Media industries
The regulatory framework of contemporary media with the focus on psb.
PSB: public service broadcaster and The Killing was the Danish national PSB.
'The Killings' regulatory framework can be seen through its aims and PSB. This is helped by the show becoming the Danish national icon of PSB. PSB consists of funding from the government in order to provide and create entertainment
Monday, 4 December 2017
Monday, 27 November 2017
Theories of reprisentaition
Hall
Cultural theorist Stuart Hall describes representationas the process by which meaning is produced and exchanged between members of a culture through the use of language, signs and images which stand for or represent things (Hall, 1997).
Stuart Hall’s Encoding / Decoding Theory suggests that audience derive their own meaning from media texts. These meanings can be dominant, negotiated or oppositional.
Cultural theorist Stuart Hall describes representationas the process by which meaning is produced and exchanged between members of a culture through the use of language, signs and images which stand for or represent things (Hall, 1997).
Stuart Hall’s Encoding / Decoding Theory suggests that audience derive their own meaning from media texts. These meanings can be dominant, negotiated or oppositional.
The Encoding / Decoding Theory is a theory of communication which suggests audiences actively read media texts and don’t just accept them passively. They interpret the media text according to their own cultural background and experiences. In his Encoding / Decoding theory, Hall suggested that media texts are read in three main ways. A dominant or preferred reading of the text is the way that its creators want an audience to understand and respond to it. An oppositional reading of the text is when an audience completely rejects the message. A negotiated reading is when the audience interprets the text in their own unique way, which might not be the way its producer intended.
Monday, 13 November 2017
Narrative codes appropriate to the killing
Narrative codes appropriate to the killing
Neale's theory is genre is instances of repetition and differences. This is shown in the killing as it follows the conventions of other film noir movies. Except there is no narration and the main detective is female.
However 'The Killing's' main differences shares some repetitions to what is normally expected with the enigma being followed by a detective but the main detective is a female in Sarah Linden, who are normally presented to be sexualised , which 'The Killing' only shows briefly through the use of Rosie Larsen however through this is combated through the normal presentation of Sarah Linden (the props used to describe what Rosie Larsen may have been doing when she died). Along with this there is no narration/voiceover within 'The Killing'.
Todorov's theory is followed in the Killing through the different stages followed.
Equilibrium: The main detective has a simple life and is moving country.
Disruption of equilibrium: A child goes missing.
Recognition of disruption: The detective doesn't move she stays to focus on the case.
Attempt to repair damage: They go on an investigation.
Strauss theory is binary opposites drive the narrative forward. We can see this in the killing as its a detective trying to catch a criminal.The use of men and women help drive the narrative forward as they both provide counter arguments which lead to an overall outcome on what they should do next (every man comes with a woman and every woman comes with a man - evident in the two main detectives, the main politician and his assistant and the parents of Rosie).
Knights theory is the thrill equals the prolonging of the inevitable, as shown in the Killing as we have no information on who killed her or how. The thrill is the concept of enigma which is evident through "the Killing' in the politicians and the murder itself. The thrill of who will win the election along with the who is really behind the murder, why they killed her, how they killed and whether they will catch the man they are chasing
Wednesday, 8 November 2017
Police procedural (police crime drama)
Police procedural (police crime drama)
Sub Genre of detective fiction that attempts to convincingly depict the activities of a police force as they investigate crimes
Depict investigations into several unrelated crimes in a single story.
In police procedurals, the perpetrator's identity is often known to the audience from the outset
Police procedurals depict a number of police-related topics such as forensics, autopsies, the gathering of evidence, the use of search warrants, and interrogation.
The police procedural, or police crime drama, is a subgenre of detective fiction that attempts to convincingly depict the activities of a police force as they investigate crimes. Although traditional detective novels usually concentrate on a single crime, police procedurals frequently depict investigations into several unrelated crimes in a single story. Traditional mysteries usually adhere to the convention of having the criminal's identity concealed until the climax whereas in police procedurals, the perpetrator's identity is often known to the audience from the outset.
