By now your Movie Posters should be complete. In terms of posts you can write about:
How you came up with your design ideas.
How your poster fits/doesn't fit the conventions of Movie Poster Design
Rvaluate the success of your poster in terms of communicating genre/content/release information and as a persuasive method of advertisment. All of these posts should include images of the design process and the finished article. If your work has already been displayed, it might be nice to include images of this. You can also evaluate the posters of others in the group, or discuss feedback you have recieved from your classmates.
Tuesday, 25 June 2013
Monday, 10 June 2013
What is a theatrical trailer/What is a teaser trailer?
For your second blog post (entitled 'What is a Trailer? What is a Teaser Trailer?) you should discuss each of the six following trailers. This should be both in terms of:
Remember that you are encouraged to present this information in more than just writing- so, still images, Prezis or even moving image commentary may all prove more effective.
Slightly less familiar might be the concept of teaser trailers, which you could do (instead of a feature/theatrical trailer). The purpose of this is for you to understand that there are very few essential characteristics that you must include in your own trailer and for you to see some interesting marketing twists that teaser trailers incorporate- in short, to expand your idea of what a trailer needs to be.
Full Theatrical:
We are all somewhat familiar with what a trailer is. As long as you have been to the cinema, you will be aware that there are theatrical trailers where film companies are looking to entice you to come back and see an upcoming film. What you would need to identify is what a trailer must include and what it should include.
- A brief overview of each- what characteristics (i.e. titles) does each possess?
- A brief critical discussion of each trailer- do you think they are effective or problematic? Try to be specific about aspects that you enjoyed or found frustrating- please use screen grabs if this helps.
Finally, by exploring all six of these trailers, attempt to find some common ground between them. Summarise any recurring characteristics (you can make reference to any teaser trailer examples of your own).
Remember that you are encouraged to present this information in more than just writing- so, still images, Prezis or even moving image commentary may all prove more effective.
Teasers:
Slightly less familiar might be the concept of teaser trailers, which you could do (instead of a feature/theatrical trailer). The purpose of this is for you to understand that there are very few essential characteristics that you must include in your own trailer and for you to see some interesting marketing twists that teaser trailers incorporate- in short, to expand your idea of what a trailer needs to be.
Full Theatrical:
We are all somewhat familiar with what a trailer is. As long as you have been to the cinema, you will be aware that there are theatrical trailers where film companies are looking to entice you to come back and see an upcoming film. What you would need to identify is what a trailer must include and what it should include.
Trailer Research Task
For your first task we would like you to carry out some research into what makes an effective trailer. Visit the following website:
http://www.traileraddict.com
Pick three trialers that you are going to examine. Analyse each of the trailers according to what you think is effective about the following aspects:
Sound
Music
Mise-En-Scene
Cinematography
Editing
Choice of Titles
Special Effects
Narrative (What are the audience shown/not shown?)
Genre
Casting
Voice over
Do not choose the following trailers, as you will be exploring them for your second task.
Monsters University
Anchorman 2
Last Vegas
Paranoia
Insidious Chapter 2
Aurora
http://www.traileraddict.com
Pick three trialers that you are going to examine. Analyse each of the trailers according to what you think is effective about the following aspects:
Sound
Music
Mise-En-Scene
Cinematography
Editing
Choice of Titles
Special Effects
Narrative (What are the audience shown/not shown?)
Genre
Casting
Voice over
Do not choose the following trailers, as you will be exploring them for your second task.
Monsters University
Anchorman 2
Last Vegas
Paranoia
Insidious Chapter 2
Aurora
Welcome back!
Now that you are in A2, we are going to start your coursework early to give you the best chance at getting a good grade, and to allow more time to cover exam elements from September.
Your first few tasks will be as follows:
Trailer Research
What is a Trailer?
An in depth trailer analysis or timeline
Remake of a trailer
Mood Board
Sentence Pitch
See individual posts for more detail on how to complete each task. Remember that you will get a better grade for presenting information in more dynamic ways!
Your first few tasks will be as follows:
See individual posts for more detail on how to complete each task. Remember that you will get a better grade for presenting information in more dynamic ways!
Friday, 24 May 2013
WE MEDIA QUESTIONS & EXAM EXPECTATIONS
LEVEL 4 Expects...
Explanation/analysis/argument
(16-20 marks)
Candidates adapt their learning to the specific requirements
of the chosen question in excellent fashion and make connections in order to
present a coherent argument. The answer offers a clear, fluent balance of media
theories and knowledge of industries and texts and informed personal engagement
with issues and debates.
