Production
The advancements in technology has helped with production of films. With better cameras and microphones the quality of the films has increased steadily over the years. Also, the post-production stage such as editing has become easier because it is now done on a computer as opposed to manually cutting and sticking film negatives together. Another component of post-production that has been affected by technology is special effects. Special effects have become much more realistic and therefore makes the film much more entertaining. Good special effects also a big selling point for the youth market. It is also worth noting that because filming and editing equipment is always improving, it lowers the price of the equipment that used to be used making it affordable for independent film makers. So with technology, low-budget films can now look high quality.
Distribution
In a world where social networking websites such as Facebook and Twitter are very popular, film distribution companies have used this to their advantage. It is now very common to see films having their own facebook page where they can promote it by posting trailers, pictures and other information that can be viewed by millions in seconds.
In regards to Twitter, most actors have a twitter account and 'following' famous people on Twitter is a very common thing. The actors use Twitter as a promotion tool by talking about their films, such as when it is out, when the premiere is or even when they are going to have interviews talking about the film. Twitter is probably very successful because it makes the consumer feel like they are being spoken to on a personal level, especially because some famous people interact with other users.
Youtube is another tool for marketing, because it makes it very easy for film makers to show trailers, preview clips and viral videos to a wide audience. Videos are given tags which are specific words associated with the video, meaning that if that word is searched for the video will appear in the results. Also, when someone is viewing a video (a trailer for a film, for example), videos that are similar in subject will appear on the side of the screen, making it easier for a video to be seen.
Other ways that technology has helped marketing is through apps for smart phones and official websites for the film
Exhibition
The change in technology has changed the exhibition in many ways, not all positive. Being able to buy cameras at an affordable price has allowed for people to pirate films by filming a cinema screen and then either selling it for their own gain, or uploading it to the internet. It is very easy to find and watch films on the internet without paying a penny. This is harming the film industry because they are now recieving less money for their films and it could make it less common to see high-budget films
In a bid to fight off piracy, the film industry has begun to release many films in 3D. The 3D can only really be appreciated on a large screen so it encourages more people to pay to see the film. However, 3D films are starting to decline because many people do not like having to wear 3D glasses.
Tuesday, 22 November 2011
Thursday, 10 November 2011
Tuesday, 1 November 2011
Life Cycle of a Film
Idea
A producer will find an idea for a story to be made into a film. This idea may be inspired by a book, a true event or an original script.
Pre-Production
The producer will identify a theme/underlying message. In some cases a script will be developed after the story has been decided. The script will be altered and rewritten many times to improve it. In this stage, every step of creating the film will be carefully planned.
Funding
A film pitch will be prepared which will go on to be presented to potential financiers. These financiers will typically be a major film studio, film council or independent invester. If the pitch is success, then the film will be given the 'green light'. After this, the producer will hire a film crew, the size of which will be dependent on the budget on the film
Production & Post-Production
In this stage, all the scenes of a film will be shot. This can be a long process, with workdays often lasting 14 to 18 hours, with very little minutes of material being produced each day. After this, the film will go into post-production. This is where all of the material that has been shot will be reviewed and the best scenes will be selected for the final cut. This process involves the editor who puts the scenes together.
Distribution & Marketing
This is the stage where the film companys aim to raise public awareness of the film. This will involve releasing a trailer, a small preview of the film along with film stills. The stars of the film will give various interviews on television, magazines and radio. Film critics who write for papers or magazines will get an early screening and write a review for the film. Another feature in the marketing stage is that a website for the film will be set up. The website will usually include the film's trailers, television adverts, clips from the film, stills and the opportunity to pre-book tickets
Exhibition
The exhibition stage is the final stage in the life cycle of a film. The film will be released to cinemas (big budget films will be released to cinemas across the world, while independent films will be shown at independent cinemas or at film festivals) and the amount of money the film makes in it's first weekend can affect the success of the film. This is because if the film has good opening numbers, other people will believe that the film is good and go and see the film, therefore giving the film studio more profit. If the film doesn't get good opening numbers, it will most likely be pulled early from cinemas and released to dvd quite early. Usually after a couple of months the film will be released on dvd and also made available on pay-per-view channels such as Sky Box Office. Eventually terrestrial channels such as Channel 4 or BBC One or Two will get the rights to screen the film.
