Grand Budapest Hotel research

The Grand Budapest Hotel Research

Synergy and cross media convergence from sandraoddy2

Our Friends Clip

Our Friends Clip

The Street- Editing

The Street- Editing

I was not here for the lesson.

Regional identity from Sarah Ghost

Editing Techniques

Editing Techniques

American Beauty picture

American Beauty

Django Unchained Case Study

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Django unchained case study from Louispollock1998

Regional Identity

Regional Identity


Scottish

• All the men stereotypically wear Kilts/ Tartans. They represent the scottish heritage and men wear their kilts with pride. They are seemed to be 'fashionable' and men wear them to any occasion, mainly weddings, ceilidhs, nights out and football games. 
• Their food is known by everyone. The most common food is Haggis which Scotland is most famous for as it is the nation dish. 
• Scotland are also known to have red hair. Scottish people are stereotypically ginger/ red head as it is the most common hair colour in Scotland. 

Liverpool

• Also known as the Scousers are commonly known to have a laugh or mess around.
• Known for their football and their fans, as Anfield is one of the biggest tourist attractions in Liverpool. Their fans are known for football hooliganism.
• Most Scousers are known to be chavy or of working class and are involved in drug abuse. 

Newcastle 

• Stereotypically known as the Geordies. 
• Known for their nights out getting drunk, fighting, known to be loud people.
• They are passionate for their sport especially their football, as most Geordies are seem to be wearing the newcastle black and white strip on nights out or just for a day in newcastle. 
• The women stereotypically wear lots of make-up and wear short dresses to objectify themselves to men on a night out. 
• A common TV programme for Newcastle is Geordie shore, a reality TV programme based in Newcastle. 
• Very apologetic.

Yorkshire

• Stereotypically farmers
•  They are often scruffy, dirty and sometimes rude.
• They are adventurous, they like to go on walks, mountain climbing.
• With there speech they mostly cut off there words, for example when people say 'I'm going to the pub', they say 'goin up t pub'.

Birmingham 

• Known to be the 'Brummies' are known to be the least intelligent accent. 
• As Birmingham are most famous for their industrial background, this is why they are seemed to be less intelligent than anyone else but are seemed to be more muscular. 
• The common stereotype of Birmingham (Brummie) is that everyone speaks in the same accent.

Welsh

• Known by the English as the 'Sheep Shaggers'. 
• The daffodil and the leek are the nation flowers of Wales. 
• A TV example for this would be Gavin and Stacey, as most of the people in Gavin and Stacey are Welsh, their common phrases are 'What's occurin' or 'lush'

Irish 

• Known to be heavy drinkers, the Irish are accustom to drinking and as the Irish get older, they are known to be accustom to drinking. 
• They are commonly known to have large families, whom swear a lot. 
• They are known to be welcoming people and friendly.
• The biggest stereotype that is known worldwide is the Leprechaun. This is commonly known to be the Irish 'fairy' in Irish folklore. 

London

• People from London often come across as polite and friendly or they come across as loud and aggressive.
• Urban area, always busy with large attraction sites drawing in tourists.
• Stereotypically people from London wear designer clothing with lots of makeup who go out for dinner and go to the theatre on occasion.
• A TV programme in London would be Made in Chelsea.

Essex

•  They are seen to be loud people who stand out in the crowd.
• They tend to abbreviate their speech with words such as 'OMG'
• Women tend to be objectifying themselves with their clothing e.g. Crop tops, shorts or short dresses.
• There tends to be two types of people from Essex's, either bitchy or friendly.
• An example for this on TV is The only way is Essex, also known as 'Towie'

Cornwall/South East. 

• Located around the seaside, lots of beaches.
• Welcoming and friendly people
• Men are stereotypically known as fishermen
• They have their own 'slang'.

Sexuality

Sexuality from Sarah Ghost

Essay

Essay Ford.

