Media Ordinances Analysis

This blog will look at the way in which the Bantams franchise according to to the critical analysis of Claude, Levi Strauss

Todorov, Barthes Props, Roland Barthes reviewed According to the

This, writes Watters in enormous understatement, “stood in contrast with the diagnosis of schizophrenia as [used] in the West. There the

diagnosis carries the assumption of a chronic condition, one that often comes to define a person.”

Can we find an example? Someone whose situation was sufficiently relevant to both Kimwana and James Holmes that it can highlight the

sort of cultural effect I refer to? Yes we can.

The afternoon after Holmes shot up the theater in Aurora, and three days before I posted my assertion that culture can shape the expression of mental distress, an extraordinary young woman who goes by the pen

name N described an experience that eerily parallels the one that Holmes seems to have experienced. Her story powerfully illustrates how the West’s definition of and reaction to schizophrenia shapes its course,

outcome, and expression. Please, if you care a whit about what happened in Colorado, about madness, about culture, read this:

I suspect it would strike most people as ‘mad,’ particularly perhaps, to those who know me, to identify any sort of kinship, any common bond, with James Holmes, the “Batman shooter,” mass killer, and “psychotic

son of a bitch,” as Colorado Congressman Ed Perlmutter has put it. After all, I cry even over the deaths of the small birds my cats carry in

from the deck.

And yet school shootings, or acts of extreme violence in which the perpetrator is or recently was a college student, have punctuated my life in strange & powerful ways. I was diagnosed with schizophrenia just a

month after Steven Kazmierczak (quickly identified as “schizoaffective”) shot six people to death on the campus of NIU, just an hour north of

Chicago. Undoubtedly primed by this shooting, wary, uncertain, without enough time to think, my doctoral adviser suspended my graduate

assistantship, banned me from the university, and alerted all faculty, graduate students and staff to forward all emails to her and, under no circumstances, respond. It was not until a few weeks had passed that I

learned—from the Dean of Students—that she had been operating under the assumption that it had been my plan or intention to bomb one of the

buildings on campus. She never apologized.

Why? Because the adviser had concluded that _N _, as she calls herself, was schizophrenic, and that this made her dangerous — a Kazmierczak

waiting to happen. The effect was profound and immediate. The diagnosis didn’t just marginalize this young woman a bit. It promptly cast her full out of the world that meant everything to her. She writes

Although [the adviser’s] (clearly illegal) decision was reversed within a week, it set in motion a chain of events that were to forever change my life, perhaps as profoundly as the “diagnosis” of schizophrenia itself. Friends—my doctoral cohort, as is often the case, were a close and tight-knit group—abandoned me overnight. Students and faculty

passed me in the halls, staring ahead blankly as if I were an undergraduate they had never seen and would never see again. Parties

were announced, talked about, and I was never invited. Never again.

As if the psychosis were not enough, I developed an entirely expectable paranoia about my classmates and former adviser (and other involved faculty). I studied their schedules and timed my entrances and exits

from the department with obsessive precision, forced to “hide” in bathrooms and side rooms only on a handful of occasions. I no longer attended departmental events (a fact that, with so many others, would eventually be held against me). I did not, could not, finish any of the papers from courses I had been taking, and the themes of those last

lectures—the relationship between the work of Winnicott and Melanie Klein, Lacan’s reading of Antigone—followed me like hungry ghosts for

years.

For a while I struggled through classes, overwhelmed, perhaps in equal measure, by delusions and this new and unprecedented isolation.

Voices took the places of both professors and friends. Following a hospitalization (and consequent withdrawal from a semester’s worth of

classes), I descended into a state of the most stunning dysfunction, unable (or simply unmotivated) even to walk from my bed to the bathroom. I could not read, I could not write—words rearranged

themselves on the page, and my own thoughts became so hard to follow that I simply could not make it to the end of a sentence; suspended

linguistically, suspended in life.

Then, in a harrowing annual review, she is expelled, without any warning she could discern, from her doctorate program; not given time off or

compassionately offered help and room to regroup. Expelled, cast out, shunned, made irrelevant in the world that meant the most to her.

“I only remember bits and pieces” of this review, she relates;

within five minutes, perhaps less, I had to bite down hard, dig my nails into my forearms, to keep back the tears. First, the decision: we are dismissing you, in fact you may not, even as an unfunded student,

enroll in any further classes. From a professor I had, until that point, trusted completely: “the decision strikes the committee as simple—you clearly do not have your act together and we have no reason to believe

you ever will.” Another professor: “you are a burden on the instructors.” And then some additional reasons, faculty talking more to each other than me: “look at all the withdrawals;” “she hasn’t attended a departmental lecture in almost two years;” “unambiguously uninvolved

in the life of the department.” Someone (I’m not looking at them) interjects: “perhaps allowing her just one more term….?” Another “…

keeping in mind that if we do this she will immediately lose all her health coverage…” Then: “Absolutely not, but we can discuss the reasons

after she leaves.” Clearly she will not succeed. Now or ever.