A producer will find an idea for a story to be made into a film. This idea may be inspired by a book, a true event or an original script.
Pre-Production
The producer will identify a theme/underlying message. In some cases a script will be developed after the story has been decided. The script will be altered and rewritten many times to improve it. In this stage, every step of creating the film will be carefully planned.
Funding
A film pitch will be prepared which will go on to be presented to potential financiers. These financiers will typically be a major film studio, film council or independent invester. If the pitch is success, then the film will be given the 'green light'. After this, the producer will hire a film crew, the size of which will be dependent on the budget on the film
Production & Post-Production
In this stage, all the scenes of a film will be shot. This can be a long process, with workdays often lasting 14 to 18 hours, with very little minutes of material being produced each day. After this, the film will go into post-production. This is where all of the material that has been shot will be reviewed and the best scenes will be selected for the final cut. This process involves the editor who puts the scenes together.
Distribution & Marketing
This is the stage where the film companys aim to raise public awareness of the film. This will involve releasing a trailer, a small preview of the film along with film stills. The stars of the film will give various interviews on television, magazines and radio. Film critics who write for papers or magazines will get an early screening and write a review for the film. Another feature in the marketing stage is that a website for the film will be set up. The website will usually include the film's trailers, television adverts, clips from the film, stills and the opportunity to pre-book tickets
Exhibition
The exhibition stage is the final stage in the life cycle of a film. The film will be released to cinemas (big budget films will be released to cinemas across the world, while independent films will be shown at independent cinemas or at film festivals) and the amount of money the film makes in it's first weekend can affect the success of the film. This is because if the film has good opening numbers, other people will believe that the film is good and go and see the film, therefore giving the film studio more profit. If the film doesn't get good opening numbers, it will most likely be pulled early from cinemas and released to dvd quite early. Usually after a couple of months the film will be released on dvd and also made available on pay-per-view channels such as Sky Box Office. Eventually terrestrial channels such as Channel 4 or BBC One or Two will get the rights to screen the film.
Monday, 17 October 2011
Representations of gender in Primeval
Gender is represented through the mise-en-scene when we see a girl with short hair wearing a leather jacket. These are features typically associated with masculinity rather than femininity so it could be representing her to be quite androgynous or as a tomboy. In part of the extract, the girl mans a digger and goes on to fight off a sabretooth tiger with the digger. This goes against the typical stereotype of women being vulnerable and fearful. She goes on to frighten the sabretooth away from a man by shooting a gun in it's direction. This scene could be reversing the 'damsel in distress' scenario because the girl is fighting the sabretooth away from the vulnerable man. Later in the extract, we see a woman who is the complete opposite of the aforementioned girl . She is wearing a cream coloured coat with ruffles, make-up and has her hair neatly tied back. She is represented as being much more feminine in contrast to the other girl. The woman gets threatened by a farmer with a shotgun (a shotgun maybe reinforcing the man's masculinity) and seems very much the damsel in distress. There is also a man in the extract who could be seen as quite feminine. He is wearing a bright pink shirt with a waistcoat and a pink scarf (pink obviously being stereotypically a feminine colour). In a scene where the tomboyish girl and the man both hold there guns up at the farmer, the more feminine man picks up a shovel representing him as less threatening.
