Showing posts with label TV Drama. Show all posts
Showing posts with label TV Drama. Show all posts
Tuesday, April 24, 2018
Sunday, May 12, 2013
[AS] Final Tips and Good Luck!
As you wind up your revision be sure to remind yourself of the chief examiner's advice in these two previously shared posts:
Also, don't forget to use your revision booklets.
And remember! If you don't know it by 6PM tonight you will not know it at 9AM tomorrow. Get a good night's rest and don't forget to bring a bottle of water with you to the exam.
You are in the hall tomorrow. You should be out in the quad ready to go at 9:10AM.
Good luck!
Mr. Michie & Mr. Ford.
Also, don't forget to use your revision booklets.
And remember! If you don't know it by 6PM tonight you will not know it at 9AM tomorrow. Get a good night's rest and don't forget to bring a bottle of water with you to the exam.
You are in the hall tomorrow. You should be out in the quad ready to go at 9:10AM.
Good luck!
Mr. Michie & Mr. Ford.
Wednesday, April 10, 2013
G322: TV Drama - Awesome Revision Booklet
Need help revising for the TV Drama section of your AS Media exam? Then look no further.
Download this awesome revision guide, courtesy of Mr. Ford.
It includes a detailed glossary of key terms, links to example clips, advice on how to revise and how to approach the exam.
Download this awesome revision guide, courtesy of Mr. Ford.
It includes a detailed glossary of key terms, links to example clips, advice on how to revise and how to approach the exam.
Tuesday, March 05, 2013
[AS] Useful Stuff!
We've been adding 'useful stuff' to this blog since 2006. I thought it might be pertinent to highlight some older posts that you might find useful as you add the finishing touches to your coursework, and begin your revision.
Semiotics - The Bad Colour
The use of colour in film
Anatomy of a Scene
Key Concepts and the Language of the Moving Image
Editing and Representation
TV Drama - Example Responses
A History of the Title Sequence
Girl With The Dragon Tattoo
Title Sequences
Long Road Media
Media Studies Ringwood
Semiotics - The Bad Colour
The use of colour in film
Anatomy of a Scene
Key Concepts and the Language of the Moving Image
Editing and Representation
TV Drama - Example Responses
A History of the Title Sequence
Girl With The Dragon Tattoo
Title Sequences
Long Road Media
Media Studies Ringwood
Wednesday, November 14, 2012
AS: Group Writing on Editing / Sound
Currently working on analysis and quality of writing, here are the paragraphs that you wrote in small groups... please use them to critique and reflect on your own writing.
Some key points:
- Ensure that you open paragraphs with a clear point, referring back to the area of representation that you have been asked to write about
- Avoid run on sentences - clear grammar and punctuation adds to the clarity of your analysis
- Avoid description; ensure that there is evidence of technical analysis in every sentence
- Use key terms frequently and accurately
- Make sure you know the difference between 'dentotation' and 'connotation'
- Try to make links between the different technical features. This demonstrates a deeper level of understanding.
Tuesday, November 06, 2012
AS: Merlin Extract & Essay Question
Here is the Merlin extract, should you wish to watch it again.
And here is the essay question:
Discuss the way social status is represented in this extract from Merlin. Make specific reference to the following technical areas:
And here is the essay question:
Discuss the way social status is represented in this extract from Merlin. Make specific reference to the following technical areas:
- Camera
- Editing
- Sound
- Mise-en-scene
Friday, October 05, 2012
Blogging and Research
Melissa emailed me and asked if she was on the right track with her blog. I was happy to oblige and found that she was making good progress. I felt that it was also an opportunity to impart some advice and guidance about what she should do next, particularly in relation to the research she is doing into the Thriller Genre. As I was finishing up the comment I realised that this was useful advice for everybody, so here it is...
"Some advice...
The post above looks like the result of 'Secondary Research', e.g. you looked things up on the web? Am I right? If so, then you should reference the websites that you drew the information from.
This research is a great start. Now, I would recommend that you watch some openings and analyse them technically: camera, editing, sound, mise-en-scene. This is another area where the two sides of the course cross-over. :-)
Also, aim to be 'completist'. I liked that you posted about camera techniques, including examples. You could tie this into the task above. Watch 4 clips. For each one, analyse one area. E.g. watch the opening sequence of 'Lost Highway' by David Lynch and analyse the use of camera work. Then watch the opening of 'Se7en' and analyse the mise-en-scene. And so on. It will help you develop both an understanding of the technical codes and conventions of thrillers while also helping you to develop your skills of analysing specific features."To summarise:
- Reference sources
- Complete textual analysis of thriller openings
- Break that analysis up into specific areas to focus your learning/understanding
Monday, October 01, 2012
[TV Drama] Primeval (Representation of Gender)
Here is the clip we are currently analysing. It was used for the OCR G322 Exam in June 2010.