Me: Everything I have ever been told was a lie. My one way out—of poverty, desperation, madness—was never more than an illusion. And

then disbelief. And then, how will I ever explain this to anyone, to family, to old mentors? And then betrayal. No language this time, no

thoughts; crying, crying for hours. Alcohol,

ten

yj

BySonia Woods

ds

Key Concepts

Audience Genre Key Terms Media Forms Narrative Production Representation Stars

 Search Keywords

 MEDIA PRODUCTION

The production of media texts is a complex and expensive process, involving the creative input of many specially skilled people.Anyone can produce a media text, if they have a bit of time, an idea, and access to a computer

We live in a world where both the above statements are true. There are many different forms of the media, and the means of production, which one used to be exclusively held by big companies, like movie studios or tv stations, are now within the reach of many. However, this does not mean that the basic media production process has changed. Media texts, whether they are being produced by Time-Warner or a teenager, go through the same stages before they reach an audience. This is what we call the production process.

IDEA

Every media text begins with someone having an idea. They may be a professional song or scriptwriter who is able to package their ideas into a readily saleable form. Or they

may be someone who dreams of producing their own movie. Or they may be a publishing executive who wants to launch a new magazine. Whatever. Someone, somewhere has to start with an idea. Once you have an idea, in order to make it into reality, you need $$$.FUNDINGSome media texts are very cheap to produce. Others take millions upon millions of dollars. However, it doesn't matter how much money you need for your media text, it has to come from somewhere. Ideas will be submitted to potential financiers in the form of a proposal. This means that they have a clear idea of what the media text will consist of (a synopsis of the story, a demo tape of songs, character drawings for a comic) and that they also have a clear idea of who the target audience are. Those wishing to retain control of all subsequent parts of the process themselves will take their proposal to independent investors. Investors may want little or no say in what happens during production - they just want a return on their money at the end of the day. Those who don't just want money for their idea, but additional expertise, experience and equipment, will take their proposal to a media production company. The production company will take on the idea, and provide the means for its realisation, whether it is a pop CD or a computer game. often money will come from several different sources.PRE-PRODUCTION

This is a vital part of the process, and often the lengthiest. Research needs to be done into audience, and the idea fine-tuned to meet demand. Existing media texts that are similar in form or content are carefully examined. Each stage of production must be planned, with equipment, locations and personnel booked in advance. Organisation is vitalPRODUCTION

This is often the most straightforward part of production, and involves creating the raw data (text, images, sound) that will constitute the final product.POST-PRODUCTION

This mainly consists of editing, constructing the raw data into the form that the audience will receive. It is during this

part of the process that special effects and soundtracks are added to films, where pop records are mixed, and where magazine pages are laid out and proof read. This often used to be the most expensive part of the process, with heavily specialised equipment and personnel being required. However, the digital revolution means that much of this can now be done on a PC. Skilled operators and specialist software are still required, and there are huge post-production companies dedicated to providing these services.MARKETING & PROMOTION

Once the text has been created (although these days, particularly in the film industry, marketing and promotion can begin as soon as the main personnel have agreed to do the project) audiences need to be informed about it. This can also be an expensive part of the process (marketing budgets for movies can equal 100% of the production costs. This is therefore around $50M USD for an average Hollywood picture).DISTRIBUTIONOnce an audience know about a media text, they need to get hold of it. Distribution is big business, and is about shipping products rather than creating them. Therefore, media production companies often sell the rights to their text to specialist distributors at this stage, eg HMV will take on all record companies' CDs, rather than them trying to open up record stores themselves. However, the distributor and the production company may be part of the same media conglomerate, so all the profit eventually ends up in the same place. There are many different channels of distribution - CDs can be sold via shops, the internet or telesales, movies can be watched at the cinema, bought on DVD or video, viewed on tv and both CDs and TVs can be downloaded onto your phone or computer.

Prof. Michael Goldberg 

Some suggestions on "how to read a film"

The film critic Christian Metz has written "A film is difficult to explain because it is easy to understand." We are used to sitting back in the dark and viewing a film uncritically; indeed, most Hollywood films are constructed to render “invisible” the carefully constructed nature of the medium. Further, because a film is constructed of visual, aural, and linguistic components that are manipulated in numerous ways, it is a challenge to take apart the totality of the film experience and to interpret how that experience was assembled.

Below you will find brief explanations of ways to analyze the language of film. While this list is not comprehensive, it does contain a lot of information. If film interpretation is new to you, you will not be able to keep track of all these elements while viewing the film—this is an acquired skill. Concentrate at first on a few things that seem to offer the most opportunity for critical reading.

If viewing the film only once, try to take notes in shorthand while watching the film. Arrows can be used to note camera angle and camera movement; quick sketches can be used to note shot composition and elements of mise-en-scene. As soon as possible after viewing the film, write out your impressions of the film, noting the most important elements. If you will be writing on the film and will be seeing it again, take minimal notes the first time through (although do note important scenes you will want to return to) but still maintain a critical distance.

When analyzing a film as a historical document, keep in mind the film's contemporary audiences or authors. Your own personal reaction to the film may serve as a starting point, but you need to convert these impressions into historical analysis—how are you different and similar to the historical audiences/authors? What has changed and what has stayed the same? Remember too the technological changes that have taken place, and keep in mind what audiences would have expected, and how film makers used the technology at their disposal. It is especially important to consider substantial changes in the manner of presentation if you will only be watching the film on a television. Also, be aware that most Hollywood films made after the early 1950s have an "aspect ratio" (height and width ratio) different from television screens. Most video tapes of these films have been altered by the "pan and scan" method which dramatically changes elements such as shot composition and camera movement. Video tapes that are "widescreen" preserve the correct aspect ratio. Most DVDs now come in both "standard"

(altered) or "widescreen" (check the writing on the disk) or only in the correct aspect ratio, and most laser disks use the correct aspect ratio. If possible, find a format that has not altered the aspect ratio.