Tuesday, 7 November 2017
Todorov Equilibrium
Todorov's Equilibrium Theory. Todorov's theory is that in a film or story, the power is in a state of equilibrium (balance.) He believes that as the story progresses the state of equilibrium can change, giving one person more power or authority over another throughout the plot, keeping the audience entertained.
Monday, 6 November 2017
Glossery
Disequilibrium: The period of instability and insecurity in a films narrative.
Enigma: The question or mystery that is posed in a films narrative.
Equilibrium: A state of piece and calm.
Framing: Selection of elements such as character, setting and iconography.
Genre: Films with the same elements are grouped together.
Iconography: the objects within film that evoke certain meanings.
Intertextuality: Referring to another text through one text
Mis en scene: Everything you can see colours, lighting, facial expressions, props, make up, costume.
Narrative: Described description of non fiction and fiction events.
Enigma: The question or mystery that is posed in a films narrative.
Equilibrium: A state of piece and calm.
Framing: Selection of elements such as character, setting and iconography.
Genre: Films with the same elements are grouped together.
Iconography: the objects within film that evoke certain meanings.
Intertextuality: Referring to another text through one text
Mis en scene: Everything you can see colours, lighting, facial expressions, props, make up, costume.
Narrative: Described description of non fiction and fiction events.
Glossary of Terms for TV DRAMA ANALYSIS
CAMERA
SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving their viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – The framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship.
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphasise this)
Overhead Shot – A type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – A shot that shows the reaction of a character either to another character or an event within the sequence.
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving their viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – The framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship.
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphasise this)
Overhead Shot – A type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – A shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA
ANGLES
Camera
Angle – The position of the camera in
relation to the subject of a shot. The camera might be at a high angle, a low
angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot where the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Steadicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot where the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Steadicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
Sound
Diegetic
Sound – Sound that can be heard by the
characters within a scene- part of the imaginary world.
Non-diegetic Sound – Sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack usually composed specifically for the scene.
Sound Effects – Sounds that are added to a film during the post-production stage.
Non-diegetic Sound – Sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack usually composed specifically for the scene.
Sound Effects – Sounds that are added to a film during the post-production stage.
Editing
Editing – The stage in the film-making process in which
sound and images are organised into an overall narrative.
Continuity Editing – The most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continues shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – The information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – The editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – The effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – A type of edit which cuts from one character to what that character has been looking at.
Flashback – A scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – An edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – The placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – A style of storytelling in which events happen chronologically.
Montage Editing – The juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – A type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - Visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
Continuity Editing – The most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continues shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – The information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – The editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – The effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – A type of edit which cuts from one character to what that character has been looking at.
Flashback – A scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – An edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – The placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – A style of storytelling in which events happen chronologically.
Montage Editing – The juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – A type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - Visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
Mise en
Scene
Mise en
scene – a French term, which literally
means ‘put into the frame’. When analysing a sequence the term refers to
everything you see in the frame:
Props, e.g. - in a police drama this could mean a gun or
a badge, also can mean iconography.
Costume - the colour and style of the actor/subject can
have important connotations and denotations about their character, role within
narrative, etc.
Lighting - the harshness or softness of light has differing
effects on representing the mood of a scene.
Colour - if you've studied psychology then you'll
understand what each colour signifies. The colours used in popular
brandings are significant in determining their identity. For example, 'the
golden arches' but also says a lot about a person or company's ideology.
Makeup - we're not just talking about a bit of slap here,
this can refer to masks, prosthetics and special effects.
Strauss
Strauss theory: Binary opposition drives a narrative forward.
The Killing: episode 1
Sara a detectives is meant to move to Sweden but when she finds out the daughter of a local family is missing she attempts to investigate. Later finding the teenage girl dead in the boot of a car.
