genre to new depths of realism by attempting to create more realistic representations of social situations. 

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. 

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.      

MS4 - 'A' Grade Exam Response: Text, Industry & Audience

B4. ‘Most media texts target a range of different audiences.’ How true is this for your chosen texts? 

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.

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.

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.

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.

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.

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.

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.

 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.

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. 

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. 

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.

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.

MS4 - Text, Industry & Audience: Fish Tank (Genre/Representation)

Social Realism

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.

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.

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 Saturday Night and Sunday Morning (1960). Also in A Taste of Honey (1961) prejudices and social values were explored in British cinema for the first time.

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.

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.

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).

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.

'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.

Genre & Narrative Theory

Scoop.it Resource Page

We have now set up a Scoop.it Resource page, that can be found in the right hand column, to blog any sites that may be of use for your A2 Media 'Research Investigation'.

This will also contain extra features and sources for the key texts.    

Common 'Research Investigation' Faults

• Make sure you use quotes/statistics from your research
• Make sure your research is from a wide variety of sources
• Make sure you research the theory (include sources in Bibliography)
• Make sure you apply the theory (use key quotes to support your points)
• Analyse sequences from your texts to apply the theories in depth (don't generalise across a whole film/programme/CD etc be detailed and be specific)
• Reference all sources of information in the 'Investigation' & Bibliography
• Texts should be items (1) and (2) in the Bibliography
• Use media terminology throughout (remember this is A2)
• You have probably chosen an issue/topic because you know it exists or is valid - it needs to be remembered though that if you can't prove this through research, your viewpoint has no validity

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 ask for help and guidance. The completed 'Research Investigation' (final draft) needs to submitted before we break for Christmas.

Further 'Research Investigation' Advice

Research Investigation Advice:

• In your introduction you should provide a thesis statement* which refers to the point(s) in the question, answering the question in this opening paragraph, if possible.

• You should progress (develop) your argument by building on key points from paragraph to paragraph. Directly referring to key aspects of the text in detail.

• 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.

• Don’t digress: each of your paragraphs should be focused on the topic of the question. Use actual wording from the question from time to time so that you don’t go off the point.

• Be logical: 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.

• Use key arguments 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.

These will also help the reader to ‘navigate’ your essay. For example:

At the beginning of the film…

At the start of…

At first / firstly…

Later on in the text…

Further on…

Next we see…

Subsequent scenes…

Secondly…

As stated by....
An opposing argument suggests that....
Fans have stated that .....  "insert quote"
In terms of the uses & gratifications theory this means that.....
Reviews state that ...."insert quote"

At the end of the advert…

As the text draws to a close…

In conclusion / To conclude

Finally / My final point is…

Similarly / Likewise

In addition / additionally

Furthermore

Moreover

As well as this

However

Whereas

Whilst

Although

Even though

As a result

Due to (the fact that)

Since / Because

Consequently / As a consequence

Subsequently

• Use the media terminology as a tool – to help you discuss the texts.

• Make sure you reference all quotes, theory and information thoroughly throughout your essay. Indent any quotations that are longer than 2 lines.

• Always write a conclusion by referring back to the main point(s) in the question.

• 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.

* A thesis statement is the statement that begins a formal essay or argument, or that describes the central argument of your discussion.

Sample: Question/Opening Paragraph/Bibliography

To make sure that your Research Investigation includes referencing and a clear bibliography here are some sample extracts to use as a  guide. (they are all from different projects)

Sample Question/First Paragraph

How are women represented in contemporary advertisements, paying particular attention to Tom Ford and Dior campaigns?

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]) 

Sample Paragraph

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.

Sample Bibliography

Bibliography

[1] The Black Swan (2010)

[2] The Kings Speech (2010)

[3] http://theoryandscience.icaap.org/content/vol002.002/lopezlevers.html 

[4] http://en.wikipedia.org/wiki/List_of_films_featuring_mental_illness

[5]  http://www.stammering.org/kingsspeech.html

[6] MediaMagazine 6^th December 2003

‘Entertaining madness-representations of mental illness on screen’

[7] http://www.youtube.com/watch?v=UCsOeeEa_6E

[8] Oxford Dictionary

MS3 - Research Investigation

Structure of essay:

• Introduction - What you intend to research and how? What theories you intend to use?

• Textual analysis - What you are investigating in your texts. What is revealed. Points of discussion should relate to detailed analysis.

• Applying theory - Theoretical approaches need to be applied to reveal similarities and differences. Important discussion points and development of argument.

• Reference to research - Research should support argument and points of your discussion. Referencing should be explicit and related to your bibliography.

• Logical flow to essay - The essay should develop the argument in a logical way.

• 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.

Common investigating errors

Describing a source of research rather than quoting.

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.

Not using theory to assist in answering your question.

Misuse of language.

Lack of media terminology.

Word count is too high.

Research investigations - Miss representation quotes

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.

1. ·      Teenagers on average, spend 10 hours 45 minutes a day consuming Media
2. ·      Girls learn from a very early age, the most important thing is how they look
3. ·      53% of 13 year old girls are unhappy with their bodies, by 17 the statistic is 78%
4. ·      Rates of depression among girls and woman have doubled between 2000 and 2010
5. ·      The ideal image of beauty is becoming more extreme and impossible than ever before – Jean Kilbourne
6. ·      Girls measure themselves against an impossible standard and end up feeling left wanting
7. ·      The non content form of the media has to be backed up and supported by the content
8. ·      A lot of advertising is based on making people feel anxious and insecure – Jean Kilbourne
9. ·      Girls learn to see themselves as objects– Jean Kilbourne
10. ·      American woman spend between 12-15 thousand dollars a year on beauty products
11. ·      The number of cosmetic surgery procedures performed on youth under 19 more than tripled from 1997 to 2007
12. ·      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
13. ·      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
14. ·      Congress has the fewest amount of woman in 30 years
15. ·      Females own 5.8% of all TV and 6% of radio
16. ·      97% of publishing companies are owned by Males
17. ·      Woman comprise only 16% of all writers, directors, producers, cinematographers and editors
18. ·      10% of writers of film are female
19. ·      People tend to employ reflections of themselves – Lindy Dekoven
20. ·      We replicate the world we grow up in – Film Director
21. ·      The representation of females in film has become much more narrow and cartoon like than in the 20s, 30s, 40s and 50s
22. ·      In the 1990’s studies found a steady increase in explicitly sexual images in advertising
23. ·      The exploitation of female bodies sell products
24. ·      Males are taught to not express emotion
25. ·      Females are represented as young
26. ·      You  cant be what you cant see
27. ·      Females are not represent in the Media for doing something, they are represented for how they look
28. ·      Many woman are empowered, but not represented in the Media
29. ·      The majority of females on TV are between 20-30, 71%
30. ·      39% of woman in the world are under 30
31. ·      Woman are represented as natural enemies of woman
32. ·      The Male Media represents females in power trivially, often concentrating on appearance, which influences audience’s opinions of females in power
33. ·      Females are represented as emotional and irrational
34. ·      Only 16% of protagonists in film are female
35. ·      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
36. ·      As a culture woman are brought up to be fundamentally insecure
37. ·      Were socializing boys to believe being a man is being in charge and dominate – Jackson Katz
38. ·      More than 20% of teens have sex before the age of 14