The document discusses how different social groups were represented in a student film production. It includes responses from the actors who played the Little Girl, Antagonist, Mother, and Police Officer. For the Little Girl, they intended to portray her as weak and vulnerable through pink clothing, a flower in her hair, and high camera angles. The Antagonist was meant to seem frightening and mysterious through dark clothes and watching the Little Girl. The Mother's inclusion represented the stereotype of women caring for children, though the film subverted this by showing she couldn't shop and care for her daughter at once. Finally, the Police Officer aimed to seem friendly and helpful by having a real uniform and acting nicely.
The document provides an evaluation of improvements made from a preliminary editing task to the final production. Six key areas are discussed:
1) Proper use of the 180 degree rule, mise-en-scene, match on action, focus pull, shot reverse shot, and camera work improved the continuity and professionalism of the final product compared to the preliminary task.
2) Lighting was used more effectively to set the proper mood, with dark colors creating an evil feeling in the opening sequence and cloudy outdoor lighting suiting a thriller genre.
3) Unwanted items were removed from shots and the shots were better organized and planned in the final version after learning mistakes made in the preliminary task.
A young girl is playing in the park with her brother and friend but suspects she may be watched. At the town center a few days later, she loses her mother and a man helps her look but kidnaps her and puts her in his car trunk. The police and family then work against the clock to save her.
This document profiles the target audience for a marketing campaign as a male aged 16-25 living in the UK. He enjoys spending time with friends, listening to music, and various sports. He dislikes shopping and reading books. His media preferences include social networks, TV, and video games. He has interests in football, movies, and animals. He owns a smartphone and laptop and has independent opinions rather than following mainstream trends.
This 3 page document discusses the benefits of a new training program for employees. It states that the program aims to improve customer service skills and increase sales. The document recommends implementing the training program and expects it to boost employee performance and customer satisfaction over the next year.
The document discusses how different social groups were represented in a student film production. It includes responses from the actors who played the Little Girl, Antagonist, Mother, and Police Officer. For the Little Girl, they intended to portray her as weak and vulnerable through pink clothing, a flower in her hair, and high camera angles. The Antagonist was meant to seem frightening and mysterious through dark clothes and watching the Little Girl. The Mother's inclusion represented the stereotype of women caring for children, though the film subverted this by showing she couldn't shop and care for her daughter at once. Finally, the Police Officer aimed to seem friendly and helpful by having a real uniform and acting nicely.
The document provides an evaluation of improvements made from a preliminary editing task to the final production. Six key areas are discussed:
1) Proper use of the 180 degree rule, mise-en-scene, match on action, focus pull, shot reverse shot, and camera work improved the continuity and professionalism of the final product compared to the preliminary task.
2) Lighting was used more effectively to set the proper mood, with dark colors creating an evil feeling in the opening sequence and cloudy outdoor lighting suiting a thriller genre.
3) Unwanted items were removed from shots and the shots were better organized and planned in the final version after learning mistakes made in the preliminary task.
A young girl is playing in the park with her brother and friend but suspects she may be watched. At the town center a few days later, she loses her mother and a man helps her look but kidnaps her and puts her in his car trunk. The police and family then work against the clock to save her.
This document profiles the target audience for a marketing campaign as a male aged 16-25 living in the UK. He enjoys spending time with friends, listening to music, and various sports. He dislikes shopping and reading books. His media preferences include social networks, TV, and video games. He has interests in football, movies, and animals. He owns a smartphone and laptop and has independent opinions rather than following mainstream trends.
This 3 page document discusses the benefits of a new training program for employees. It states that the program aims to improve customer service skills and increase sales. The document recommends implementing the training program and expects it to boost employee performance and customer satisfaction over the next year.
The document provides details on the costumes and props needed for characters in a film about the kidnapping of a young girl named Ella. It describes the costumes for Ella, her mother Lindsy, the antagonist Harry, a policeman, and witnesses Lexi and William in different locations. It also lists various props needed for scenes in the park where Ella is kidnapped, including a picnic blanket, car, and phone, as well as props for police scenes like a walky-talky and computer to build tension as officers search for information. Responsibility for all costumes and props is given to the character Lexi.