Remember your focus is the representation of gender. Use and build your knowledge of camera, editing, mise-en-scene and sound, adding detail to your notes. You might choose to do this on your own or as a group.
Remember your focus is the representation of gender. Use and build your knowledge of camera, editing, mise-en-scene and sound, adding detail to your notes. You might choose to do this on your own or as a group.
Wednesday, February 08, 2012
AS: Half-Term Homework - TV Drama Revision
Read through and make notes from the following slides:
They are from Pete Fraser. He is the chief examiner for A-Level Media Studies.
Also, complete your audience survey analysis and finish reading the various articles you were given on Wednesday.
View more presentations from petefrasers
Also, complete your audience survey analysis and finish reading the various articles you were given on Wednesday.
Tuesday, January 17, 2012
AS/A2: Exam Dates
FYI:
AS Exam: Key Media Concepts (TV Drama) - Tuesday 15th May
A2 Exam: Critical Perspective in Media - Friday 15th June
AS Exam: Key Media Concepts (TV Drama) - Tuesday 15th May
A2 Exam: Critical Perspective in Media - Friday 15th June
Wednesday, May 11, 2011
TV Drama - Example Responses
In preparation for Monday's revision session (and your exam) please use the following link. Watch the extract and then read the example responses making notes about the differences between the two.
http://mrsmithasmedia.blogspot.com/2011/05/dr-who-gender.html?spref=bl
Regards
Mr. M.
http://mrsmithasmedia.blogspot.com/2011/05/dr-who-gender.html?spref=bl
Regards
Mr. M.
Friday, January 07, 2011
AS: Editing and Representation
Must read material on how editing effects representation by David Allison.
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
Monday, November 22, 2010
AS: Key Concepts and the Language of the Moving Image
Thanks to our friends at Ringwood School for the following excellent resources about the key concepts of Media Studies and Moving Image Language.
Key Concepts: http://mediastudiesringwood.blogspot.com/2010/11/key-concepts-basics.html
Language of the Moving Image: http://mediastudiesringwood.blogspot.com/2010/11/film-terms-techniques-shots-lighting.html
Enjoy!
Key Concepts: http://mediastudiesringwood.blogspot.com/2010/11/key-concepts-basics.html
Language of the Moving Image: http://mediastudiesringwood.blogspot.com/2010/11/film-terms-techniques-shots-lighting.html
Enjoy!
Monday, May 10, 2010
Year 12 and 13 Cover for Monday 10th May
One and all - I'm sorry but I am under the weather and will not be in today.
Year 13, to make up for missing today there will be a lesson this Wednesday P5.
Year 12 I will arrange an extra session for you as well and let you know when that will be.
In the meantine:
Year 13, to make up for missing today there will be a lesson this Wednesday P5.
Year 12 I will arrange an extra session for you as well and let you know when that will be.
In the meantine:
Year 13: Continue with your research/revision in to your key conceptual areas and prepare your presentations for Thursday's double lesson.
Ryan, Lewis and Jamie - you all need to work on your blog today - I can give you 24 hours more to get things looking smarter and then I will have to take what is there as your final work!
------------------------------
Year 12: Please do some revision for your exam. Watch from 0:33 until 7:02 from the opening of "Kidulthod" - make notes and answer the following question in full please (that means 3/4 sides of writing!)
Dicsuss the way age is represented in the extract considering the use of the following:
Dicsuss the way age is represented in the extract considering the use of the following:
- Camera
- Editing
- Sound
- Mise-en-scene
Haydn, Shawnee and James - you all need to get your coursework sorted. You have 24 hours to make sure your blog and evaluation are as they should be or I will mark what's there and you will have to live with the result!
Any problems please e-mail me!
Regards
Mr. M.
Monday, April 19, 2010
Year 12 Homework - Small Island
In your pairs write up your response to the following question...
"Discuss the way race is represented in Small Island"
Click to view / download the Mind Map from the lesson.
- Charlie & James - Camera
- Louise & Daniel - Sound
- Maraid & Steve - Editing
- Lewis & Graham - Mise-en-scene
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