The soundtrack of the extract features a lot non-diegetic of violin music. This makes the atmosphere quite tense and builds excitement. Also there is quite a few loud, booming percussion sounds and symbols crashing when the sabretooth begins chasing the man. This further makes the atmosphere quite tense and gives a sense of looming danger. Later in the extract, the more feminine woman, who speaks in received pronunciation (which may give connotations of snobbery), gets threatened by a farmer with a shotgun. After being thrown down on the hay by the farmer, we hear non-diegetic sounds of several gunshots which have been used to build suspense. The woman's snobbery is reinforced when, after being saved, all she seems concerned about is her coat saying that it is her 'best coat'. This leads the audience to dislike the woman again even after she was just in peril
The editing for most of the extract is continuity editing which is done at a normal pace. This changes to very quick continuity editing during the the sabretooth's attack and chase to make this scene more exciting than the other scenes. Fast paced editing is often done is action scenes as it makes the scene more tense and exciting. When about to do the zip wire, jump cuts are used to make the scene more fast paced. When the woman gets threatened at gunpoint by the farmer, a slow motion effect is used. This is possibly to emphasise her vulnerability and to drag out the intensity of the scene for as long as possible to keep the audience in suspense. It is also important to note that the man is privileged in the editing of the extract. The reason for this is possibly to show that he is the main character and the one in charge, despite the crucial role the tomboyish girl plays.
During the action sequence, a few whip pans are used. This could represent the panic of the male character as the whip pans give off a frantic, urgent feeling. There is also a point-of-view shot from the perspective of the male looking up at the sabretooth. This puts the audience in the mans position of vulnerability but also, with it being a low angle shot, it shows the sabretooth to be large and imposing. There is a very high angle shot when the man is running away, which makes him look smaller and therefore more vulnerable. Another high angle shot is used when the woman is thrown onto the hay by the farmer which again shows vulnerability.
The soundtrack of the extract features a lot non-diegetic of violin music. This makes the atmosphere quite tense and builds excitement. Also there is quite a few loud, booming percussion sounds and symbols crashing when the sabretooth begins chasing the man. This further makes the atmosphere quite tense and gives a sense of looming danger. Later in the extract, the more feminine woman, who speaks in received pronunciation (which may give connotations of snobbery), gets threatened by a farmer with a shotgun. After being thrown down on the hay by the farmer, we hear non-diegetic sounds of several gunshots which have been used to build suspense. The woman's snobbery is reinforced when, after being saved, all she seems concerned about is her coat saying that it is her 'best coat'. This leads the audience to dislike the woman again even after she was just in peril
The editing for most of the extract is continuity editing which is done at a normal pace. This changes to very quick continuity editing during the the sabretooth's attack and chase to make this scene more exciting than the other scenes. Fast paced editing is often done is action scenes as it makes the scene more tense and exciting. When about to do the zip wire, jump cuts are used to make the scene more fast paced. When the woman gets threatened at gunpoint by the farmer, a slow motion effect is used. This is possibly to emphasise her vulnerability and to drag out the intensity of the scene for as long as possible to keep the audience in suspense. It is also important to note that the man is privileged in the editing of the extract. The reason for this is possibly to show that he is the main character and the one in charge, despite the crucial role the tomboyish girl plays.
During the action sequence, a few whip pans are used. This could represent the panic of the male character as the whip pans give off a frantic, urgent feeling. There is also a point-of-view shot from the perspective of the male looking up at the sabretooth. This puts the audience in the mans position of vulnerability but also, with it being a low angle shot, it shows the sabretooth to be large and imposing. There is a very high angle shot when the man is running away, which makes him look smaller and therefore more vulnerable. Another high angle shot is used when the woman is thrown onto the hay by the farmer which again shows vulnerability.
Thursday, 29 September 2011
Use of sound to represent disability in Secret Diary
One very noticeable thing when looking at sound in this extract is that there is no soundtrack for the majority of it. This helps to build tension because awkward silences are created. After being invited in, there is very little conversation going on between Blake, his father and the call girl. All that we hear is the sound of footsteps and Blake's wheelchair.
Most of the dialogue in the extract is very short so it is like they are avoiding talking to each other. There also a lot of unfinished sentences because the characters seem to not know what to say out of embarrassment or awkwardness. The characters also seem to stutter a lot to show that they are not relaxed.
