G325 exam
View more presentations from petefrasers
Tuesday, 15 May 2012
Tuesday, 1 May 2012
Wednesday, 18 April 2012
Revision - representation (Section A)
The process by which the media present to us the ‘real world’ Rayner
How to Read a Film, James Monaco: “Anyone can watch a film but to make sense of it we must learn to comprehend the visual images with which we are presented.”
Mediation: How a media text represents an idea
Encoding à Messages constructed into products Decoding à Messages read by audiences.
Stereotyping A process of simplification. A short cut for media producers to reproduce certain identities and ideas.
Alternative representations in the media can be interesting as it brings new ideas to an audience.
Character roles and making narrative meaning and deeper messages and values.
Representation of era, genre, location can all be examined. How did you make the era clear? How did location aid genre and narrative?
How to Read a Film, James Monaco: “Anyone can watch a film but to make sense of it we must learn to comprehend the visual images with which we are presented.”
Mediation: How a media text represents an idea
Encoding à Messages constructed into products Decoding à Messages read by audiences.
Stereotyping A process of simplification. A short cut for media producers to reproduce certain identities and ideas.
Alternative representations in the media can be interesting as it brings new ideas to an audience.
Character roles and making narrative meaning and deeper messages and values.
Representation of era, genre, location can all be examined. How did you make the era clear? How did location aid genre and narrative?
Revison - media language (Section A)
Film terminology
Shot sizes, angles, movement, position: CU, LS, ELS, ECU, MS, high, mid, low angles, panning, tracking, dolly, crane, hand held, subjective / objective positioning.
Mise-en-scene: costumes, sets, locations, performance, props
Editing types: Cut away, cross cuts, jump cuts, shot reverse shot, matched cuts, motivated cuts
Sound types: Diegetic sounds, non-diegetic sounds, ambient sounds, sound effects, contrapuntal / parallel sounds
Lighting: 3 point lighting, back lights, key lights, fill lights, ambient lighting, natural lighting, filters / gels, low key / high key lighting
Cinema “suspend our disbelief”.
Roles: Director, Editor, Sound operator, etc. Main areas of media texts: Production à Distribution à Exhibition
Shot sizes, angles, movement, position: CU, LS, ELS, ECU, MS, high, mid, low angles, panning, tracking, dolly, crane, hand held, subjective / objective positioning.
Mise-en-scene: costumes, sets, locations, performance, props
Editing types: Cut away, cross cuts, jump cuts, shot reverse shot, matched cuts, motivated cuts
Sound types: Diegetic sounds, non-diegetic sounds, ambient sounds, sound effects, contrapuntal / parallel sounds
Lighting: 3 point lighting, back lights, key lights, fill lights, ambient lighting, natural lighting, filters / gels, low key / high key lighting
Cinema “suspend our disbelief”.
Roles: Director, Editor, Sound operator, etc. Main areas of media texts: Production à Distribution à Exhibition
Revison - narrative (Section A)
“The way in which a story is told
(fiction or non-fiction)” Media Studies
An Essential Introduction (Rayner)
Todorov : 3 Act structure Equilibrium à Disruption à New Equilibrium
Levi-Strauss: Binary Opposites can be used to tell a story – opposite events and actions enable a story to develop.
Propp’s character roles: Applied to film, updated roles for characters to perform to act out the narrative.
Barthes: Narrative codes: Engimas to pleasurably delay the ending, Action codes to speed up events, Symbolic codes to make meaning and Cultural codes to add depth to events (Cultural awareness further informs audiences)
Contemporary narrative à Shark Model (Eejit’s Guide to Filmmaking – hook audiences in with an instant bite)
Twist ending often used in short films.
Anti-narrative, non chronological order, circular narrative (as the name implies we go round in a circle)
Narrative devices: Helping to tell a story:
Mise-en-scene informs us about people and places and events, short cut devices.
Editing transitions can be read in certain ways (fade to black end of a moment progress to new time, dissolve – pass the time – same or linked events or to indicate a dream or thoughts, fade to white often suggests a flashback)
Sound can help to tell a story – Non-diegetic music can set the mood, the tone, indicate something about the situation.
Voice over can tell the story – but from a particular perspective to alter how the audience respond to the story. (Objective, subjective), Script / dialogue aids narrative.
Superimposed titles can also anchor instant meanings to visuals.
Todorov : 3 Act structure Equilibrium à Disruption à New Equilibrium
Levi-Strauss: Binary Opposites can be used to tell a story – opposite events and actions enable a story to develop.
Propp’s character roles: Applied to film, updated roles for characters to perform to act out the narrative.
Barthes: Narrative codes: Engimas to pleasurably delay the ending, Action codes to speed up events, Symbolic codes to make meaning and Cultural codes to add depth to events (Cultural awareness further informs audiences)
Contemporary narrative à Shark Model (Eejit’s Guide to Filmmaking – hook audiences in with an instant bite)
Twist ending often used in short films.
Anti-narrative, non chronological order, circular narrative (as the name implies we go round in a circle)
Narrative devices: Helping to tell a story:
Mise-en-scene informs us about people and places and events, short cut devices.
Editing transitions can be read in certain ways (fade to black end of a moment progress to new time, dissolve – pass the time – same or linked events or to indicate a dream or thoughts, fade to white often suggests a flashback)
Sound can help to tell a story – Non-diegetic music can set the mood, the tone, indicate something about the situation.
Voice over can tell the story – but from a particular perspective to alter how the audience respond to the story. (Objective, subjective), Script / dialogue aids narrative.
Superimposed titles can also anchor instant meanings to visuals.
Subscribe to:
Comments (Atom)