The Street- Editing

The Street

Sherlock Holmes Essay

Sherlock Holmes

Kill List

<p  style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;">   <a title="View Kill List on Scribd" href="https://www.scribd.com/doc/246839465/Kill-List"  style="text-decoration: underline;" >Kill List</a></p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/246839465/content?start_page=1&view_mode=scroll&show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_61458" width="100%" height="600" frameborder="0"></iframe>

Shameless Clip- Framing

Media Shameless

Ethnicity and Race

Ethnicity and Race

Class and Status

Class and Status

Disability in TV Drama

Disability in TV Drama

Secret Diary of a Call Girl- Representation of Disability

Secret Diary of a Call Girl- Representation of Disability The characters within this clip are represented in a variety of ways. The characters being the ‘Call girl’, the boy and the dad. First of all the female character which the TV drama is about (Call girl) is not a stereotypical representation of what the audience would say a call girl would look like, such as a girl objectifying herself for the man. In this clip, the Call girl isn’t objectifying herself. The clothing that she is wearing is of the sort that a business woman would wear in an office. Her makeup is very simple with little foundation and her lips are not being objectified by lipstick. The call girl’s hair is natural brown and has had little done to it which again is the opposite to what the audience would be expecting a ‘call girl’ to look like. With this said, the ‘call girl’ comes across fairly normal and could not be used to being a call girl. This is also shown in her speech as at times she stutters when speaking to the boy, also she seems nervous to be around the dad and boy as she does not want to offend the disabled boy, again showing her lack of experience in the job. This could link to one of Paul Hunt’s ten stereotypes of disability which is non-sexual, as the call girl sees the disabled boy in a non-sexual way. The disabled boy on the other hand is represented as someone who the audience seeks pity with. This again links to Paul Hunt’s stereotyped areas, being pitiable or pathetic. As the audience are watching this, they do feel pity for the disabled boy as he cannot do everyday tasks; this is why he is a reliant on his dad to help him throughout the day. In this clip, his dad being in the room has a sense of awkwardness because the Call girl does not feel comfortable with him being there. This again links with another stereotype area ‘as atmosphere’ as the disabled boy makes the atmosphere, as if it was an abled boy, the situation wouldn’t be completely different. The Dad is represented throughout this clip with the best intentions for his son as he comes across as a caring and honest man. He also comes across as a relatively strong man as shown when he picks up his son with ease visually. Overall, he comes across as muscular man whom links with the stereotypically male; this is also shown in his clothing which suggests that his job involves labouring. The sound used in this clip is mainly diegetic sound, when the characters are speaking to each other. Also used are car noises when the Dad is outside in the van to set the scene that he is outside and also music to merge the scene from the outside to the inside. Editing isn’t used as much through this clip. One scene in which editing is mainly used is when the Dad is in the van and the use of jump cuts are used to show that he is nervous for his son and is anxiously waiting for him. For Mise-en scene in this clip, there are many ways in which the audience can look at. The lighting used in the apartment is very homely and warm which contrasts the character of the ‘call girl’. Also the flat being pink brings out the call girl’s feminine side and makes the disabled boy feel less masculine then he already is due to his disability and lack of power. A wide range of camera shots are used in this clip. At the start of the clip a long shot is used to show the audience the disabled boy and his dad and the back of the Call girl. This gives the audience a view of the disabled boy and his dad and their clothing and also the Call girls clothing. A mid-shot is used to show the audience watching a view of the disabled boy and another characters legs. This emphasises the fact that the disabled boy is disabled from this shot. This makes the audience have sympathy on his character.

Paul Hunt

Paul hunt disability from Sarah Ghost

Gender in TV Drama

Gender in TV Drama

Gender is represented in many ways throughout media, but with the most variety is shown through Television

Stereotypes

There are a variety of gender stereotypes between males and females; this is used to give a certain element to add in TV dramas. For example, one of the most commonly used gender stereotypes is the male being more dominate than the woman, in TV this is shown as the male being either an athletic man or a wealthy business man and the female is used for their looks and their appeal to the male. In most TV dramas it shows the woman being the weaker gender compared to the male and due to this the female character ends up either falling in love with the male character. It is rare occasion that the women would be the powerful figure in TV Drama’s. This links with Laura Mulvey’s theory of the male gaze, as the females in most TV Dramas are used for an erotic object for the male character or even the male audience to look at.