After the father leaves, the call girl starts locking the door. The sound of the locks is very loud and has probably been enhanced by fitted microphones on set. The reason for this is to show Blake's feeling of vulnerability with being locked in a room. After realising Blake's discomfort, the call girl starts to unlock the door and starts talking but not finishing her sentences ("I'll just leave it... just in case you want..."). This shows how uncomfortable she is and how she fears she may have frightened Blake. The call girl starts trying to make conversation to which Blake just stares at her unable to think of what to say
The scene then shows Blake's dad outside, where ambient sounds of cars in the distance can be heard. He turns on the radio which starts to play very happy classical music. This is asynchronous as it doesn't reflect the father's anxious feelings. He quickly turns it off. We then hear the diegetic sounds of him winding down the window, fidgeting on his chair and accidentally beeping his car horn. This is all done while there is still no soundtrack which makes these sounds appear louder and makes the car horn more startling
As the scene cuts between the two locations, a sound-bridge of non-diegetic music is heard. The music sounds quite sad and pitying as the call girl starts to come on to Blake. The instrument used is a harmonica which is an instrument associated with the blues which is a style of music where the singer sings about their troubles
Most of the dialogue in the extract is very short so it is like they are avoiding talking to each other. There also a lot of unfinished sentences because the characters seem to not know what to say out of embarrassment or awkwardness. The characters also seem to stutter a lot to show that they are not relaxed.
After the father leaves, the call girl starts locking the door. The sound of the locks is very loud and has probably been enhanced by fitted microphones on set. The reason for this is to show Blake's feeling of vulnerability with being locked in a room. After realising Blake's discomfort, the call girl starts to unlock the door and starts talking but not finishing her sentences ("I'll just leave it... just in case you want..."). This shows how uncomfortable she is and how she fears she may have frightened Blake. The call girl starts trying to make conversation to which Blake just stares at her unable to think of what to say
The scene then shows Blake's dad outside, where ambient sounds of cars in the distance can be heard. He turns on the radio which starts to play very happy classical music. This is asynchronous as it doesn't reflect the father's anxious feelings. He quickly turns it off. We then hear the diegetic sounds of him winding down the window, fidgeting on his chair and accidentally beeping his car horn. This is all done while there is still no soundtrack which makes these sounds appear louder and makes the car horn more startling
As the scene cuts between the two locations, a sound-bridge of non-diegetic music is heard. The music sounds quite sad and pitying as the call girl starts to come on to Blake. The instrument used is a harmonica which is an instrument associated with the blues which is a style of music where the singer sings about their troubles
Use of editing to represent disability in Secret Diary
The editing in Secret Diary has specifically been done to create an awkward atmosphere. After opening the door, an eye-line match is used to show the call girl looking at the boy in a wheelchair , Blake, and then his father who has helped him get there. After inviting them in, there is another eye-line match used when Blake is looking at the call girl as she asks for the money. We then see a shot of her not knowing who she should be asking as she first looks at the father and then Blake. Blake then asks his father to get the envelope of money out of his bag. It cuts to a shot of Blake looking embarrassed while his father rummages through the bag. Each shot seems to go on slightly longer than it should to emphasise the awkwardness of the situation.
The call girl then leaves the room for a while and Blake hints at his father to lift him over to the bed. During this part, an action match is used to show him going to lift Blake, and then lifting him in the next shot. After, there is a short exchange between Blake and his father where shot-reverse shot is used to show their reactions to the awkward conversation. It then cuts to a shot of the call girl returning as this is happening and then nearly leaving again to leave them to have a private moment. An eye-line match of Blake and his father noticing the call girl is used so she decides to stay. The father then asks if they have talked about what Blake is capable of doing. A shot-reverse shot is used again to show the uncomfortable looks on their faces. It also cuts to a quick shot of Blake saying yes so his father stops talking. Next there is a over-the-shoulder shot from the perspective of the call girl showing both the father and Blake as the father says he is leaving. This shot lasts for what feels like a long duration of time. Then there is an action match shot when Blake's father kisses him on the forehead.