The Killing: episode 1
Sara a detectives is meant to move to Sweden but when she finds out the daughter of a local family is missing she attempts to investigate. Later finding the teenage girl dead in the boot of a car.
- The genre of the Killing would be film noir due to the dark colours and use of detective. It fits into the theme of crime and murder.
- From the start we see binary opposites ( the policewomen: good and the criminal: bad) this drives the main essence of the plot and how the detective wants to catch the criminal.
- As well as the opposites of outside and inside, it drives the plot as when the detectives are outside you as an audience know they are looking for information.
- The opposite of men and women: It goes against a conventional crime drama whereby the man is the main detective in this case its the woman who is in charge.
Wednesday, 11 October 2017
Film noir
Film noir
Dictionary definition: A style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944–54 and to the work of directors such as Orson Welles, Fritz Lang, and Billy Wlder- Usually includes hollywood crime dramas
- Black and white
- Crime fiction
U
A
A
Monday, 9 October 2017
Steve Neale: Genre is instances of repetition and differences.
Conventions of the comedy genre is:
- 2. Setting • a comedy sketch always occur in bright places. Location that are known for social events are often used.
- 3. Camerawork/shots • The camerawork used for most comedies, is naturalistic and the characters are filmed in a way that shows that no one is better.
- 4. Sound • Sound is important in the comedy genre. • Diegetic sound like the dialogue needs to be clear to make sure that it be can heard and laughed at • Non diegetic sound is also important, edited sound can be used to place emphasis on certain scenes
- 5. Lighting: • The lighting in is commonly bright or natural light, because this creates a realistic environment. Bright and happy colours are used to show that the scene is happy, The scenes are done in daylight.
- 6. Props • Props are very important in comedy; objects that may hurt a character is well know. Props are used in slapstick comedy because it is vital in slapstick comedy
- 7. Character Types • Idiotic people are usually used in contrast with a group of “normal” people, this shows the contrast of the personalities and emphasises the stupidity of the folly character. Also, above average intelligent people are used (such as Big Bang Theory), the comedy is emphasised because they are smart but very socially awkward and unaware of social boundaries with “normal” people. A common attribute within characters is sarcasm.
- 8. Types of Comedy
If i put Elliot from Mr Robot in another genre this is what would happen:
Day in the life: He goes out and tries to hide from people because he feels everyone is laughing at him. So When he goes out to go shops he put on a disguise as a clown but on his way he walks past a kids party and the parent says "he's here" before he can say no he finds himself in the middle of a children's party. Once again he doesn't know what he is doing so the kids all start to boo and run at him and start hitting him.
Premise: His life is then turned upside down when he feels he is useless and not appreciated in life. So he decides to make himself known by hacking into Isis before a ww3 starts.
Power: He is a hacker for a small time computing company. But believes he can be one of the best. This is when the American special service contact him about carrying out a job.
Fun: He flies out to Syria and it shows various clips of him trying to fit in to the lifestyle but as he is very clumsy it shows funny moments (e.g. falling off a camel).
Wednesday, 4 October 2017
synopsis
One page synopsis
Protagonist (leo Xander) is 18 and holds a super power to heal people, but when he heals them of a disease they come back as a hallucination. The main protagonist is himself as he has to decide wether the person is real or not.
Inciting moment: Hospital scene a child is pronounced dead in a hospital and when his parents are out of the room Leo goes in and saves the child who is suddenly alive again then Leo escapes without being notice.
Day in the life: He's at school and we see him getting bullied ( we see him staring at this girl he likes from a distance when he is barged out the way as his bully goes to talk to the girl). After school he walks home with the girl who he happens to like as he is telling her about getting bullied she tells him how life is not that and that she has a life threatening disease.
Premise: The protagonist's life is turned upside down when he finds out the girl he likes has a life threatening disease so he decides to further investigate what happened in the hospital.
Power: He's out late for a jog and a man gets run over in front of him the man that ran him over feels his pals when there is no heartbeat he drives off. Then Leo runs over and feels his pals then like in the hospital the man comes back alive and says "thanks Leo" Leo then replies " how do you know my name" so the man then quickly runs off.