Camera angles are used to show Gender, for example the High Angle shot is mainly used in scene which a female is in to show her lack of power and vulnerability as a female. Another example of using camera angles to show gender is the Low angle shot; this angled shot is mainly used when a male character is in a scene to show his power to the audience who are watching the drama. 

Age is represented within disability. For example, in TV dramas when a child is disabled, they are normally physically disabled and because of this, they are then bullied because of this disability and this makes the audience sympathies towards this disabled child. Social class and status is represented within disability as the working class or middle class workers in TV dramas are more commonly injured, comparing to higher class workers. For example, in Downton Abbey there is only one character who is physically disabled who is Bates, but this Disability was because of the war, not because of his work or being born disabled such as a common working class character.

The Inbetweeners- Disability in Media

The Inbetweeners- Disability in Media

In this clip, the disabled girl is used as the comedy element. Across the world, disability has become more of a serious situation but in some comedy dramas such as the Inbetweeners, the disabled are used to create comedy. In the clip, the main character in the series throws a Frisbee and hits the disabled girl by accident and because of her reaction to the Frisbee hitting her; this creates a sense of humour.

A man named Paul Hunt in 1991 observed how the disabled were shown to through media and he talks about how the disabled were mainly used as a comedy element in all types of media. Paul Hunt also goes onto say that that the disabled are seen as a source of comedy since the ancient Greek times as they were seen as the weakest people in their times. And now the disabled girl in this is represented as a comedy element.

In my opinion I feel as if no one should laugh at the disabled as they already feel as if they are low in society. But people do still make jokes and the disabled are still laughed at. But not all media productions are making fun of the disabled to create humour, as in this clip it only hits the disabled girl because of luck of the Frisbee hitting the girl, not where the character said he was going to throw the Frisbee. This clip could have easily replaced the disabled girl for another character such as a child and would still get the same the sense of humour. 

I think the disabled who can relate to this girl would not find this clip funny due to how much they relate to this in real, especially the disabled who are specifically like her (cerebral palsy) may even complain as they will be very offended to watch this scene as it portrays the people with similar or this disability to being weak.

In this society we take pity to people with disabilities, as they appear too many people as weaker and helpless than the physically abled, this is not done on purpose to mock the disabled but because the physically abled people want to help and be nice to the disabled. But recently, it has been shown that the disabled are capable of doing extraordinary achievements, a prime example for this would be in the Paralympics and even in the Olympics.  

The Male Gaze

The gaze from Sarah Ghost

Video Analysis on Wire in the Blood

Video Analysis on Gender- Wire in the Blood

Dredd Essay

Why Did Dredd Flop at the Box Office Essay

Beyonce 1+1 Clip- Male Gaze

Beyonce

Common Sterotypes

REPRESENTATIONS – COMMON STEREOTYPES

100 word reduction of representation of the media

Everything to do with media texts is representations of reality. This means that they are all written by producers. In media, you have to remember that every media form from a Kerrang magazine to a homemade video is a part of someone’s representation of their media. Without media societies views and even your own view of reality would be different.  This is why media is important so it makes sense of reality. 

Fim Production on Roles

As Media

Common Sterotypes- Ethnicity

Ethnicity

Limited Effects Theory

Paul Lazarsfeld limited effects theory from Sarah Ghost

Video Clip

Misfits Clip

At the start of the scene of Misfits, it starts with a Panning shot to open the scene, showing all the characters  and scenery behind them showing a run down estate with bins full and litter left beside them showing that this street is neglected. From the panning shot it goes to a Mid-shot, showing a young character with tattoo's and necklaces which gives the audience the impression of the age that they are seeing, the stereotypical teenager.