Use of
examples (16-20 marks)
Examples of theories, texts and industry knowledge are
clearly connected together in the answer. History and the future are
integrated into the discussion at least once in each case.
Use of
terminology (8-10 marks)
Throughout the answer, material presented is informed
by relevant media theory and the command of the appropriate conceptual and
theoretical language is excellent.
Complex issues have been expressed clearly and
fluently using a style of writing appropriate to the complex subject matter.
Sentences and paragraphs, consistently relevant, have been well structured,
using appropriate technical terminology. There may be few, if any, errors of
spelling, punctuation and grammar.
ALSO LOOK AT...
‘We Media’ and Democracy
-
What are ‘We Media’?
-
Where/how has ‘We Media’ emerged?
-
In what way are the contemporary media more democratic than before?
-
In what ways are the contemporary media less democratic than before?
Candidates might explore combinations of any two media in relation to the above prompts. Starting from Gillmor’s definition, all media that are
‘homegrown’, local, organic and potentially counter-cultural can be studied for this topic, as long as two media (eg web-logging and digital film
uploading and sharing) are studied. Note that candidates should compare potentially alternative/progressive ‘we media’ examples with other
examples of more orthodox production and ownership models and that the question asks candidates to consider media within an understanding of
democracy so any contemporary examples that support their argument will be credited.
A
wonderful list of
‘We Media & Democracy’
past
questions…
Jan 2010
How far can the media in 2010 be considered to be democratic?
Explore the claim that the ‘new’ media are more democratic than the ‘old’
media.
June
2010
Assess the claim that the media is becoming more democratic.
What is ‘we media’ and what difference does it make to citizens?
Jan 2011
Discuss the meanings of the term ‘we media’.
“We get the media we deserve.” Discuss, in relation to the role of media in
a democracy.
June
2011
Explain how some features of contemporary media are more democratic than
others.
As a citizen, to what extent do you feel that the media provide you with a
democratic service?
Jan
2012
“The media are controlled by those in power just as much as ever, despite
technological and cultural change.” How far do you agree with this
statement?
What role do the contemporary media play in safeguarding democracy?
June
2012
Are we the
media in 2012?
Explain your view of the role of media in a democracy.
WE MEDIA PART 5 - CITIZEN JOURNALISM
Selected extracts from We
the Media by Dan Gillmor
“We freeze some moments in time. Every culture
has its frozen moments, events so important and personal that they transcend
the normal flow of news.
Americans of a certain age, for example, know
precisely where they were and what they were doing when they learned that
President Franklin D. Roosevelt died. Another generation has absolute clarity
of John F. Kennedy’s assassination. And no one who was older than a baby on
September 11, 2001, will ever forget hearing about, or seeing, airplanes
exploding into skyscrapers.
In 1945, people gathered around radios for the
immediate news, and stayed with the radio to hear more about their fallen
leader and about the man who took his place. Newspapers printed extra editions
and filled their columns with detail for days and weeks afterward. Magazines
stepped back from the breaking news and offered perspective.
Something similar happened in 1963, but with a
newer medium. The immediate news of Kennedy’s death came for most via
television; I’m old enough to remember that heart- breaking moment when Walter
Cronkite put on his horn- rimmed glasses to glance at a message from Dallas and
then, blinking back tears, told his viewers that their leader was gone. As in
the earlier time, newspapers and magazines pulled out all the stops to add
detail and context.
September 11, 2001, followed a similarly grim
pattern. We watched—again and again—the awful events. Consumers of
We the media
News learned the what about the attacks,
thanks to the televi- sion networks that showed the horror so graphically. Then
we learned some of the how and why as print publications and
thoughtful broadcasters worked to bring depth to events that defied mere words.
Journalists did some of their finest work and made me proud to be one of them.
But something else, something profound, was
happening this time around: news was being produced by regular people who had
something to say and show, and not solely by the “official” news organizations
that had traditionally decided how the first draft of history would look. This
time, the first draft of history was being written, in part, by the former
audience. It was possible—it was inevitable—because of new publishing tools
available on the Internet.
Another kind of reporting emerged during those
appalling hours and days. Via emails, mailing lists, chat groups, personal web
journals — all nonstandard news sources — we received valuable context that the
major American media couldn’t, or wouldn’t, provide.
We were witnessing—and in many cases were part
of—the future of news.”
“This book is about journalism’s transformation
from a 20th century mass-media structure to something profoundly more
grassroots and democratic. It’s a story, first, of evolutionary change. Humans
have always told each other stories, and each new era of progress has led to an
expansion of storytelling.
This is also a story of a modern revolution,
however, because technology has given us a communications toolkit that allows
anyone to become a journalist at little cost and, in theory, with global reach.