Premise: The protagonist's life is turned upside down when he finds out the girl he likes has a life threatening disease so he decides to further investigate what happened in the hospital.
Power: He's out late for a jog and a man gets run over in front of him the man that ran him over feels his pals when there is no heartbeat he drives off. Then Leo runs over and feels his pals then like in the hospital the man comes back alive and says "thanks Leo" Leo then replies " how do you know my name" so the man then quickly runs off.
Wednesday, 27 September 2017
Thing link
Scenarios
1) Elliot is on his way to work, it is his birthday. When he does arrive at work they have all thrown him a party. This creates panic for Elliot as all the attention create him to create an excuse ( to go toilet) then he exits the party. His panic causes him to want drugs. Yet when he calls his dealers number there is no answer. This is when he runs to her house where he sees crowds of police and ambulances. All this panic causes Elliot to collapse.
2) He wakes in hospital with no knowledge of how. When he awakes his bed is surrounded by members of E corps. Who give him a decision between going with them or being taken away by the police, this is when he is presented of numerous photos of him taking drugs from the now dead drug dealer. This is when he goes with the E corps members who force him to hack into the mr robot association and tell them where they work.
3) He hacks into Angela's boyfriends phone and finds messages between him and the members of E-corps about how he's going to leak information about the compony he works for and how he's only with Angela for that purpose only. When Elliot confronts Angela and her boyfriend about this at there house he then calls Eliot delusional and says the only reason he's doing it is because he likes Angela, she doesn't believe Elliot, labels him as a bad friend and how she never wants to see him again.
2) He wakes in hospital with no knowledge of how. When he awakes his bed is surrounded by members of E corps. Who give him a decision between going with them or being taken away by the police, this is when he is presented of numerous photos of him taking drugs from the now dead drug dealer. This is when he goes with the E corps members who force him to hack into the mr robot association and tell them where they work.
3) He hacks into Angela's boyfriends phone and finds messages between him and the members of E-corps about how he's going to leak information about the compony he works for and how he's only with Angela for that purpose only. When Elliot confronts Angela and her boyfriend about this at there house he then calls Eliot delusional and says the only reason he's doing it is because he likes Angela, she doesn't believe Elliot, labels him as a bad friend and how she never wants to see him again.
Monday, 25 September 2017
Character arc
Definition of a character arc:
A character arc is the transformation or inner journey of a character over the course of a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing developments in the story.
Arc for my character:
My character begins as a small time robber, with a difficult personal life. Due to these experiences such as him going in to prison and also seeing the struggle of his younger brother it adapts him and transforms him into a different character. At the start he values money and himself.
This creates him to have an inner conflict with himself to have a stronger mentality and be stronger for his younger brother.
Therefore his end goal is to get him and his brother away and therefore turns him into a violent and persistent person where he will not stop at anything to reach his goal.
At the end we see him value his family over money and himself.
At the end we see him value his family over money and himself.
Thursday, 21 September 2017
character
Name:
What do they want: For him and his younger brother to leave there town and look for a new life elsewhere also he wants to make loads of money before he leaves to live off with his bother.
3) Following this dangerous mission someone is stabbed and our main character is framed for the stabbing by this gang he is working for I want to show close ups of lips saying his name by the men he worked for. I want to follow his journey in prison with quick and short clips along with fast flowing rap music to show his whole time behind bars including scenes of him doing exercise and meeting new people. Eventually he meets two men and they produce a plan so when they leave prison, he will once again rob the men that framed him but for huge sums of money that he knows the protagonist has locked in a safe in his apartment. We then see him coming out of prison and we get a pov shot of him staring at his brother from a distance being shouted at by his mum outside the school gates and his brothers face being marked with bruises. Following the earlier knowledge that his mum is not capable to wake up her son we now get a picture after this scene that she is not fit to be a mother. Then we get faced with a flashback of him saying to his brother at the start how he promised they were going to run away. This is then met by a black screen then motivational music of him and these three men applying masks to there faces and putting guns in there pockets stood around a car on a high top building in London. This indicates that the mission is about to take place.