MEANING

Themes/tropes—The broad ideas and allusions (themes) that are established by repetition of technical and linguistic means (tropes) throughout the film (such as alienation, power and control, transcendence through romantic achievement, etc.)

Intent/Message—Sometimes, as with a film like JFK (the Kennedy assassination was the result of a massive government conspiracy) or Wayne's World(adolescence is a goofy time that provides plenty of laughs), this is obvious. (Just because the message is obvious, doesn't mean that the film is simple, or that there is not a contradictory subtext). Sometimes, however, the filmmakers aren't sure of their message, or the intended message becomes clouded along the way. At other times, the filmmakers (principally the producer, director, actors and actresses) are at odds over the intent. At other times, the film makers intend one message and many in the audience interpret the film differently.)

Metaphor and metonymy/symbolism—Similar to literary interpretation, only consider all aspects of the film—linguistic, visual, aural. Metaphors are elements that represent something different from their explicit meaning (for example, the rose petals in American Beauty). Metonyms are elements that are similar or the same (for example, in the final scene of The Grapes of Wrath, Tom Joad represents the lonely battle of activists and Ma represents the resilience of "the people"; or when a part of the whole—such as a close-up of a woman's leg—represents women as sexual objects). Metaphors and metonyms only gain relevance if they are repeated in significant ways or connected with the larger meaning of the film. (Avoid simplistic equations such as the white table symbolizes A; the high angle shot of a character symbolized B).

Subtext—The often numerous messages a film conveys beneath the surface; sometimes intended, often unintended, and sometimes conveying a different or contradictory message than the intended message. Look especially for ironies, contradictions, interesting juxtapositions, or if something initially doesn't seem to “make sense.” Subtext is usually developed through the use of figurative elements like metaphor and metonymy.

BASIC ELEMENTS

Title/opening credits—Titles are chosen carefully—consider alternatives and why this title was chosen; consider ambiguities in the title (“His Girl Friday,” a film with a strong, independent female protagonist). The opening credits establish a tone, and often are used to foreshadow events, themes, or metaphors—pay careful attention from the beginning.

Story/Plot/Narrative—The narrative provides the basic structure by which a feature film is understood. (Most documentaries also have narratives.) The narrative consists of the story and the plot. The story consists of all of the information conveyed by the film (either directly or by inference) assembled in chronological order to communicate the overall sense of what occurred in the film. The diegesis is the entire world of the story. A film's diegesis may have a different logic than the "real" world, but as long as their is proper motivation (see below) it will make sense to the viewer. Diegetic elements are found explicitly or implicitly in the world of the story; non- or extra-diegetic elements (the soundtrack, the title, a voice-over, an audience's expectations of a star's persona) are outside the story. The plot provides the cause and effect relations that cue the audience and create suspense, surprise, and fulfill expectations. While dialogue provides a good deal of information, pay attention to all the other audio and visual clues that convey information about the narrative.. In considering the narrative structure, note whether the film follows a standard chronological narrative or not and how time is used. What are the key moments and how are they established? What are the climaxes and anticlimaxes? How far ahead is the audience in understanding what is happening to the characters than the characters themselves are? What propels the story forward? What is the pace of the narrative? How do earlier parts of the narrative set up later parts? Where are the key emotive moments when the audience is frightened, enraged, enraptured, feeling vindicated, etc., and how has the narrative helped to establish these feelings? Note when there is a change of knowledge(when characters or the audience become aware of new information) which shifts the hierarchy of knowledge (the relative amount of knowledge characters and the audience have). Does the narrative have a coherent unity, or does it leave the audience feeling unfulfilled or confused? (Sometimes the latter is the mark of an unsuccessful film; sometimes its either an intentional effect to challenge the easy "Hollywood ending" or else the result of the mixed intentions of the various authors.)

Motivation—"Justification given in the film for the presence of an element. This may appeal to the viewer's knowledge of the real world, to genre conventions, to narrative causality, or to a stylistic pattern within the film." (Bordwell, Thompson) Failure to provide proper

motivation challenges the sense of "cinematic realism" in a film. (If a character's personal motivation is explained in a film as a reason for his/her action, that falls under "narrative causality." Do not confuse character motivation as revealed through narrative with your own expectations you bring to the film. Characters are not real people, and do not make choices outside of what is conveyed narratively.) Hollywood films tend to stress perfectly motivated narratives so that every element has a purpose. Discovering the underlying motivation of the narrative often helps explain why audience expectations are fulfilled (or if poorly motivated, unfulfilled.) For example, in the Western Unforgiven, the close-up, eerily lighted shot of Morgan Freeman's/Ned's scars from whipping by Gene Hackman/Little Bill motivates Clint Eastwood's/William Money's slaughter of Hackman and various townsfolk. The shot thus cues the audience's desire for revenge through violence (note the metonymic symbolism of the scarred black body and the whip), despite the supposedly anti-violent theme of the film. Extended definition: click here .

Motif—The repetition of an element in ways that acquire symbolic meaning for the element. An motif can be a technical feature (a shot angle, a lighting set up), a sound or piece of dialogue or music, or an object.