After this we see a car coming down this street and as the man gets out the shot goes from a Over the shoulder shot to a Establishing shot to show not only the car the man is getting out of but a shot of all the characters as well showing that they are all wearing community service clothing (orange all in ones) showing that they are young offenders and this gives the audience a negative opinion on them.

After the Establishing shot, it goes to a Close up shot showing the man that has just got out of the car, showing he is a man in his mid twenties and his appearance is intimidating and off putting which makes the audience make an opinion on him in a few seconds that they see him. After this it goes to a Over the shoulder shot showing two of the young offenders and because of this shot this makes the audience already make a guess that they have a close bond with each other.

 The vocabulary used in this short scene is very offensive with the over use of the word 'Fuck' which is mostly used in the youth of today. One of the characters using words that are common for young teenagers, such as 'mate' where as another character addresses him as 'fella' which is uncommon to a young teenager of the 21st century showing that he might of had a better upbringing to the others. 

Representation of Age- Skins

Representation of Age

Skins

 

At the start of the episode of skins, there is a panning shot which slowly reveals the scene; it then becomes an establishing shot which shows the surroundings and main setting of the scene. The shows litter and drunken teenagers occupying the front garden, which implies irresponsibility and recklessness this gives the audience the impression of the age of people they are seeing, the stereotypical teenager. The audio for this scene is loud music which suggests lack of concern for other (neighbours).

The next scene is where the boys are entering the house and the audience see’s the amount of empty alcohol bottles there are, this is shown using the long shot, this scene shows us how naive youth nowadays is as they clearly have no regard to their health considering how much alcohol they have consumed. The music has become louder as they enter the house, this could be to indicate the lack of awareness because of the volume of the music.

The camera angle given is an extreme close up; this is used to show one of the characters stealing mobile phones off of a table, again strengthening the stereotype of people this age that they steal and disrespect others.

Later on the camera is positioned so that it appears to be the viewpoint of another character, like you are seeing the action through a first person perspective watching the drama unfold, whilst this is happening we also get an over the shoulder shot showing two teens hugging and dancing this also incorporates a two shot and a mid-shot, this shows that people of this age are carefree and laid back with no responsibilities or cares.

Just After this we are given another panning shot which slowly reveals more of the scene behind a bush, it then leads onto a high angle shot showing two characters on a trampoline, this angle is used to show the feeling of characters this age as they are always contemplating life and how if circumstances where different so there lives would be. The audio has died down and is focused on the characters speech.

Representations

REPRESENTATIONS – COMMON STEREOTYPES

AGE

Age isn’t necessarily straightforward: there are many sub-categories beyond young v old: teens, children, infants, 30-somethings, mature, middle-aged, elderly/pensioner, and even the mid-life crisis type.  I’d advise you to avoid the terms ‘old’ and middle-aged’, stick with mature or elderly where appropriate. However, in most regards the key binary opposition is young v old, where the young are stereotypically less responsible, perhaps criminal, out of control (it wasn’t like this in my day/young people today…),scholastically/academically weak – yet perhaps also cunning and conniving. Innocent, pure and naïve can also apply, especially to younger children and infants. When children are portrayed as quite adult this is usually meant as critical, and bemoaning the ‘lost innocence of childhood’. Look out for narratives revolving around new media technologies; older generations’ ignorance of new media has led to recurring moral panics over use of the web, violent video games etc. The older are also negatively stereotyped though as slightly dim, with romantic or sexual plotlines often used for cheap laughs. Older people can also be represented as essentially childish. Consider non-diegetic music used and how it may reflect a target audience of a certain age range (eg jazz older, dance music younger). Clothing codes,  Language used, especially slang. KEY WORDS: ir/responsible (possibly criminal); im/mature or foolish v wise/sensible; innocent v cynical;