The document discusses how different social groups were represented in a media production. It intended to portray the main female character Ella as weak and vulnerable through costume, lighting, and camera angles. The antagonist was intentionally portrayed as male using dark clothing and body language. The mother character Lindsey was depicted as subordinate by losing track of Ella, representing negative stereotypes of women. A blonde witness character was included to challenge stereotypes of unintelligent blonde women. A real police officer was featured to portray police positively rather than negative stereotypes.
This document discusses continuity editing techniques such as the 180 degree rule, film noir style, shot reverse shot patterns, using mise en scene to enhance storytelling, matching action between shots, implementing smooth transitions, executing focus pulls, and incorporating effective audio.
This document aims to summarize the target demographic for the opening sequence of a thriller film. It aims the film at males ages 15+ from social economic groups A, B, and C1, which include upper and middle classes in the UK, Ireland and US. These groups tend to be professional, educated individuals interested in feeling connected through high quality media and rewarding themselves with luxury goods and experiences. The film also aims at "reformer" and "succeder" psychographic groups who seek personal growth and want to achieve their best.
The document assigns roles for each member of a project team, with Bailee Brooks as Producer, Michelle Grace as Director, Chris Wotton as Camera Operator, and Miles Capp as Editor. It also lists key responsibilities for each role, such as the Producer handling costs, risks, locations, and scheduling, the Director focusing on storyboards, casting, and shots, the Camera Operator assisting with shots and locations, and the Editor managing audio, titles, and techniques.
The document discusses several theories about the relationship between media and audiences:
- The hypodermic needle/effects model views audiences as passive, directly influenced by media messages.
- Cultivation analysis sees media shaping audiences' worldviews over time through repeated exposure.
- Uses and gratifications theory argues audiences actively use media to fulfill needs like diversion, social interaction, identity, and surveillance.
- Encoding/decoding theory holds that media texts contain encoded meanings which audiences can read in dominant, negotiated, or oppositional ways depending on their perspectives.
The document evaluates whether these models fully account for modern media landscapes and active audiences using an increasing variety of platforms. It explores how new technologies may require updating or replacing existing
This document defines and discusses various sexual identities and orientations. It defines homosexual as being attracted to the same sex, heterosexual as being attracted to the opposite sex, and bisexual as being attracted to both sexes. It also discusses homophobia, heterosexism, and transgender identities. Stereotypes are provided about the appearances, behaviors, jobs and interests of homosexual men, heterosexual men, homosexual women, heterosexual women, and bisexual men and women.
This document discusses social class, ethnicity, and sexuality. It defines social class and common stereotypes associated with the upper and working classes. For ethnicity, it defines the term and provides stereotypes for different ethnic groups. It also discusses queer theory and how gender and sexuality are more fluid than fixed. Examples from TV shows are given to illustrate stereotypes around social class, ethnicity, and sexuality.
The document discusses regional stereotypes within the UK, including that English people are seen as racist beer drinkers who love football, Scottish people have red hair and hate the English, Welsh people hang out with sheep in the countryside, Irish people live on farms and are religious drinkers, Northerners are poorer and less cultured than Southerners, Londoners are either posh or poor/criminal, and people from Essex, Manchester, Liverpool, Newcastle, Yorkshire each have their own stereotypes portrayed in various TV shows. Examples of stereotypes in TV dramas are given for each region.
The document discusses regional stereotypes within the UK, including that English people are seen as racist beer drinkers who love football, Scottish people have red hair and hate the English while drinking whiskey, Welsh people are boring and hang out with sheep, and Irish people are religious farmers and dancers who live in the countryside. It also outlines stereotypes associated with regions such as northern England being poorer and working-class, southern England being richer and posher, London having both wealthy and criminal populations, Essex residents being glamorous but stupid, and people from Yorkshire being traditional rural farmers. Examples of these stereotypes in TV shows are provided.