4) For the last scene after he's completed the stealing of the money I want him to take his mask off and show his face to the protagonist in slow motion and there to be a close up of his face with the same music that played when he was in prison to show how far he has come. This will represent they both wanted the same thing money but the non sterio typical hero comes out on top. For the last moments of the story I want to show him kicking down his front door and taking his brother, this final part of the series will then be him and his brother together on a coach heading to a new future then the final zoom out shot and the final birds eye view of London with once again the same music.
Age: 18
Appearance: Medium hight, usually wears tracksuits and has his hood up.
Strengths: Street wise.
Acts very grown up.
Makes his own money.
Quick at running.
Stealing.
Stealing.
weakness: His younger brother.
Abusive parents.
People after him because he steals.
Hates school.
shy, only socialises with his friends.
Doesn't show his emotion.
Doesn't show his emotion.
Different scenarios:
1) The start of the story will begin with with an extreme long shot and land scape views of London. Then it would show various short clips accumpnied with fast music of groups of hooded males exchanging money and backpacks to represent what our main characters all about making money illegally on the streets. Then will begin with the main character wakeing his 8 year old brother up and a pov shot of his mum asleep (to represent he has to be a father figure to his brother) then he walks his brother to school they talk together about a dream to run away then he promises he will run away to his brother ( this is where we get our first goal and what our character wants). After it will show him walking down the road and seeing an unchained bike a couple of meters away from a gang of men, then he casually walks over then steals the bike and rides off. He is then persuid by the gang. After the main character ditches the bike and takes a bag which was on the bike and runs off, he is continued to be chased by the group. As an audience u witness a pov shot of him running through woodlend when he trips an then is pinched by one of the males in pursuit which is followed by a blackout.
2) Another scenario is he awakes in a grubby flat tied to a chair surrounded by men who look 20 to 25 the camera will show extreme close ups of the characters faces to represent there expressions. This is where we meet our main protagonist. Who is very similar to the main character as they both come from the same block of flats and have the same goal to make money. To his amazement (as he knows the man well and has the knowledge that he's the main drug dealer and most dangerous men in the area) he panics and apologies also realising the man knows his family, which is responded by laughter from the men. This is where he get our fist decision for the character, to carry out a dangerous job for them or as the protagonist knows his family he says his brother will get hurt which is the main weakness of the main character as a result he is left with no choice but to undergo this dangerous job.
I want to include a number of birds eye view shots of London to get across to the audience how small this character is in such a huge city, its also to show the enormity of the challenge for him to get out of his area.
I want to include a number of birds eye view shots of London to get across to the audience how small this character is in such a huge city, its also to show the enormity of the challenge for him to get out of his area.
3) Following this dangerous mission someone is stabbed and our main character is framed for the stabbing by this gang he is working for I want to show close ups of lips saying his name by the men he worked for. I want to follow his journey in prison with quick and short clips along with fast flowing rap music to show his whole time behind bars including scenes of him doing exercise and meeting new people. Eventually he meets two men and they produce a plan so when they leave prison, he will once again rob the men that framed him but for huge sums of money that he knows the protagonist has locked in a safe in his apartment. We then see him coming out of prison and we get a pov shot of him staring at his brother from a distance being shouted at by his mum outside the school gates and his brothers face being marked with bruises. Following the earlier knowledge that his mum is not capable to wake up her son we now get a picture after this scene that she is not fit to be a mother. Then we get faced with a flashback of him saying to his brother at the start how he promised they were going to run away. This is then met by a black screen then motivational music of him and these three men applying masks to there faces and putting guns in there pockets stood around a car on a high top building in London. This indicates that the mission is about to take place.