Parallelism—Two or more scenes that are similar to each other but which gain meaning because of their differences.

Characterization—Who are the central characters? How are minor characters used? Are characters thinly or fully drawn, and why? Who in the audience is meant to relate to which characters, and what sort of emotion (fear, pleasure, anxiety) are audience members meant to feel because of this identification? Is there a clear or ambivalent hero or villain? What values do the characters represent, and do they change during the film? Are the characters meant to play a particular “type” and do they play against type at any time?

Point of view—Is the film in general told from a particular character's point of view, or is it “objective”? Is the film's perspective primarily intellectual or emotional, visionary or “realistic”? Within the film, is a particular shot viewed from a character's point of view ("subjective shot"), and how does the camera technically reinforce the point of view? Who is the audience meant to be focusing on at a particular moment?

MISE-EN-SCENE—Everything going on within the frame outside of editing and sound

Setting and sets—is the scene shot in a studio sound stage or “on location”? How is the setting integrated into the action, both the larger background and particular props? How is the setting used in

composing the shot (verticals and horizantals, windows and doors, the ever popular slats of shades, mirrors, etc.)? How do particular settings (vast mountain ranges, cluttered urban setting) function as signs in order to convey narrative and ideological information? How are colors used?

Acting style—more obviously mannered (“classical”); intense and psychologically driven (“method”); less affectations and more “natural”? Do particular actors have their own recognizable style or type, and how do the filmmakers use the audience's expectations, either by reaffirming or challenging these expectations? What expectations do "stars" bring to their roles? Do they fulfill or challenge these expectations (playing against type)?

Costumes (or lack thereof)—note contrasts between characters, changes within film; use of colors. This also includes physiques, hair styles, etc.

Lighting— Key Light: main lighting, usually placed at a 45 degree angle between camera and subject. Fill Light: Auxiliary lights, usually from the side of the subject, that softens or eliminates shadows and illuminates areas not covered by the Key Light. High Key Lighting is when all the lights are on (typical of musicals and comedies); Low Key Lighting is when one or more of the fill lighting is eliminated, creating more opportunity for shadows. High contrast lighting refers to sharp contrast between light and dark; low contrast refers to shades of gray. Hard lighting creates a harsh light; soft lighting creates a muted, usually more forgiving lighting. "Hard" characters often get hard lighting, and visa versa. Highlighting or spotlighting: pencil-thin beams of light used to illuminate certain parts of a subject, often eyes or other facial features. Backlighting: placing the main source of light behind the subject, silhouetting it, and directing the light toward the camera. Toplighting: lighting from above. Lighting and camera angle are the key means of creating shadows and shadings in black and white films, which are important elements of the overall mise en scene when conveying meaning. All of the above terms are bipolar, when in fact many lighting setups lie somewhere in between.

Diffuser/Filter: A gelatin plate that is placed in front of light to change the effect. (Whether to cast a shadow or soften the light, for instance.)

CINEMATOGRAPHY—The camera work that records the mise-en-scene between edits. Each shot represents many choices made by the film makers. Why have they made these choices? What do these choices represent?

Tone—bright, sharp colors; grainy and black and white: hazy? If black and white when color was available, why would the film makers make this choice?

Film speed—slow or fast motion used? film speed reversed? Camera Angle—The angle at which the camera is pointed at the

subject: low (shot from below), high (shot from above), or eye-level (includes extreme low and high angle shots). This creates the angle of vision—the point of view—for the audience, and is often used to establish character's level of power and control (high angle shots can make character seem diminished), but there are many other uses as well.

Tracking, Panning, and Tilt—Tracking shot moves the camera either sideways or in and out. The camera can be mounted on a "dolly," "handheld" to create a jerkier effect, mounted on a crane and moved in all directions within a limited range, or in a helicopter, train, car, plane, etc. for other effects. Panning swings the camera horizontally, tilt swigs it vertically. These effects are often used simultaneously.

Angle of View/lens—The angle of the shot created by the lens. A wide angle lens presents broad views of subjects, and makes possible a large depth of field (many planes of action) as well as a deep focus shot. A normal lens (35 mm) can only focus on one plane at a time. A telephoto lens has a very narrow angle of views which acts like a telescope to focus faraway subjects and flattens the view.

Focus—"Shallow focus" uses sharp focus on the characters or things in one area of the shot and soft (blurred) focus in the rest. "Deep focus" brings out the detail in all areas of the shot. "Focus In" gradually "zooms" in on the subject, "focus out" gradually "zooms" out (these are known as “focus pulls”). Rack focus is an extremely fast focus pull that changes focus from one image/character to another by changing the focus to a different plane.

Shot distance—Full shot, three-quarters shot, mid- or half-shot, close-up and extreme close-up for shots of bodies; (extreme) long-shot, mid-shot, (extreme) close-up to describe more general. Can be used to create sense of isolation (extreme long shot of character in a desert) or great pain, anger or joy (extreme close-up of character's face). Choice of lens (see above) can create strange effects (wide angle close up extends and distorts image at the edges, like a funhouse mirror; telephoto lens used in long shots flatten distances and putting background out of focus.

Frame—the border that contains the image. Can be “open” (with characters moving in and out); “moving” (using focus, tracking, panning); “canted” (at odd angles, unbalanced shot composition).

