A frequent media exam task is the analysis of opening credits for a TV programme. Such a task has featured programmes such as TV drama [Blackpool] cartoons [Simpsons] and documentaries [Peter Andre - Going it Alone]. Opening credits are a good product as they are supposed to offer audiences a rapid means of identifying the type of product, the genre, the suitability, the content and the narrative style. All encompassed within 2 minutes. As such we'll look at one or two and see what ideas you have as to how successful they are in terms of the above.
The credits for True Blood are a good place to start as they attempt to capture the eerie, magical, fantasy of a Gothic-Swamp tale of a [slightly] future society in which vampires are both acknowledged to exist but co-exist in society. The stories are about the persecution of vampires by society and the vampires efforts to be seen as 'normal' and integrated into wider society and have access to the opportunities of the majority ethnic groups. What do the credits tell us about:
content
audience
possible narrative lines
Music is a key ingredient in credits and in your analysis of products in the Section A examination paper. Listen to these two credits:
what genre is each?
what cues are there in the product?
what images would you anticipate?
TEXT A [AUDIO ONLY]
TEXT B [AUDIO ONLY]
Let's finish with an analysis of these two texts. Both are BBC productions and are of the detective / crime genre. they are all concerned with contemporary crime and set in London.
How is the 'idea' of the programme communicated?
How are the narrative styles different? What sort of 'story-telling' does each appear to offer? How do they construct [similar?] audiences? How are the two characters represented? What ideologies of crime and detection are offered? Sherlock clearly built on a 'known' character from literary history and popular culture. If we put aside this fact, Luther averaged 6,000,000 over 3 seasons and Sherlock 10,000,000 audience over 3 seasons. Are there indications in the sequences as to why there was such a difference in the audience reach for these detective programmes?
This lesson we're moving on from the simple [!!!] task set in L43 to a more complex task involving consideration of brand identity. This is where our study of the media originated back in L3 so we ought to be able to draw on the previous 40 hours of teaching/learning and the experience of the practical projects to enlighten responses to the task. This task in particular will set you up for the practical coursework you will be creating in January We will start with an overview of the approaches to such tasks, a viewing of the text, note-making and then answering the task. We will then peer mark the responses in line with the mark scheme and try to develop understanding of the requirements of such questions.
This lesson we look at a past AQA paper from 2010 The sequence is the pre-credits and credits of an ITV documentary - Peter Andre - Going It Alone first broadcast on ITV2 at 9:00 on August 17th 2009. We are going to focus on question 1 - the most basic task which is to analyse how media forms [media language/mise-en-scene] are used in the product. The specific question is:
How does the sequence catch and hold the attention of the viewer?
The required response involves exploring how music, lighting, voice-over, dialogue, editing and content are deployed to gain an audience and to keep it.
As in the examination we will see the clip 3 times and you will be expecetd to make notes in between each viewing.
The expectation is 300-400 words [about 2 sides A4] in 15 minutes. We are thus looking at working somewhere around 20 words per minute.
the idea of this lesson is for you to [1] practise the skills you need [2] get used to working under pressure [3] understanding the format of the assessment.
At the end of the time we will go over the possible content and approaches for success.
We need to focus on how all of what we have been exploring in the print medium translates into other platforms.
Film [and broadcast fiction] employs all of the ideas we have looked at in the still image - technology; content; layout; representation; values; ideology - with the addition that we also have the added dimensions of movement, performance, dialogue, sound and a different set of contexts.
We will begin with some basic exploration of the key ideas and then move to greater complexity. Don't worry if some of this doesn't at first gell with your thinking. Keep focused and it will become clear. Whenever stuck, go back to these basics.
Learning Objectives:
•To
understand that ideas studied in semiotics can be applied to film
•To
apply these ideas to the example texts
•To
understand the structures that enable these to be applied to all media
texts and to be able to use these as a tool to ‘read’ texts
MISE-EN-SCENE
The
elements of film language that convey the story and structure the narrative
[the way the story will be told to us]:
•Camera shots [close-up; angle of
shot etc]
•Editing of shots [fade; length;
pace]
•Music [emotional ideas; pace]
•Lighting [dark; high-key]
•Setting/location [atmosphere; degree
of believability]
•Costume
•Performance/dialogue
Exemplar Product:
Made in 1992, Martin Scorsese’s
film is regarded as one of the greatest films ever made. It is not because of its story – the true story of Henry Hill which is both
thrilling and violent – but because of the way the story is told.
Scorsese is a great student of
film – he is steeped in the classic films and aware why they are classic –
lessons he applies to his own work.