This document compares Hollywood films and British films, noting that British films generally have lower budgets between £2-5 million and focus more on realism as a style while Hollywood films emphasize glamour over realism and can have much higher budgets like Pirates of the Caribbean at $300 million. It also categorizes British production companies like Working Title and Warp that produce more creative, lower budget films versus American studios like Universal, Disney, and Paramount that release big budget blockbusters with stars.
Warner owns numerous media brands that help promote its film productions. It owns film studios like Warner Bros. Studios and New Line Cinema, as well as TV networks that can advertise upcoming films. Owning these multiple brands allows Warner to attract different audiences and decide how often to promote its films. Some of Warner's most financially successful films include The Dark Knight trilogy, the later Harry Potter films, The Hobbit series, and Man of Steel.
To be considered a British film, a film must pass the cultural test by receiving at least 16 out of 31 points across four categories: cultural content (up to 16 points), cultural contribution (up to 4 points), cultural hubs (up to 3 points), and cultural practitioners (up to 8 points). Additionally, a British film should be set in England, have English actors, and a British director, and involve one of the UK's official co-production agreements or the European Convention on Cinematographic Co-production.
Cinema admissions in the UK peaked in 1940 at around 1,600 million but declined to a low of 100 million in 1984. Most cinema-goers between 1997 and 2011 were aged 15-24, though older audiences started increasing later. Television is the most common way people watch films, with only 3.4% going to cinemas. In 2011, comedies were the highest grossing genre while war films were the least popular. Technology plays an important role in film consumption today through features like 3D and HD that provide improved experiences attracting larger audiences.
The document summarizes an individual's film consumption habits, including how they decide which films to watch based on trailers, that they use a TV and laptop to watch films usually with friends or family, find out about new releases through cinema and TV trailers, and consume films either at home or in the cinema, listing 5 films they watched in the last year.
The document discusses how social groups were represented in a production. For the little girl, the intent was to portray her as weak and vulnerable through props like a pink backpack and flower, as well as camera angles from above. This made her seem inexperienced and easy to kidnap. For the antagonist, the goal was to seem frightening and mysterious through dark clothing, which was meant to appear cold, as well as showing him watching the girl without her knowledge. Audience feedback criticized the kidnapping, but the filmmakers thought it necessary to advance the plot.
This document provides details on costumes and props for characters in a film about the kidnapping of a girl named Ella. It describes the costumes for Ella, her mother Lindsy, the antagonist Harry, a policeman, stranger, Ella's brother William, and friend Emily. It also lists props needed for different scenes, including a picnic blanket, car, phone, walkie-talkie, and computer, and explains how each prop advances the plot or creates tension. Responsibility for all costumes and props is given to Lexi.
- The document discusses statistics about the thriller genre that will help the author produce their own thriller film. It analyzes how many thrillers were released in 2013 (67 films), how profitable the genre is (over $1 billion in revenue in both 2012 and 2013), and the characteristics of typical thriller audiences (males aged 15-24 from social class C2). Understanding these statistics increases the author's confidence in their ability to create a successful thriller.
The document discusses three major film studios - Warner Brothers, Dreamworks, and Columbia Pictures. It provides details on their founding dates and locations, as well as some of their most famous and recent successful films. Warner Brothers was established in 1923 in Burbank, California by four brothers and had recent success with The Hobbit trilogy. Dreamworks was founded in 1994 in Glendale, California by Steven Spielberg, Jeffrey Katzenberg, and David Geffen, and had recent success with Megamind. Columbia Pictures was founded in 1924 in Los Angeles and had recent success with 21 Jump Street. The document concludes by stating the author would choose Warner Brothers to distribute a thriller film due to their fame and ability to market films well.