After Blake's father leaves, the call girl goes to lock the door. There is then a shot-reverse shot between Blake and the call girl to show Blake's feeling of vulnerability and the call girl noticing. There is then a series of shot-reverse shots as the call girl tries to make small talk with Blake, but when Blake is on screen he says nothing. This enhances the feeling of awkwardness.
The scene then cuts to Blake's father outside opening the car door. An eye line match is used when he looks up towards the room that Blake is in. This shows how anxious he is feeling about his son and he is hoping he is alright. After entering the car there is a series of jump cuts as the father turns on the music and turns it off, fidgets on his seat and plays with the window. This fidgeting expresses his anxiety and the jump cuts make it look disjointed and emphasises his inability to be relaxed.
The scene then cuts back to Blake and the call girl in the room. This scene privileges the master shot of the call girl being physically higher in the frame as she leans over him because it keeps cutting back to it. This shows that she is now more confident in the situation and is in control
The call girl then leaves the room for a while and Blake hints at his father to lift him over to the bed. During this part, an action match is used to show him going to lift Blake, and then lifting him in the next shot. After, there is a short exchange between Blake and his father where shot-reverse shot is used to show their reactions to the awkward conversation. It then cuts to a shot of the call girl returning as this is happening and then nearly leaving again to leave them to have a private moment. An eye-line match of Blake and his father noticing the call girl is used so she decides to stay. The father then asks if they have talked about what Blake is capable of doing. A shot-reverse shot is used again to show the uncomfortable looks on their faces. It also cuts to a quick shot of Blake saying yes so his father stops talking. Next there is a over-the-shoulder shot from the perspective of the call girl showing both the father and Blake as the father says he is leaving. This shot lasts for what feels like a long duration of time. Then there is an action match shot when Blake's father kisses him on the forehead.
After Blake's father leaves, the call girl goes to lock the door. There is then a shot-reverse shot between Blake and the call girl to show Blake's feeling of vulnerability and the call girl noticing. There is then a series of shot-reverse shots as the call girl tries to make small talk with Blake, but when Blake is on screen he says nothing. This enhances the feeling of awkwardness.
The scene then cuts to Blake's father outside opening the car door. An eye line match is used when he looks up towards the room that Blake is in. This shows how anxious he is feeling about his son and he is hoping he is alright. After entering the car there is a series of jump cuts as the father turns on the music and turns it off, fidgets on his seat and plays with the window. This fidgeting expresses his anxiety and the jump cuts make it look disjointed and emphasises his inability to be relaxed.
The scene then cuts back to Blake and the call girl in the room. This scene privileges the master shot of the call girl being physically higher in the frame as she leans over him because it keeps cutting back to it. This shows that she is now more confident in the situation and is in control
Use of camera work to represent age in Monarch of The Glen
The extract begins with a dolly shot men on a farm doing manual labour. The dolly shot was probably chosen so that we can appreciate how many people are involved in the work and how hard they are working. The next shot is a medium long shot which features the young girl, Amy, coming outside to join the younger male worker. This type of shot was used to show the clothes she is wearing which contrasts with the clothes of the other characters. She is dressed more like a teenage girl than a worker. The shot pans to follow her as she walks over to him and changes to an over-the-shoulder shot from the the young male looking at Amy. This shot makes her look smaller due to the distance between her and the male (the male being closer to the camera, therefore looking bigger) which could be subtly implying her youth.