Shot composition—The relation of the elements of mise-en-scene to the frame. Small frames used with close-ups can create sense of

claustrophobia, often enhanced by the set (low ceilings, numerous props and furnishings) and lighting. The set can also be used to frame the shot in other ways (lamps, flags, etc. on either side; a bed out-of-focus at the bottom of the frame) as can characters (as signs of intimidation, marginality, support, etc.) These types of shots are unbalanced. Look also for shots that are perfectly symmetrical.

MONTAGE—Editing (“cuts”) within scenes and in the film in general, creating continuities and discontinuities, juxtapositions, and narrative structure. The standard Hollywood practice is to make cuts “invisible,” and thus they are often difficult to pick up within a scene. "Montage" is also the term used for a series of quick cuts from a variety of locations that cohere narratively or thematically (the baptism scene in The Godfather I is a good example). "Accelerated montage" is what it sounds like (the prison escape scene in His Girl Friday).

Editing pace—within a sequence, from long takes (the opening credits of The Graduate) to “accelerated montage” (the chase scene of Bullit); within the film in general, to establish overall tone. Since the “natural” state of a Hollywood film movement, long takes coupled with a still camera can be used to increase intensity of a shot, make the audience uncomfortable, etc.

Establishing shot—Initial shot in a scene that establishes location, characters, and purpose of the scene.

Shot/counter shot—standard device used during dialogue between two characters; often starts with a “two-shot” of the two characters, then moves back and forth. Combined with camera angle, shot distance, and pace to establish point of view. Note when this standard device is not used, and for what purpose. Note when the person speaking is not viewed, or only back is viewed.

Reaction shot—Quick cut to pick up character's reaction to an event. Lack of reaction shot when it seems logical should be noted.

Jump Cut—A cut that occurs within a scene (rather than between scenes) that removes part of a shot. This shot is often done for effect by making the cut obvious and disrupting the invisible editing of Hollywood style.

Freeze Frame—A freeze shot, which is achieved by printing a single frame many times in succession to give the illusion of a still photograph.

Crosscutting—A shot inserted in a scene to show action happening elsewhere at the same time.

Cutaway—A cut within a shot to a location that links the action of the shot and condenses time (for example, a reaction shot of a woman watching a man climb some stairs, cutting out a flight in between the shots).

Match Cut—A cut in which two shots are linked by visual, aural, or metaphorical parallelism.

Scenes—An end of a scene is usually marked by a number of possible devices, including fade-ins and fade-outs (which may include a quick cut or a fade to black—note the length of time the blackout is maintained, which often implies significance of preceding scene, or else a long passage of time); wipe (a line moves across the screen, usually used in older films); dissolve (a new shot briefly superimposed on an old shot), often used to express continuity or connections (for example, the “stump scene” in Shane).

Sequence—A series of scenes that fit together narratively or representationally

Accelerated montage—a series of quick cuts that relate a variety of shots from different locations into a coherent story or

SOUND—Sometimes non-dialogue sound is the hardest element to pick out and analyze, yet is often extremely important and subject to just as much of the film makers focus as other elements. Note how sound is used—to underscore emotions, to alert the audience to an upcoming event, as an ironic counterpoint, etc. Carefully created and edited sounds (including the use of silences) creates a rich aural images the same way that mise en scene, shot composition, and montage create visual images. Note that sound is both part of the mise-en-scene and is a separate category of editing (since the audio track is separate from the video track).

Dialogue—Is it overlapping, mumbled, very soft or loud? Sound effects—both the effects themselves (a doorbell ringing) and

the manipulation of the sound (stereo effects which move sounds across the sound spectrum, or balance sounds on one side or the other; filtering and manipulating sounds).

Score—the background music used throughout the film. The score often maintains and manipulates a similar theme at various times (especially in older films), and is often used in relation to the narrative structure. Particular motifs or themes may be used in relation to particular characters.

Sound Bridge—Connects scenes or sequences by a sound that continues through the visual transition.

Direct sound refers to sound that is recorded at the time the scene is shot (usually dialogue, although audio inserts are possible. All audio inserts would be post-synchronous sound.).

Postsychronous sound refers to sound that is recorded and placed on the film audio track after the scene is shot (virtually all scores). Most non-dialogue sounds are inserted after production (for example, footsteps), as well as a fair amount of dialogue that is either inserted

when characters are not shown speaking onscreen, or simply pasted over sections that the are deemed to need improvement.

Diegetic sound is heard within the film's diegesis (dialogue, a shot from a gun on screen).

Off-screen sound appears within the film's diegesis but not within the frame (extending off-screen space).

Non-diegetic sound is heard outside of the film's diegesis (such as film scores and voice-overs). A pop song that seems to be part of a the soundtrack but is found to be coming from, say, a car radio, is a diagetic sound and is an element worth noting.

Simultaneous sound is heard at the same time the action happens on screen.

Non-simultaneous sound is heard before or after the action happens on-screen.

For links to definitions used in film theory, CLICK HERE.

List of Essential Film Terms from Bordwell and Thompson, Film Art, CLICK HERE.

Bibliography:

David Bordwell and Kristin Thompson, Film Art, 6th Ed. (McGraw-Hill)

Monaco, James. How to Read a Film: The Art, Technology, Language, History, and Theory of Film and Media. Revised Edition (Oxford U. Press: 1981).

