Wednesday, 15 February 2017

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.


Monday, 16 January 2017

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




Saturday, 15 October 2016

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.

Friday, 14 October 2016

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)




[6] MediaMagazine 6th December 2003
‘Entertaining madness-representations of mental illness on screen’


[8] Oxford Dictionary