After being asked to drive the truck, the camera tracks forward towards the car into a close-up to show her sitting in the driver's seat. A close-up shot was used to allow the audience to see her confused expression at trying to start the car. After crashing and exiting the car, Amy's Boss, Paul, the young male and another woman all run over to see whats happened. It is during the exchange with Paul and the older man who she crashed into that Amy is seen in the bottom of the shot, shorter than the other characters. This is possibly to emphasise how much younger she is compared to them. Then there is a close-up shot of Amy and the other woman which shows her worried expression and again how much shorter she is
In the next scene, there is an establishing shot of a study as Paul and the headmaster enter. As Paul walks over to a decanter to pour some brandy, we see him from a low angle. This low-angle camera work is continued throughout the scene as we are meant to be sympathising with Amy, so we see it from her point of view. As Paul exits the study to tell Amy off the camera tracks to follow Amy as Paul pulls her to the side. These scenes are shot at Amy's height to put us in her position
After a montage sequence, we go to a scene in Amy's bedroom. The camera tilts down to show the magazines scattered on the bed (prop associated with teenagers) and shows her putting down a note. The camera pans to the right to show another note. The camera then zooms into a picture on the mirror which shows her and the other workers on the farm during happier times
After being asked to drive the truck, the camera tracks forward towards the car into a close-up to show her sitting in the driver's seat. A close-up shot was used to allow the audience to see her confused expression at trying to start the car. After crashing and exiting the car, Amy's Boss, Paul, the young male and another woman all run over to see whats happened. It is during the exchange with Paul and the older man who she crashed into that Amy is seen in the bottom of the shot, shorter than the other characters. This is possibly to emphasise how much younger she is compared to them. Then there is a close-up shot of Amy and the other woman which shows her worried expression and again how much shorter she is
In the next scene, there is an establishing shot of a study as Paul and the headmaster enter. As Paul walks over to a decanter to pour some brandy, we see him from a low angle. This low-angle camera work is continued throughout the scene as we are meant to be sympathising with Amy, so we see it from her point of view. As Paul exits the study to tell Amy off the camera tracks to follow Amy as Paul pulls her to the side. These scenes are shot at Amy's height to put us in her position
After a montage sequence, we go to a scene in Amy's bedroom. The camera tilts down to show the magazines scattered on the bed (prop associated with teenagers) and shows her putting down a note. The camera pans to the right to show another note. The camera then zooms into a picture on the mirror which shows her and the other workers on the farm during happier times
Monday, 26 September 2011
Use of mise-en-scene to represent age in Monarch of The Glen
The extract opens with a shot of middle-aged and older men working on a farm Scotland. They are all wearing working clothes (such as thick coats and hats), carrying tools of labour and loading things onto the back of a truck which gives the impression that it is a very adult environment. The next shot shows two younger characters, both dressed in more casual clothes. The girl, who's name is Amy and is the youngest character at 16, is wearing a light coloured shirt and blue jeans which contrasts with the darker, duller colours of the older characters. This could possibly be to set her apart from them. The boy, who is a few years older, is wearing a grey hooded jumper which makes him fit in more with the older characters but his clothes are still casual to show his youth
Amy is asked to drive a truck by Paul, the man she is working for, to which she obliges. But once in the driver's seat, her body language looks confused and unsure about what exactly she needs to do. This reflects her youth because most young people would be confused about how to drive. After eventually starting the car and beginning to drive, she soon crashes straight into a another car. The driver of the other car, an older man, emerges from his vehicle and seems to know who Amy is as he shouts at her. He is dressed formally in a tweed jacket and a v-neck jumper which are clothes associated with older men. Three other characters run over to Amy to see if she is alright. As they do this, she positions herself behind Paul, hiding from the older man. This is the behaviour similar to a young child hiding behind her parent
The next scene shows Paul and the older man, who has now been revealed to be Amy's headmaster, walk into a study. The study is very old fashioned looking, with wooden panelling on the walls and many books. Paul also pours the headmaster a glass of brandy from a decanter which is a drink associated with older people. After finding out that Amy hasn't sat any exams, Paul angrily approaches Amy and starts telling her off. He points his finger at her which is a gesture that adults usually do to young children. After realising that she isn't going to get her way, she flings her arms down childishly and storms off which represents her immaturity.
After a montage sequence of the men working, we see Amy's room. Her bed is covered with magazines (a prop associated with teenagers) and she leaves two notes written in pink squiggly handwriting, one of them next to a teddy bear. All of these things mentioned connote youth.