Nothing like this has ever been remotely possible before.”
“In the
20th century, making the news was almost entirely the province of journalists;
the people we covered, or “news- makers”; and the legions of public relations
and marketing people who manipulated everyone. “
“Tomorrow’s news reporting and production will
be more of a conversation, or a seminar. The lines will blur between producers
and consumers, changing the role of both in ways we’re only beginning to grasp
now. The communication network itself will be a medium for everyone’s voice,
not just the few who can afford to buy multimillion-dollar printing presses,
launch satellites, or win the government’s permission to squat on the public’s
airwaves.”
“We can’t afford more of the same. We can’t
afford to treat the news solely as a commodity, largely controlled by big
institutions. We can’t afford, as a society, to limit our choices.”
Journalists
We will learn we are part of something new, that
our readers/listeners/viewers are becoming part of the process. I take it for
granted, for example, that my readers know more than I do—and this is a
liberating, not threatening, fact of journalistic life. Every reporter on every
beat should embrace this. We will use the tools of grassroots journalism or be
consigned to history. Our core values, including accu- racy and fairness, will
remain important, and we’ll still be gatekeepers in some ways, but our ability
to shape larger conversations—and to provide context—will be at least as
important as our ability to gather facts and report them.
Newsmakers
The rich and powerful are discovering new
vulnerabilities, as Nacchio learned. Moreover, when anyone can be a jour-
nalist, many talented people will try—and they’ll find things the professionals
miss. Politicians and business people are learning this every day. But
newsmakers also have new ways to get out their message, using the same
technologies the grassroots adopts. Howard Dean’s presidential cam- paign failed,
but his methods will be studied and emulated because of the way his campaign
used new tools to engage his supporters in a conversation. The people at the
edges of the communications and social networks can be a news- maker’s
harshest, most effective critics. But they can also be the most fervent and
valuable allies, offering ideas to each other and to the newsmaker as well.
The former audience
Once mere consumers of news, the audience is
learning how to get a better, timelier report. It’s also learning how to join
the process of journalism, helping to create a massive con- versation and, in
some cases, doing a better job than the professionals. For example, Glenn
Reynolds, a.k.a. “Insta- pundit,” is not just one of the most popular
webloggers; he has amassed considerable influence in the process. Some
grassroots journalists will become professionals. In the end, we’ll have more
voices and more options.
Final Thoughts from Dan
Gillmor
“The rise of the citizen journalist will help us listen. The ability of
anyone to make the news will give new voice to people who’ve felt voiceless—and
whose words we need to hear. They are showing all of us—citizen, journalist,
newsmaker—new ways of talking, of learning.
In the end, they may help spark a renaissance of the notion, now
threatened, of a truly informed citizenry. Self-government demands no less, and
we’ll all benefit if we do it right.
Let’s have this conversation, for everyone’s sake.”
Thursday, 23 May 2013
WE MEDIA PART 3 - Anonymous and Hacktivists and Wikileaks
WATCH AGAIN AND PICK OUT 2/3 KEY QUOTES...
WE MEDIA PART 1 - What is We Media and Democracy?
The Usual Definiton
Democracy is by far the most challenging form of government - both for politicians and for the people. The term democracy comes from the Greek language and means "rule by the (simple) people". The so-called "democracies" in classical antiquity (Athens and Rome) represent precursors of modern democracies. Like modern democracy, they were created as a reaction to a concentration and abuse of power by the rulers. Yet the theory of modern democracy was not formulated until the Age of Enlightment (17th/18th centuries), when philosophers defined the essential elements of democracy: separation of powers, basic civil rights / human rights, religious liberty and separation of church and state.
NOAM CHOMSKY
Democracy is by far the most challenging form of government - both for politicians and for the people. The term democracy comes from the Greek language and means "rule by the (simple) people". The so-called "democracies" in classical antiquity (Athens and Rome) represent precursors of modern democracies. Like modern democracy, they were created as a reaction to a concentration and abuse of power by the rulers. Yet the theory of modern democracy was not formulated until the Age of Enlightment (17th/18th centuries), when philosophers defined the essential elements of democracy: separation of powers, basic civil rights / human rights, religious liberty and separation of church and state.
NOAM CHOMSKY
PDF of Chomsky's Book Media Control... CLICK HERE
(We want Pg 1 - Pg 12)
Chomsky said that democracy is not necessarily what we are lead to believe. We are the 'Bewildered heard' that are dictated to by the 'elite'. They some times give us an opportunity to vote to make us feel like we have a say!
This may help also...
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