Stephen Prince, Movies and Meaning: An Introduction to Film Corrigan, Timothy. A Short Guide to Writing About Film. Second

Edition (HarperCollins: 1994)

Advertising Production

Ideas Mind Map

I PHONE 4

ADVERT

MUSIC

CAMERA SHOT

VIDEO

DANCE

PICTURE

POSE

USE

CELEBRITY

Pre-Production Proposal

Introduction

For this project I will be compiling a proposal for an Advertisement Project; as well pre-production proposal

PROPOSAL

Production OutlineProduction ProposalTarget AudienceSound/MusicCastStorylineThe I phone 4 S

A Study of the industry It is not just about the product. You need to show you know the industry that the client is working in. Who are their competitors? Is the market growing? Who are the key players in the market?

Clients needs – “What they want?”What are the goals of the advertising campaign? Is it to sell more products? Is it to increase traffic on their website?

Audience & Objectives – Who are they?Who is the target audience for your commercial? Why? What are your objectives when making the commercial?

Creative BreakdownDescribe and breakdown the commercial you are planning and any ideas you have in as much details as possible: talk about what happens; who are the characters in it; how does it look like visually; what style (i.e. funny or dramatic) or genre (i.e. gangster or horror) would it be in? Remember that an advert should be memorable.

THE BREAKDOWNHOOK LINEThe Hook line phone 4 S is BAD!!!!!!!!!!! The hook line for the IThe advert feathers Alexzander Burke’s Song “ B A D B O Y S “

This is the main story line of the advert To create an attitude!I phone 4 S is Bad!!!!!!!!!!!The Links Effect – make the I phone 4 S irresistible to the Young and Middle Aged!

The Script

1. The script for the I phone 4 S advert Starts with a close up shot of Teuge a member of the TILTZ production crew in a close up shot on the iPhone 4 S 2. The second shot is a high medium close up which develops into a high Medium close up shot.

HOOK LINE

Iphone 3 S is BAD!!!!!!!!!

Video Proction Schedrule

Establishing ShotThe establishing shot for the advert will be a picture ofCrew – Tauge’s picture on the iphone Iphone 4 S

ScriptHook Line I phone 4 S is Bad

MusicAlexzandea Burke Song Bad Boys

SoundVoice over this one is Bad yaw!!!!

Production ScheduleDay

Work to be done By whom Date

1 Planning meeting for ideas for video production team.

All members of the groups – TILTZ ProductionTaugeAmoySoniaJasonEugeneEric

9/10/11

2 Second planning meeting to put together the cast and crew

Crew /CastTaugeAmoySoniaEugeneEric

17/10/11

3 Planning and filming video Crew/CastTaugeAmoySoniaJasonEugeneEric

23/10/11

4 Final filming Crew/CastTaugeAmoySoniaEugeneEric

/11/1/12

Production Crew/CastTaugeAmoySoniaEugeneEric

18/1/12

Production CrewTaugeAmoySoniaEugeneEric

21/1/12

TILTz ProductionThe team met together to plan our production team altogether we were six in number.These are the names of the crew:

Tauge Amoy Sonia Jason Eugene Eric

We chose the name TILTz production for our company name because it sounded unique, and we thought it would attract attention to the company,

17/10/11IDEAS WE CAME UP WITH FOR OUR ADVERT

1. The quality of the ad will be in HD.2. The target audience will be 18 and over.3. To represent the ad will be a selective of 3 celebs.. Rihanna, Tiny

temper and Alexandra burke.4. The song played at the end will be Rihanna – What’s my name5. At the end of ad a voice says in a deep voice “iPhone”6. When a member of the crue jumps, the cameraman freezes the

pic.

The Production Team Amoy – EditorEric – CameramanSonia – DirectorTugce – Stage manager

Jason – PlannerAugustine – ResearcherStage cast - All

Production Team Amoy – Editor

Eric – Cameraman

Sonia – Director

Tauge – Stage manager

Jason – Planner

Augustine – Researcher

Stage cast - All

November 07 2011 team meeting

Discussion

Study phone 4

Industry, Internet, adverts why because it is most likely to be broadcast on the Internet due to the amount of funds available.

Industry research Google research

Research the advertising industry to get specifications on advertisemets

We will research the following to gain a better understanding of how to create our advert.

Client apple

Client goals

Clients needs

Audience & Objective

Who is the client?

Our objectives are

ProposalIntroducing shot 1st Shot – Very long shot

The establishing shot would starts off small then enlarges to an extreme close up then explodes into balls of different colour paints.

We decided that these were the shot ww would use however there has been a change of plan

2nd Shot – iPhone in the air with people reaching out towards the iPhone but just out of reach.

His has been changed

3rd Shot

4th Shot

5th shot

6th shot

7th shot

End shot Closing shot 8th Shot

Jump in the air and freeze with the phone in Amoy’s hand with the Riana song oh na na What’s my name.

7. The song played at the end will be Rihanna – What’s my name8. At the end of ad a voice says in a deep voice “iPhone”

9. When a member of the crue jumps, the cameraman freezes the pic.

The Production TeamThe members of the production team in Amoy – Editor

Eric – Cameraman

Sonia – Director

Tugce – Stage manager

Jason – Planner

Augustine – Researcher

Stage cast - All

November 07 2011 team meeting

Discussion

Study phone 4

Industry, Internet, adverts why because it is most likely to be broadcast on the Internet due to the amount of funds available.