GENDER

Although we have advanced beyond the crude stereotypes of women as housewives/mothers and nothing but, this tradition remains alive, if more subtle. Values that put men as superior to women are described as patriarchal; a patriarchal society is one in which men dominate power (matriarchy would be the unlikely opposite).We’re looking for binary oppositions of strength/weakness; domestic/professional; emotional/unemotional; victim/hero. Strength is mental as well as physical: men brave, women screaming helpless victims. The rise of male grooming has narrowed the gender divide somewhat, as has the rise of so-called metro sexualicons such as David Beckham, comfortable and secure in their heterosexual identity but happy to take on traditionally feminine attributes with clothing and grooming as examples. KEY STEREOTYPICAL IDEAS: physical or mental power/fortitude/strength; hero v victim; emotionally closed v open or expressive (eg tears); professional v domestic (housewife, child-rearing)

 SEXUALITY

Look out for oppositional gender attributes (a feminine male, masculine female)Ask yourself if a gay character is being highlighted as very different or just a typical, everyday bloke/woman. Gay characters often used for comedy – eg Sean in Corrie – and therefore not treated very seriously. Lipstick lesbian – positive representation or more about the male gaze?

ETHNICITY

Since 9/11 political issues are frequently involved when we see certain ethnic groups represented. Religion is a key signifier here – look out for religious figures being negatively represented and secular (non-religious)figures being treated more positively. National and regional identity can also be issues, with the whole question of Britishness and citizenship often featured. Indeed, Western v non-Western (in terms of clothing, social attitudes – eg towards women and alcohol – religious practice, music etc) can be a key binary opposition to look for. The most negative stereotype, of Muslim Asian/Middle Eastern characters, is actually very similar to an old stereotype of the Northern Irish: violent, backwards, religious, fanatical. More sympathetic representations may well focus on issues of social class & status, though working class black youths are commonly stereotyped as criminal, a stereotype which is spreading to Asian youths too. With black youth in particular, we often see heavily Americanised characteristics through language, dress and musical tastes for example. You may also get white racist characters to contend with. A key, fundamental question to ask: are different ethnic groups represented as having more in common than they do differences? KEY IDEAS: alien/difference; non-/Western; religious v secular (can be linked to backwards/old-fashioned v progressive/modern)

PHYSICAL ABILITY/DISABILITY

The key thing about disabled characters is their sheer invisibility! This is easily the most under-represented of all 7 types listed. The key here is dependence v independence; storylines typically revolve around the carer, and not so much the individual disabled person themselves. We often will see physical and mental disability combined, a rather harmful stereotype in itself. Most disabled characters are those who have had an accident; a long-established character who then has to deal with issues around this, rather than someone born with a disability, presumably as its judged the audience can more easily relate to such a character – this is something to pick up on. Sexuality is often simply ignored for disabled characters. The handling of mental disability on TV dramas has been heavily criticised in recent years, and is usually seen as sensationalised and stigmatising those who suffer from this. KEY IDEAS: in/dependence; invisible; result of accident; focus on carer; issues around sexuality

SOCIAL CLASS & STATUS

This has much in common with issues around urban v rural which can be seen with regional identity. Clothing codes are often crucial, but so too accent and speech: use of slang v complex language. Possessions naturally, and housing, are key factors. Camera angles can be used to establish class difference, as seen in the opening of  Tess of the D’Urbevilles with the minister high up on horseback and the humble peasant literally beneath him. In dramas with a degree of comedy (‘dramedy’) the clash between the classes will be used as a source of humour, the refines tastes of the ABC1s (middle to upper class) clashing with those of the C2DEs (lower-middle class to working class). Class identity is established in Monarch of the Glen partially through choice of drink, and the receptacle (container) it is poured from: from the cheap lager of Shameless to the decentred brandy of MofG.

The easily offended sensibilities of the middle classes are also often a source of humour. With working class characters, the key stereotype tends to revolve around crime, though laziness/dole scrounging can also be commonly seen. KEY IDEAS: refined/sophisticated v crude/backwards, eg with language, choice of drinks, clothing; often similar to urban v rural; power/less; victim v criminal

REGIONAL IDENTITY

Usually the main issue here is urban v rural; advanced v backwards. Accents can be used for comedy and to signify backwardness – and not just from the North or Celtic nations: the South West (eg Bristol) accent is typically used like this (picture a bumpkin saying oh arr, drinking cider and chewing a straw)Clothing codes are also important in establishing sophisticated/advanced v backwards, often also tied into an urban v rural identity. Look out for the latest fashions and sharp clothing v out dated leisure wear (tracksuit bottoms) or heavy jumpers etc. The Yorkshire stereotype, for example, is not of your typical Leeds/Sheffield/Bradford city dweller, but rural. With regards to the Welsh, Scots & N. Irish there also issues around national identity.