The document provides details on the costumes and props needed for characters in a film about the kidnapping of a young girl named Ella. It describes the costumes for Ella, her mother Lindsy, the antagonist Harry, a policeman, and witnesses Lexi and William in different locations. It also lists various props needed for scenes in the park where Ella is kidnapped, including a picnic blanket, car, and phone, as well as props for police scenes like a walky-talky and computer to build tension as officers search for information. Responsibility for all costumes and props is given to the character Lexi.
The document discusses how different social groups were represented in a media production. It intended to portray the main female character Ella as weak and vulnerable through costume, lighting, and camera angles. The antagonist was intentionally portrayed as male using dark clothing and body language. The mother character Lindsey was depicted as subordinate by losing track of Ella, representing negative stereotypes of women. A blonde witness character was included to challenge stereotypes of unintelligent blonde women. A real police officer was featured to portray police positively rather than negative stereotypes.
This document discusses continuity editing techniques such as the 180 degree rule, film noir style, shot reverse shot patterns, using mise en scene to enhance storytelling, matching action between shots, implementing smooth transitions, executing focus pulls, and incorporating effective audio.
This document aims to summarize the target demographic for the opening sequence of a thriller film. It aims the film at males ages 15+ from social economic groups A, B, and C1, which include upper and middle classes in the UK, Ireland and US. These groups tend to be professional, educated individuals interested in feeling connected through high quality media and rewarding themselves with luxury goods and experiences. The film also aims at "reformer" and "succeder" psychographic groups who seek personal growth and want to achieve their best.
The document assigns roles for each member of a project team, with Bailee Brooks as Producer, Michelle Grace as Director, Chris Wotton as Camera Operator, and Miles Capp as Editor. It also lists key responsibilities for each role, such as the Producer handling costs, risks, locations, and scheduling, the Director focusing on storyboards, casting, and shots, the Camera Operator assisting with shots and locations, and the Editor managing audio, titles, and techniques.
The document discusses several theories about the relationship between media and audiences:
- The hypodermic needle/effects model views audiences as passive, directly influenced by media messages.
- Cultivation analysis sees media shaping audiences' worldviews over time through repeated exposure.
- Uses and gratifications theory argues audiences actively use media to fulfill needs like diversion, social interaction, identity, and surveillance.
- Encoding/decoding theory holds that media texts contain encoded meanings which audiences can read in dominant, negotiated, or oppositional ways depending on their perspectives.
The document evaluates whether these models fully account for modern media landscapes and active audiences using an increasing variety of platforms. It explores how new technologies may require updating or replacing existing
This document defines and discusses various sexual identities and orientations. It defines homosexual as being attracted to the same sex, heterosexual as being attracted to the opposite sex, and bisexual as being attracted to both sexes. It also discusses homophobia, heterosexism, and transgender identities. Stereotypes are provided about the appearances, behaviors, jobs and interests of homosexual men, heterosexual men, homosexual women, heterosexual women, and bisexual men and women.
This document discusses social class, ethnicity, and sexuality. It defines social class and common stereotypes associated with the upper and working classes. For ethnicity, it defines the term and provides stereotypes for different ethnic groups. It also discusses queer theory and how gender and sexuality are more fluid than fixed. Examples from TV shows are given to illustrate stereotypes around social class, ethnicity, and sexuality.
The document discusses regional stereotypes within the UK, including that English people are seen as racist beer drinkers who love football, Scottish people have red hair and hate the English, Welsh people hang out with sheep in the countryside, Irish people live on farms and are religious drinkers, Northerners are poorer and less cultured than Southerners, Londoners are either posh or poor/criminal, and people from Essex, Manchester, Liverpool, Newcastle, Yorkshire each have their own stereotypes portrayed in various TV shows. Examples of stereotypes in TV dramas are given for each region.
The document discusses regional stereotypes within the UK, including that English people are seen as racist beer drinkers who love football, Scottish people have red hair and hate the English while drinking whiskey, Welsh people are boring and hang out with sheep, and Irish people are religious farmers and dancers who live in the countryside. It also outlines stereotypes associated with regions such as northern England being poorer and working-class, southern England being richer and posher, London having both wealthy and criminal populations, Essex residents being glamorous but stupid, and people from Yorkshire being traditional rural farmers. Examples of these stereotypes in TV shows are provided.