Industry research Google research

Client apple

Client goals

Clients’ needs

Audience & Objective

Who is the client?

Our objectives are

Proposal

Introducing shot 1st Shot – Very long shot

This shot starts off small then enlarges to an extreme close up then explodes into balls of different colour paints.

2nd Shot – iPhone in the air with people reaching out towards the iphone but just out of reach.

3rd Shot

4th Shot

5th shot

6th shot

7th shot

End shot Closing shot 8th Shot

Jump in the air and freeze with the phone in Amoy’s hand with the Riana song oh na na What’s my name.

For this assignment, you will need to fully prepare and film a 30 second long advert. Working in groups, each student will need to produce suitable pre-production, production and post-production material.

THE PROJECTPRIMARY RESEARCH

In my primary research I have created a questionnaire using Socio demographic profiling generate information relating to the background of individuals who have responded to my questionnaire. Here is a bar chart with information of the different background of people who have answered the questionnaire.

How viewers use their phones

Countries where interviews are from

THE WAYS IN WHICH PEOPLE USE THEIR MOBILE PHONE

Below is an indication of how some audience use their mobile phones

Calls

calls

and te

xts texts

calls

and In

ternet

calls

/tex

t/socia

l netw

ork0

1

2

3

4

5

6

Se-ries1

SECCONDARY RESEARCH

This research shows how smart phones market has developed since 2010

Legal

Introduction

Legal matters

For our advertisement project we pays strict adherence to the legal guidelines, which has been implemented to provide guidance and regulation to the advertisements, which are created, for the audiences.

This code applies to all advertisement and takes in a variety of categories. For example

The BXAP code covers all aspect of advertisements on all media channels, for example radio television and includes text and interactive format whether the programs are paid adverts or sponsorship credits on radio and television and even those which are licensed by Ofcom. The reason for this is to ensure that advertisers and broadcasters are made aware of the rules and protections, which are available to ensure that consumers are protected.Ofcom licensed broadcaster must be aware if this code, this information is made available on ASA website www.asa.org.uk or the CAP website www.org.uk. It is very important that broadcasters and advertisers familiarize themselves with these guidelines and legislations because deviation from such rules and guidelines may grossly affect their product and may resulting loss of revenues, due to the fact that if adverts do not measures up to the guidelines set out by the Advertising Board.The general guidelines include General information’s, which affects all advertisement. These includes:

Compliance

Recognition of advertisingMisleading advertisingHarm and offencesChildrenPrivacy

Environmental claims

Specific Category Sections includesScheduling

PrincipleDefinitions Judging particular appeal of broadcast editorial content to children or young personChildren

Rules

Legal Considerations

What rules and regulations might you have to consider before making your advert?

Remember to explain what product you intend to advertise If you can’t find any regulations relating to your specific product,

write down as many rules and regulations on adverts you can find Remember to include the code for the rule you are writing about

Check out The UK Code of Broadcast Advertising (BCAP) website for a list of all of the rules and regulations of

advertising:www.cap.org.uk/The-Codes/BCAP-Code.aspx

Compliance

According to the BACP Code which came into force in September 1st 2010, replacing previous broadcasting and advertising codes; which states that all advertisements which takes in: teleshopping and other promotional television channels. Interactive television and other programmes, which include sponsorship credits, both on radio or television by off come.Background.Consideration and recognition of the rules of advertisement must be read along with all parts of he code. This is a vital par of section

Another important deals with product specification as well as audience – specific rules that is set out to protect the consumer.It stipulates that there should be a trailer for programmes which are advertised on television.There must be and Editorial content programme associating all UK television and radio advertisement.RULES

Advertisements must be distinguishable from editorial content.

there should be a special sound effects or expression associated with examples of news flash or special adverts, to enable the audience to quickly recognize it.

advertisement should use a title, or logo, or music or sound to help it to be easily recognised.

television advertisements should pay special attention to what they advertise. For example they must not refer to themselves so as to lead viewers to believe they are watching a programme.,adverts must not feature visual or oral news or current affairs, which have been televised.adverts must not include extracts from broadcasts of parliamentary proceedings.

Individual who are currently and regularly read news on radio or television may voice radio advertisements but must not advertise product or services tat are likely to be seen to compromise the impartiality of their new-read role.

Principle relating to children Children must be protected from advertisements that could cause physical, mental or moral harm.The context in which an advertisement is likely to be broadcast must take in consideration of the type of audience including age, and to avoid unsuitable speech content and scheduling so as not to cause distress.

Advertisements at certain time of the day should be maid sociable and suitable to children and young persons, so as to avoid distress and sensitivity when it is being scheduled.

This section should go in conjunction with section 32. SchedulingIt is also important to ensure that care is taken to see that advertisements do not frighten or distress children if it appears when children are viewing television programmes.

Advertisements which are unsuitable to children should not be shown during children’s programmes.

The ages which is considered as a child ranges form 6mths – 16 years.

Harm and offenceAdvertisements must not be harmful or offensive, and it

must follow the general acceptable standard to help minimise risk, or harem or serious widespread offencesThe context must be fully researched and revised to avoided unsuitable scheduling..