Whether it’s a Geordie, Brummie or Belfast boy though, there’s often an attempt to highlight some differences but ultimately cast us all as essentially British and the same, especially through groups of apparently diverse people coming together (eg Benidorm).Regional Identity and Social Class & Status are very often linked, though ethnicity can also be a key factor.

Seven Key Concepts

Section B: Institutions and Audiences

Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In addition, candidates should be familiar with:

• the issues raised by media ownership in contemporary media practice;
• the importance of cross media convergence and synergy in production, distribution and marketing;
• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
• the significance of proliferation in hardware and content for institutions and audiences;
• the importance of technological convergence for institutions and audiences;
• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.

• the issues raised by media ownership in contemporary (current) media practice
The depth and range of ownership across a range of media and the consequences of this ownership for audiences in terms of the genres and budgets for films. How for instance, can Channel4's Film4 survive in the British market place against the high concept, big-budget films made by Newcorp's FOX, Warner Bros, Disney, Universal, etc.? What kinds of niche audiences are left for Film4 to attract? Are mass audiences out of reach given the genres of films Film4 have the budgets to make? How successful have they been in reaching mass audiences with their films? How healthy is it that just a few mega media groups can own such a range of media and can decide what the public may see, and, perhaps, shape audience's tastes?

• the importance of cross media convergence and synergy in production, distribution and marketing
 Digital technology is enabling various media to converge in hubs, platforms and devices. For instance, mobiles phones do a lot more than act as hand held telephones: you can download and watch films and TV programmes, use them as alarm clocks, watches, play music on them, take photos and short films, text, go online, use GPS functions, a range of apps, and a whole lot more. New HD TVs, Playstations, X-Boxes, iPads, Notebooks, MacBooks, etc. are also examples of hubs which in which a variety of media technologies can converge for convenience for users. Media convergence is having an enormous impact on the film industry because of the ways in which institutions can produce and market for audiences/users on a widening range of platforms, capable of receiving their films.

Synergies can come out of an organisation's size; smaller media organisations such as Channel4 can-cross promote their films, etc. but the scale of cross-media promotion is nowhere near as great as that which can be gained by massive media organisations. Film4 is therefore unable to promote their lower budget films on a level playing field.

• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange
The audience's ability to interact with films by, for instance, using digital technology to put extracts on You Tube and overlay new sound tracks on them, etc. and make answering videos has been greatly enhanced by Web 2.0; Film studios can make films using CGI, greenscreen and other special effects that were impossible to make only a few years ago. The ways of filming and editing films have changed, too, with the introduction of digital film and film cameras, editing software, laptops, digital projectors, etc. Distributors market films using the latest software for designing high-concept film posters and trailers. They can use phone apps., online marketing, Twitter, etc. File-sharing and piracy are growing issues because the software exists to take the protective encryption of DVDs, etc and WEB 2.0 enables people to make and share copies of films easily. One way in which film companies are trying to get around this is by releasing films soon after theatrical release by selling them on video-on-demand, premium TV channels and downloads. US and UK cinemas chains are not happy about this, especially after all the investment some have made on digital equipment, projectors, etc. which unfortunately quickly goes very quickly out of date!

• the significance of proliferation in hardware and content for institutions and audiences

This means the increase of something: i.e. digital cameras, software, CGI, 3D films, film genres, etc. which are part of current trends; how significant is this for See Saw Films or Film4? Or are they still able to be successful without it by making films with genres that do not need the latest breakthroughs in digital technology? Research the film company's use of cameras, special effects, software, posters, digital distribution of films, etc.