Amy is asked to drive a truck by Paul, the man she is working for, to which she obliges. But once in the driver's seat, her body language looks confused and unsure about what exactly she needs to do. This reflects her youth because most young people would be confused about how to drive. After eventually starting the car and beginning to drive, she soon crashes straight into a another car. The driver of the other car, an older man, emerges from his vehicle and seems to know who Amy is as he shouts at her. He is dressed formally in a tweed jacket and a v-neck jumper which are clothes associated with older men. Three other characters run over to Amy to see if she is alright. As they do this, she positions herself behind Paul, hiding from the older man. This is the behaviour similar to a young child hiding behind her parent
The next scene shows Paul and the older man, who has now been revealed to be Amy's headmaster, walk into a study. The study is very old fashioned looking, with wooden panelling on the walls and many books. Paul also pours the headmaster a glass of brandy from a decanter which is a drink associated with older people. After finding out that Amy hasn't sat any exams, Paul angrily approaches Amy and starts telling her off. He points his finger at her which is a gesture that adults usually do to young children. After realising that she isn't going to get her way, she flings her arms down childishly and storms off which represents her immaturity.
After a montage sequence of the men working, we see Amy's room. Her bed is covered with magazines (a prop associated with teenagers) and she leaves two notes written in pink squiggly handwriting, one of them next to a teddy bear. All of these things mentioned connote youth.
Sunday, 18 September 2011
Representations of Ethnicity in Skins
http://www.youtube.com/watch?v=9zda8Mt0GIs&feature=relmfu
The scene begins with Maxxie, a white, gay male, sitting outside his best friend Anwar Kharral's birthday party. Maxxie is refusing to enter the party because he feels he won’t be accepted because Anwar’s family are Muslims and homosexuality goes against their religion. Anwar is the only one who knows that Maxxie is gay and he hasn’t told his father, a strict, devout Muslim who also has a very high opinion of Maxxie, because he is worried that he won’t allow them to be friends.
Anwar phones Maxxie asking where he is, telling him to come inside. Maxxie is just about to leave when Anwar walks outside to try and persuade him into joining the party. Mr Kharral, wearing traditional Asian clothing, follows and spots Maxxie. Pleased to see him, he gives Maxxie a welcoming hug, explaining that his wife has made a lamb bhuna because he knows how much Maxxie likes it. Anwar tries to interrupt him by revealing that Maxxie is gay, but he doesn’t pay attention. Maxxie finally cuts him off by simply saying that he is gay and always has been. There is a pause, where Mr Kharral stops smiling for a moment leading the audience to believe he is going to be angry. But then his friendly demeanor returns as he explains that even though he doesn't understand or agree with homosexuality, he doesn’t mind because he believes that one day his god will help him understand it. He then once again invites Maxxie to join the party.
This scene represents Muslims in a very positive way as it shows them to be tolerant and non-judgmental. It also goes against some of the negative stereotypes of Muslims that are often shown in the media.
Thursday, 15 September 2011
Key Media Concepts
Are key media concepts are:
Media Language
Representation
Audiences
Institutions
Media Language
Cinematography - Cinematography refers to the camera work (angles, camera movement) in a film/TV series
Editing - Editing is the way a sequence is put together. The way a sequence is edited can affect the way we feel (For example, fast editing can make a viewer excited)
Sound - Sound in films and TV series will be either diagetic or non-diagetic. Diagetic sound refers to sound that can be heard by the characters while non-diagetic sounds (such as a film score) cannot
Mise-en-scene - Everything that appears in a shot such as props, setting, costumes lighting etc. The mise-en-scene is carefully chosen to help to create a certain atmosphere within a film/TV series. For example, very low lighting and a dark, isolated setting can be used in a horror film to help to create a tense atmosphere
Representation
Representation refers to how people or groups of people are presented by the media. Some examples of the groups that are represented in the media are:
Age
Gender
Ethnicity
Sexuality
Regional Identity
Ability/Disability
Class/Social Status
Audience & Institution
Institution refers to the people who create the media and try to attract more consumers through advertising. The consumers of the media are the audience
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