Goodfellas is a textbook of how
to manipulate an audience by the use of sound, camera shot choice and clever
editing.
In Scorsese’s hands the film
language shapes the way in which we view the story – where our sympathy lies,
how we feel about characters and their actions and why they behave in the
manner that they do.
Over the next few slides we will
use examples from Goodfellas to illustrate some of the key points about the use
of film language.
The Xmas campaigns by the UK's major retail stores have this year raised complaints - not as usual, regarding the mawkish nature of their message or the blatant exploitation of the 'pester power' of children encouraged to harass ever-suffering parents - but for their increasing crassness in the appropriation of the Christmas message. At the end of it all, we must remind ourselves [as students of the media] that the basic intention of these adverts is to increase the footfall [and sales and profitability] in their stores and to secure their brand image with audiences. In this respect, John Lewis have become the market leader in creating campaigns that have, over the past five years, become nothing less than a media event. For some, Xmas begins with the first sighting of the John Lewis advert.
There may be nothing new in this - we are aware that the conventional image of Santa owes as much to the American painter Haddon Sundblom who created a series of striking poster art images for Coca-cola during the 1930s that have come to define our image of Santa.
Follow the link below to a brief youtube biography of the artist
This year [November 2014], with less than seven weeks to go to the big day, most of the UK’s consumer giants have already launched Xmas advertising campaigns that will dominate commercial TV slots with elaborate feel-good adverts. More than ever, each company has utilised the ubiquitous power of social media to produce 'making of' spots and other spin-off videos that litter their YouTube channels. There is also no doubt that each advert has the wider intention of 'going viral', seeking wider attention for their cleverness, their feel-good factor or their 'you must see this' factor.
Marks & Spencer dropped their previous formula of using celebrities, opting for replacing them with a pair of magic fairies. The Waitrose advert [part of the John Lewis Partnership Group] features a shy girl baking gingerbread whilst Boots focuses on a more everyday idea of an exhausted nurse coming home after finishing her Christmas shift.
The John Lewis advert enters the world of a young child's fantasy world and his first true understanding of the Xmas spirit - a popular take for them based on previous ideas of snowmen and toys and fairy tale woodland animals. The Sainsbury's advert, for its part, has evoked a mixed reaction.
The Sainsbury's tribute advert to the sacrifices of soldiers in WW1 follows in the wake of the exhibition of thousands of ceramic poppies in the moat of the Tower of London to commemorate 100 years since the start of the Great War, an installation which has drawn millions of visitors.
The Royal British Legion, said: 'One hundred years on from the 1914 Christmas truce, the campaign remembers the fallen, while helping to raise vital funds to support the future of living.'
The Head of Brand Communications at Sainsbury's, said: 'This year, we wanted to reflect that theme of sharing in our Christmas campaign through the lens of one of the most extraordinary moments of sharing in modern history. “The Christmas truce is an especially poignant story from the First World War that has been recreated on a number of occasions and we know it resonates with many of our customers and colleagues. We’ve partnered with The Royal British Legion to ensure we tell this story with authenticity and respect and we hope it will help keep alive the memory of the fallen that made the ultimate sacrifice on behalf of their country.'
Below, we take a look at a number of the higher profile adverts [Waitrose; Debenhams; Boots; John Lewis; Marks & Spencer and Sainsbury's] Each in some way attempts to build on the success John Lewis have had in creating a media presence that has it producing adverts that go beyond the simple objective of the AIDS models. Each attempts to secure a share of the Xmas spirit for their brand - Xmas is for sharing [Sainsbury's]; add a sparkle [M&S] ; let's feel good [Boots] ; for your fabulous Xmas [Debenhams]; we care more [Waitrose]; give someone the Xmas they've been dreaming of [John Lewis] As a media student we need to consider how this media event [think Super-Bowl adverts in the USA; Call of Duty release day in the UK and globally] has come to represent the ways in which marketing media can exploit social media and traditional media to generate a 'buzz' around something so prosaic as an advert. In the words of Bob Geldolf: Do they know it's Christmas?
[1] How does each advert attempt to evoke the spirit of Xmas? [2] How is this assigned to each retailer - how do they attempt to anchor the brand to the idea, the message about the brand. [3] Which is the most successful - why?
Today we looked at ideas for supporting your magazine design. We looked at templates for Publisher and considered how your ideas could best be realised.