This document compares Hollywood films and British films, noting that British films generally have lower budgets between £2-5 million and focus more on realism as a style while Hollywood films emphasize glamour over realism and can have much higher budgets like Pirates of the Caribbean at $300 million. It also categorizes British production companies like Working Title and Warp that produce more creative, lower budget films versus American studios like Universal, Disney, and Paramount that release big budget blockbusters with stars.
Warner owns numerous media brands that help promote its film productions. It owns film studios like Warner Bros. Studios and New Line Cinema, as well as TV networks that can advertise upcoming films. Owning these multiple brands allows Warner to attract different audiences and decide how often to promote its films. Some of Warner's most financially successful films include The Dark Knight trilogy, the later Harry Potter films, The Hobbit series, and Man of Steel.
To be considered a British film, a film must pass the cultural test by receiving at least 16 out of 31 points across four categories: cultural content (up to 16 points), cultural contribution (up to 4 points), cultural hubs (up to 3 points), and cultural practitioners (up to 8 points). Additionally, a British film should be set in England, have English actors, and a British director, and involve one of the UK's official co-production agreements or the European Convention on Cinematographic Co-production.
Cinema admissions in the UK peaked in 1940 at around 1,600 million but declined to a low of 100 million in 1984. Most cinema-goers between 1997 and 2011 were aged 15-24, though older audiences started increasing later. Television is the most common way people watch films, with only 3.4% going to cinemas. In 2011, comedies were the highest grossing genre while war films were the least popular. Technology plays an important role in film consumption today through features like 3D and HD that provide improved experiences attracting larger audiences.
The document summarizes an individual's film consumption habits, including how they decide which films to watch based on trailers, that they use a TV and laptop to watch films usually with friends or family, find out about new releases through cinema and TV trailers, and consume films either at home or in the cinema, listing 5 films they watched in the last year.
The document discusses how social groups were represented in a production. For the little girl, the intent was to portray her as weak and vulnerable through props like a pink backpack and flower, as well as camera angles from above. This made her seem inexperienced and easy to kidnap. For the antagonist, the goal was to seem frightening and mysterious through dark clothing, which was meant to appear cold, as well as showing him watching the girl without her knowledge. Audience feedback criticized the kidnapping, but the filmmakers thought it necessary to advance the plot.
This document provides details on costumes and props for characters in a film about the kidnapping of a girl named Ella. It describes the costumes for Ella, her mother Lindsy, the antagonist Harry, a policeman, stranger, Ella's brother William, and friend Emily. It also lists props needed for different scenes, including a picnic blanket, car, phone, walkie-talkie, and computer, and explains how each prop advances the plot or creates tension. Responsibility for all costumes and props is given to Lexi.
- The document discusses statistics about the thriller genre that will help the author produce their own thriller film. It analyzes how many thrillers were released in 2013 (67 films), how profitable the genre is (over $1 billion in revenue in both 2012 and 2013), and the characteristics of typical thriller audiences (males aged 15-24 from social class C2). Understanding these statistics increases the author's confidence in their ability to create a successful thriller.
The document discusses three major film studios - Warner Brothers, Dreamworks, and Columbia Pictures. It provides details on their founding dates and locations, as well as some of their most famous and recent successful films. Warner Brothers was established in 1923 in Burbank, California by four brothers and had recent success with The Hobbit trilogy. Dreamworks was founded in 1994 in Glendale, California by Steven Spielberg, Jeffrey Katzenberg, and David Geffen, and had recent success with Megamind. Columbia Pictures was founded in 1924 in Los Angeles and had recent success with 21 Jump Street. The document concludes by stating the author would choose Warner Brothers to distribute a thriller film due to their fame and ability to market films well.