Showing posts with label Textual Analysis. Show all posts
Showing posts with label Textual Analysis. Show all posts
Tuesday, April 24, 2018
Monday, April 16, 2018
You Know It's Wes Anderson If...
Here are some Wes Anderson videos:
A good one breaking down the visual elements of TGBH:
For fun! Does this make him seem more or less postmodern?
And this one also provides a good overview of his style in a fun and humorous way:
And this one? Well, I couldn't help myself. Have you seen Isle of Dogs yet?!
A good one breaking down the visual elements of TGBH:
For fun! Does this make him seem more or less postmodern?
And this one also provides a good overview of his style in a fun and humorous way:
And this one? Well, I couldn't help myself. Have you seen Isle of Dogs yet?!
Tuesday, July 14, 2015
Article: 'Reading Rihanna: the burden of representation'
Interesting article by David Buckingham re: Rhianna, her music video for the song 'Bitch Better Have My Money' and representation.
Link: http://davidbuckingham.net/2015/07/14/reading-rihanna-the-burden-of-representation/
Wednesday, July 08, 2015
Genre: Film Noir
Useful article looking at the use of low-key lighting and black and white in the Film Noir genre.
http://petapixel.com/2015/07/04/a-look-at-the-striking-low-key-black-and-white-style-of-film-noir-cinema/
Monday, June 30, 2014
Saturday, December 21, 2013
30 Camera Shots Every Film Fan Needs To Know
Empire Magazine has published a guide to thirty different camera shots that any discerning film fan should know. With well drawn images and video-based examples to support, this is a great resource for AS and A2 students alike.
Tuesday, October 01, 2013
Sunday, September 01, 2013
'Every Movie Poster that Saul Bass Ever Made'
For those of you who have chosen the short film brief. Here is an excellent place to start your analysis of film posters.
Saul Bass was one of the greatest designers of both title sequences and film posters. Here you can view all of his posters, including 'The Man Who Knew Too Much', 'Vertigo', 'The Shining' and 'Schindler's List'.
Remember in your analysis of print media to consider all aspects of the composition:
- Images*
- Fonts*
- Language*
- Colour*
- Layout^
*Don't forget that your understanding of semiotics should inform/be part of your analysis
^This includes the narrative structure of the poster. Yes! Print Media has a narrative structure.
(via Doug Belshaw)
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.
Saturday, December 01, 2012
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
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, January 11, 2012
GCSE Media Studies: Re-sit Revision Sessions
The following revision sessions will be available to those of you who are re-sitting your GCSE Media Studies exam on Wednesday, 25 January.
- Friday, 13 January - 8:20-9:10 - Media 1
- Monday, 16 January - 4:00-5:00 - Media 1
- Monday, 23 January - 4:00-5:00 - Media 1
Thursday, December 15, 2011
'Up in Flames: Mr Reeves and the Riots'
Tonight on BBC1 at 22:45, there is a documentary being aired about the 2011 UK Riots. It looks like it will be worth watching.
Even without having seen it, I am positive that by analysing the text it will add to your understanding of media representations and postmodernism.
If you can't catch it tonight, check BBC iPlayer, it is more than likely to be made available online.
More info here: http://www.bbc.co.uk/programmes/b018cst8
Even without having seen it, I am positive that by analysing the text it will add to your understanding of media representations and postmodernism.
If you can't catch it tonight, check BBC iPlayer, it is more than likely to be made available online.
More info here: http://www.bbc.co.uk/programmes/b018cst8
Tuesday, February 08, 2011
Media Language - Huge 30 Page Resource
The document below is 30 pages of useful material (Courtesy of Mr Wallis at Ringwood) that will help all AS and A2 students with your exam preparations. I hope that most of you know the material within but I recommend downloading and printing it to kick start your revision which should be happening now. Don't wait until May!
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, December 06, 2010
Weekly Challenge - 4
Weekly Challenge 4: Camera: What is 'Selective Focus'? As always: can you find an example to illustrate your answer?
Good luck!
Mr. M.
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!
AS: Weekly Challenge - 2
This weeks challenge is inspired by Ellie Biddle's response to Weekly Challenge - 1.
Weekly Challenge 2: Editing: What is 'parallel editing'? [Challenge] Find an example clip to illustrate your point.
Answer by commenting on this post. Due: Friday 26th November.
Weekly Challenge 2: Editing: What is 'parallel editing'? [Challenge] Find an example clip to illustrate your point.
Answer by commenting on this post. Due: Friday 26th November.
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