This lesson you are starting your design practical having had 48 hours over the weekend for research into design conventions and exploring ideas for the style of magazine you want to create. We have had a brief look at Publisher and how to open files and construct a two page spread
open publisher
new file
select the A4 portrait template >create
Insert new page> 2 pages
View > two page spread
And you are ready to create the layout by inserting text blocks to create columns or blocks in which to place your photos. The basic template I created and used for demonstration in the lesson looks like this:
With text and final design ideas it ends up looking like this:
And previous ideas/variations have ended up like this:
Any issues use the drop in consultancy each lesson this week. Remember that the aim is to play with the technology ahead of your final coursework products next term. Explore the conventions and use the time effectively to develop your image construction, design skills and getting to grips with the technologies you will need.
Today we begin the magazine design project. The brief will be distributed and you then have the option of working with a partner to construct a youth orientated magazine aimed at a topic area of your choice - fashion; music; study; careers; football; the format ought to be familiar by now [same as the fashion shoot] but any questions around format and presentation and deadlines is all in the print brief and also on the appropriate tab of this blogsite.
It's time to put into action more of what we have covered thus far in the course [the past 33 hours] TASK A: provide a reading for this advert What is it advertising? How is it advertising the product/brand - what is it 'saying' about the product? Why have they used this celebrity? How has he been used [represented]? We might do the same here What is it advertising? How is it advertising the product/brand - what is it 'saying' about the product? Why have they used this celebrity?
How has he been used [represented]? How is Rooney linked to the product/brand identity ? Okay, let's take this a little deeper in how adverts construct brand identity and their audience. This one was for the 2006 World Cup
Provide a reading for this image: Consider the media language [media forms] of denotation and connotation - what we are shown and semiotic issues Consider the representations - what is being promoted and in what way is it being promoted? Consider whether the advert is conventional or subversive - in which ways? Consider the preferred audience for this product - what impact might this have with them? In what ways might it be deemed 'offensive' ? [by whom]
Wayne Rooney 2006 world cup Nike advert
Drenched in
blood-red paint and screaming a war-cry, this image of Wayne Rooney was condemned
as 'offensive', 'exploitative' and 'tacky' by MPs and church groups when it was
displayed on hoardings across England in the summer of 2006.
‘The Christ-like
pose of the striker in a new Nike campaign yesterday provoked fierce
condemnation.’
Its other
interpretation as a battle cry from the dark ages or throwback to the Crusades
was condemned as equally unfortunate as the poster's launch coincided with the
first outbreak of serious violence involving England's army of fans in Germany.
[1] How is English football and England
football fans represented? [aim for 200 words]
[2] Why do you think this advert was banned [aim for 200 words]
[3] What ideologies are represented in this text? [ consider issues
surrounding masculinity; Englishness; footballers]
[4] Why did Nike select this image – what was
their intention?
Today we completed a quick survey of magazines by analyzing the evolving house styles of Empire, Heat and OK. We looked at audience and content and how these were constructed by the cover designs.
Today we're all about the role of magazines in our lives or, more pertinently, the reason why magazines are increasingly NOT in our lives. We begin with a quick over view of the magazine
We looked at some of the reasons as to why the magazine was rapidly becoming a dying medium. We discovered that our own consumption was the best place to start with this. why it was that only 1 person in the two groups [50 students] regularly read a magazine [TV soaps] and why those of us that had used to regularly subscribe to magazines [me] no longer did so and rarely bought or read them any more. we decided that merely blaming it all on the internet and new technology was [a] easy answer and [b] too simplistic Yes we all use the internet for gossip, news, reviews, ideas, recipes, fashion, music but there was more than this. We considered the idea of 'waste' and re-cycling - the green debate and print based materials. We thought about cost and transport and how these might be considerations as much as convenience and accessibility of the internet versions. We finished by thinking about how magazines defined us and how some had become adept at survival, why had these magazines thrived whilst others had declined. This lead into some consideration as to demographics of audience, the needs and pleasures of audience and the idea of niche publishing.
First lesson back and we're already looking at research for the coursework brief [see MEST 2 COURSEWORK TAB] and starting to consider some wider issues of advertising and promotion of media texts. This lesson we explored the issues surrounding the launch of Call of Duty's latest incarnation and the role of Kevin Spacey within this.
As we saw, Spacey's involvement has implications for the current status of Gaming as a serious established media platform ranking alongside the biggest cinema franchises. Spacey's involvement with the innovative launch of House of Cards on Netflix has also confirmed the significant shift in media consumption which has had a huge impact on Media Institutions and on audiences - something we will be pursuing in lessons 40 - 50.
In this lesson we're about to embark on exploring some of the issues that will occupy our minds over the coming months - constructing a case-study. We will be looking at the scaffolding you will need to create your own individualised study by working through an exemplar on Youth Drama. Our final session of this half-term is to watch the opening episode of series 1 of Misfits as a shared text we will be referring to over the coming half-term.