4) For the last scene after he's completed the stealing of the money I want him to take his mask off and show his face to the protagonist in slow motion and there to be a close up of his face with the same music that played when he was in prison to show how far he has come. This will represent they both wanted the same thing money but the non sterio typical hero comes out on top. For the last moments of the story I want to show him kicking down his front door and taking his brother, this final part of the series will then be him and his brother together on a coach heading to a new future then the final zoom out shot and the final birds eye view of London with once again the same music.
Tuesday, 19 September 2017
Garage band
Today we explored making a non diegetic sounds that could be introduced into a movie and still pictures to create an effect. As well as that I have created a story board including a backing piece of music that fits the scene:
The clips make up a scene of a man running from a group of people, I have created sounds to build up the suspense as he runs representing a pov shot of him running through the woods. The character falls and is then caught and punched by the people pursuing him. Then the music slows down as he has a black out which builds suspense for what is to come next after he has been punched. The watcher is nervous as to where the character will wake up.
Monday, 18 September 2017
Sounds
Sounds
Diegetic sound
Sound whose source is visible on the screen or whose source is implied to be present by the action of the film:
- voices of characters
- sounds made by objects in the story
- music represented as coming from instruments in the story space ( = source music)
Diegetic sound is any sound presented as originated from source within the film's world
Digetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame.
Another term for diegetic sound is actual sound
Diegesis is a Greek word for "recounted story"
The film's diegesis is the total world of the story action
Non-diegetic sound
Sound whose source is neither visible on the screen nor has been implied to be present in the action:
- narrator's commentary
- sound effects which is added for the dramatic effect
- mood music
Non-diegetic sound is represented as coming from the a source outside story space.
The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).
Another term for non-diegetic sound is commentary sound.
The film's diegesis is the total world of the story action
Non-diegetic sound
Sound whose source is neither visible on the screen nor has been implied to be present in the action:
- narrator's commentary
- sound effects which is added for the dramatic effect
- mood music
The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).
Another term for non-diegetic sound is commentary sound.
Examples in movies
Tuesday, 12 September 2017
camera movement
camera movement
These are examples of camera movements that will be used in programs and movies to capture a particular shot or viewpoint to create a reaction from the watcher.
These are different examples of some of the camera movements used in film:
Pan shot
This is an example of a pan shot it shows a full 360 shot of the setting.The camera horizontally so that it sweeps around the scene. It can also be tilted up or down in a vertical panning shot or in a diagonal pan, as when it follows an actor up a stairway.
Zoom shot
This here is an example of a zoom shot as it zooms in on the characters face from a distance to show his shocked expression.
Crane shot
This is an example of a crane shot to show an above ground level shot of the setting. A shot taken by a camera on a crane. The most obvious uses are to view the actors from above or to move up and away from them, a common way of ending a movie. Camera cranes go back to the dawn of movie-making, and were frequently used in silent films to enhance the epic nature of large sets and massive crowds.
Track/dolly shot
A tracking shot is any shot where the camera moves alongside the objects it is recording. In cinematography, the term refers to a shot in which the camera is mounted on a camera dolly that is then placed on rails – like a railroad track. The camera is then pushed along the track while the image is being filmed. This example represents the confusion and panic in the
scene as i represents the whole setting.
Tilt shot
The camera moves up and down from a fixed axis to give a different dimension to the setting.
Monday, 11 September 2017
camera shots
Camera shots
30examples in movies:
300 part 2: first battle
Camera shots used and their effects:
Minute 1:09 :They use a very long shot and an over shoulder shot to represent the shock and amazement of the main characters at what they are witnessing.
Minute 1:46 :They show various and many extreme close ups of the main characters faces. This represents the various expressions presented by the characters.
Minute 2:54 :It shows a medium close up of the various horses legs as they gallop. This can represent the speeding up of the battle as both armies run at each other. This speeding up of the scene engages the watcher as they await the climax for when they both clash.
Another example of using similar camera shots could be:
Legend
After 36 seconds of the clip we see a medium shot like in 300 it is done to capture the different emotions towards the situation by the various characters in the scene.
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