• the importance of technological convergence for institutions and audiences
This is a WEB 2.0 issue and how technology is coming together in hubs like laptops is one of the features of our age; the mobile phone in your pocket is a great example of technological convergence: it can do so much more than a simple phone call; think how this is affecting film making at the production, marketing and exhibition stages? The Internet is acting as a hub for many aspects of film: you will find film posters, YouTube videos on films, interviews, trailers, official film and blog websites, etc. on it.  Audiences can also remake their own films by creating extracts and running new scores over them and then posting them on YouTube. This often leads to answering videos, never mind the comments, etc. that people make  on such sites. The internet, film and videos games seems to be converging in so many ways. People can watch films in a range of ways, using an astonishing range of hardware and software. They can also find audiences of their own. This amounts to free publicity for film institutions for their films and "A Long Tail" sales into the future through endless exchange.

• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions
"Slumdog Millionaire" was originally aimed at Asian audiences living in various parts of the UK and also at Danny Boyle fans. The film's unexpected success at film festivals and being nominated for the Oscars led to another theatrical release and a crossover from the "indy" art-house into the mainstream. British film makers often make social realism films and aim them at local and regional audiences whereas this would never be enough for the major media players who tend to make high budget, high concept films. They have boutique offshoots who make and often distribute lower budget films, aimed at more high brow audiences. Disney's Mirimax and Fox's Fox Searchlight are examples of such boutique, art-house film distribution.

• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour
How you consume films whether it is as a social activity after visiting a shopping centre or on an MP4 player or Playstation, is what is at issue here. Visit Pearl and Dean to see how multiplex cinemas are adapting the experience of cinema-going to gain audiences. In an age of falling DVD sales, home cinema and an increase in downloading for both music and film audiences are changing in how they want to consume film. Identify trends and consider where the audience trends are going in the near future.

Glossary

Moving Image Glossary from MissCTurner

Media Figures

What media figures (actors, musicians, sportspeople, celebrities) do you consider similar to you. In what way are they similar to you/ are you similar to them?

I would consider myself to be similar to Jack Butland, a professional goalkeeper. I am not a professional in the sport but I am a goalkeeper and I inspire myself to be like him in the future as it is my life goal to play football professionally. I aim to also be like 

Nick Helm as I like to be funny around my friends and like to make people laugh and also he is a musician like I am.

Do you consciously 'model' (copy modes of dress, style yourself, act like) yourself on any of these media figures? Why is that?

 I don’t model myself to be like any media figures, I sometimes copy some goalkeepers gloves and boots to inspire myself to be like them but I believe that I have got to the age that I can’t be scouted to become a professional footballer. I don’t act like any celebrities as I try to act like myself and not follow the crowd, I also dress in my own way because for the same reason as how I act, I don’t want to be like anybody else. 
UK Tribes
From the UK Tribes I would put myself in the Sport Junkies group as I am a very sporty person and I love everything to do with sport from supporting my local team Leicester City to playing it every Saturday and Sunday for my local Adult and Junior side.

7 Areas of Representation and 4 Areas of Textual Analysis

7 areas of representation and 4 areas of textual analysis

 7 areas of representation

•Gender

•Age

•Ethnicity

•Sexuality

•Class and status

•Physical ability/disability

•Regional identity

4 areas of textual analysis

Camera shots, angle, movement, composition

•Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide show, two-shot, aerial shot, point of view shot, over the should shot, and variations of these.

•Angle: high angle, low angle, canted angle.

•Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.

•Composition: framing, rule of thirds, depth of field - deep and shallow focus, focus pulls.

Editing

Includes transition of image and sound - continuity and non-continuity systems.

•Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.

•Other transitions: dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.

Sound

•Soundtrack: score, incidental music, themes and stings, ambient sound.

•Diegetic and non-diegetic sound, synchronous/asynchronous sound, sound effects, sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.

Mise-en-Scène

•Production design: location, studio, set design, costume and makeup, properties.

•Lighting: colour design.

As Media

5x5