PrivacyAll living individuals should be protected form unwarranted

infringements of privacy. Broadcasters should respect individual’s rights to private and family life, home and correspondence. Advertisements featuring an individual; they should not imply that individuals endorse a product if he or she does not want to do so.

living person must not be featured, caricatured or referred to in an advertisement without their permission or consent. (Within reason) Except for brief episodes., such as in a crowd, public gathering , films and documentation of the public.

Impersonation sound alike, parodies, or similar broadcasting of celebrities are only done with permission.

Environmental claims advertisement should take account of Government guidance including the green Claim Code published by DEFRA and BIS.Rules

Radio Central Copy Clearance- Radio broadcasters must ensure advertisements are cleared before broadcasting.All environmental claims must be cleared to ensure that he information is not misleading ore omitting relevant details.

all claims must be supported and subjected to the greener or friendlier guidelines.

environmental claim must be based on the full life cycle of the advertised product or service, unless the advertisement states otherwise.

BCAP CodeStates that advertisements must not mislead or cause offense or harm to valuable individuals, especially children. It also states that the ASA may decide to decline to investigate disputes which it believe falls under other regulatory boars for example, if the matter needs to be referred to the courts. Advertiser must ensure that all information being advertised falls within the guidelines of the board. Radio advertisements must be cleared by RACCAdditionally they need to ensure that all adverts are cleared by the ASA before broadcasting Failure to do so will insure RACC scheduling warnings.

Pictures and videos

SHOOTING SCRIPT

This an xamle of a script

Lemsip Max Day and Night

A woman is in bed with a cold reading in preparation for her driving test.

VO: "When you've got a cold but you need a good nights sleep, try new Lemsip Max Strength Day and Night."

Lemmy parachutes onto the bed and offers the woman some Lemsip Max Strength Day and Night capsules.

VO: "Cold and flu relief capsules - Night time capsules relieve your symptoms to help allow sleep, so you can wake up refreshed, without the groggy feeling, and ready to go. And, daytime capsules relieve your symptoms which gives you a boost to be at your best."

The woman takes the night time capsules and gets off to sleep. She then wakes up in the morning looking refreshed and ready to go. Lemmy throws the woman her car keys and then massages her head as she takes her driving test. Lemmy then shows us a boost monitor demonstrating that the daytime capsules give you a boost.

The woman passes her driving test and both she and Lemmy rip up her learner plates.

VO: "Lemsip Max Strength Day and Night capsules for round the clock relief."

Lemmy flexes his arm muscles like a body builder to show how strong he is, and the hands on a clock rotate quickly indicating that Lemsip Max Strength Day and Night capsules offer round the clock relief.

Lemsip Max Day and Night

A woman is in bed with a cold reading in preparation for her driving test.

VO: "When you've got a cold but you need a good nights sleep, try new Lemsip Max Strength Day and Night."

Lemmy parachutes onto the bed and offers the woman some Lemsip Max Strength Day and Night capsules.

VO: "Cold and flu relief capsules - Night time capsules relieve your symptoms to help allow sleep, so you can wake up refreshed, without the groggy feeling, and ready to go. And, daytime capsules relieve your symptoms which gives you a boost to be at your best."

The woman takes the night time capsules and gets off to sleep. She then wakes up in the morning looking refreshed and ready to go. Lemmy throws the woman her car keys and then massages her head as she takes her driving test. Lemmy then shows us a boost monitor demonstrating that the daytime capsules give you a boost.

The woman passes her driving test and both she and Lemmy rip up her learner plates.

VO: "Lemsip Max Strength Day and Night capsules for round the clock relief."

Lemmy flexes his arm muscles like a body builder to show how strong he is, and the hands on a clock rotate quickly indicating that Lemsip Max Strength Day and Night capsules offer round the clock relief.

References

Appendices

ASA CAP AA A CC C

HomeAbout usCAP ServicesAdvertising CodesComplianceCAP & BCAP consultationsResource centreMedia centreEventsKey principlesCAP CodeBCAP CodeCAP » Advertising Codes » BCAP CodeBCAP CodeThis first edition of the BCAP Code comes into force on 1 September 2010. It replaces the four previous separate BCAP Codes for broadcast advertising.This Code applies to all advertisements (including teleshopping, content on self-promotional television channels, television text and interactive television advertisements) and programme sponsorship credits on radio and television services licensed by Ofcom.A code of practice that applies specifically to non-broadcast advertisements – the UK Code of Non-broadcast Advertising, Sales Promotion and Direct Marketing (the CAP Code) – is the responsibility of our Non-broadcast arm. Advertisers, agencies and media owners are urged to  sign up to CAP Services to

receive news, advice and practical guidance on the new Advertising Codes. The UK Code of Broadcast Advertising (BCAP Code)Online version

Introduction

Include some detailed examples to support your comments about how the product is constructed for its target audience.

Explain and try to evaluate how the product is constructed for its target audience. Include precise and detailed examples to support what you are saying.

To aim for a Merit grade, your investigation into the existing products needs to be quite thorough and include some specific references to the construction processes used. You also need to identify why these particular processes were used for the target audience.

To aim for a Distinction grade, your investigation into the existing product needs to be very thorough and you need to go beyond description to explain in detail and depth which processes have been used to construct the product for its target audience. The examples you use should be precise and

detailed. PEE POINT EVIDENCE EXPLANATION