Monday, 31 March 2014
Wednesday, 19 March 2014
Sarah Connor Chronicels
How is Sound used to
represent gender in this short extract?
Short version
There is a voice over
from the start which is a females voice as you can tell by the light tone of
her voice telling a story of true life of her and her son, the music changes
the atmosphere of the tone of her voice with the music making the dialog
emotional. Her tone starts to become stronger with the music starting to beat
louder which indicates that there is danger a head of her. When Sarah is in the
school looking for john her tone to her voice has changed to demanding with the
sound of the music being quickened to show panic that she is in a rush with her
son, the tone of her voice shows her character being strong person. The fast
pacing music also shows danger is after them sound bridging was used.
The fast pacing
tension is broken by the diegetic sound of a police man’s booming voice through
a megaphone with a calm demanding tone to get the situation under control. The
sound is then ambient to show the situation is under control with no music
which makes the scene natural with the sound of dogs barking in the background
and with the diegetic sounds hightend to make them stand out to what is
happening on screen. The sound then goes back to non-diegetic as she has a
scenes of danger that might be imitate with the loud beating happening a man
walks along which shows that he is powerful as the music is representing him as
he continues to walk toward Sarah and John. The diegetic sound has yet again
broken the non-diegetic sound with the sirens of the cop car.
Sound effects break
the sound of silent with sounds of a gun being loaded and shot by the guy the
sound is self has also been heightened to make it sound more powerful which
also shows that the man has a lot of power at his hands and can do anything with
it. The sound is then changed to non-diegetic with a light and hopeful music
playing ro show that Sarah will be lucky to come out of this or this could show
that she hopes the man doesn’t kill her or her son with the sound of urgency
kicking in when she tries to escape out of the police car to help her son.
Sound has a way of
showing emotions, also showing how people can be shown as dominant characters
with the man coming towards Sarah and John. Sound also presents hope of people
shown when Sarah tries to escapes to help her son.
Monday, 17 March 2014
Romeo and Juliet
How are the two gangs represented in Romeo and Juliet
The two gangs are shown differently. The Montages boys are
more playful and immature which is shown well by the simplicity of the colours
for example the colours that the boys wear are brightly coloured which implies
they are simple and childlike as children like bright and simple colours.
Luhrman tries to make us believe that the Montages are the good people when he
puts us in a place when one of the Montague boys breaks the forth wall and
tries to make us feel like one of them in the car that they are driving in. The
diegetic sound comes from the car how I know this is by the way they bounce
around in the car to the beat of the music which is loud energetic which describes
the boys as a hole.
The Capulet’s are shown more as respected people as they don’t
like to be disrespected for no reason they expect an answer that is suitable to
why they are dis respected shown well when Abra is on the attack to one of the Montages
boys with a close up of Abra shouting at him to show his expression on his
face, the sound being more serious music as they are serious people in this
town. With their cloths being darker then the Montagu’s this shows us that they
are more powerful and more complex people who know where they are going in life instead of
looking like the Montagu’s who have brightly coloured cloths which look like they
have been chosen by their parents.
Later on when there is a gun fight going on there is a low
angle shot showing Tybolt which suggests that he is powerful and in charge of
the others in his group as there is no other low angle shot of any of the other
Capulet’s.
The eye line shots between the two characters Tybolt and
Benvolio shows the expressions on their faces, it shows that Benvolio is
worried as he knows what is going to happen and he doesn’t want any of it to
happen, from Tybolts view shows that he has the upper hand as he isn’t worried
at all by his facial expressions
Rocky 4 question
The camera shots consists of mostly close
ups, mid shots, full shots and wide shots that where mainly focused on Rocky
and Drago as they are the two that only matter as they are the ones who are in
the fight to fitness in this section of the film. The close ups are used mostly
to show what part of the body they are working out on. Theses shots are used
mostly to show the stress of their muscles to show that they are being worked
on, Extreme close ups are used as well especial to show the facial expressions
of the two of them lifting something heavy you would know that it was heavy by
the way their faces are tightened up and restrained this is shown well when
Drago is a 1, 2 press with a dumbbell bar. The angles that were used was mostly
low and high angles but there was an eye level shot that was very cleaver as
when Drago is punching to the right of the shot its edited by a cross cut to
show rocky chopping down a tree by swinging to the left of the shot this shows
that they are fighting each other even though they are not even is the same
room. The movement that is mostly used is a tracking shot to show both of them
running to show the speed of them running towards their own personal goals.
The composition of the working out
section is easy to understand as they are only working out and there is no need
for any of it to be in order as there isn’t any particular way to work out, the
way they used the composition was clever as would use a cross cut to edit from
scene to scene to show the same thing but done in different ways for example:
Drago is running on a running machine and the angle is increased make him work
more, like he is running up a mountain, they then used a cross cut to Rocky
running up a mountain to show the comparison between the two of them basically
montage editing, this shows Drago as a machine then a human being by using
machinery to calibrate him, compared to Rocky he is using nature to his
advantage. Slow motion is used o show the powerful running that the two of them
do.
All of the sound is diegetic accept from
the music which is non-diegetic. The diegetic sound that is heard mostly by the
audience would be the moaning and groaning of the two men being pushed hard working
there musicals to their limits. When the non-diegetic sound kicked it made the
scenes more powerful as the music complements what is on the screen.
Monday, 10 March 2014
Key Media Concepts
Key Media Concepts (TV
Drama)
The purpose of these units is first to assess candidates’
media textual analysis skills and their understanding of the concept of representation using a short unseen moving image extract (AO1,
AO2); second to assess candidates’ knowledge and understanding of media institutions and their
production processes, distribution strategies, use of technologies and related issues concerning
audience reception and consumption of media texts (AO1, AO2):
image extract) and candidates are required to answer two compulsory questions. The unit is
marked out of a total of 100, with each question marked out of 50.
There are two sections to this paper:
Section A: Textual Analysis and Representation (50 marks)
Section B: Institutions and Audiences (50 marks)
Section A: Textual
Analysis and Representation
An ‘unseen’ moving image extract with one compulsory
question dealing with textual analysis of
various technical aspects of the languages and conventions
of moving image media. Candidates will be asked to link this analysis with a discussion of some aspect of representation within the
sequence.
administration of the examination, viewing conditions and note-making time. Centres must prepare
candidates in advance of the examination, using a range of examples from texts from the genre
stated below, to demonstrate textual analysis of all of the following technical areas of moving
image language and conventions in relation to the unseen extract:
• Mise-en-Scène
• Editing
• Sound
create meaning for an audience, focussing on the creation of representations of specific social
types, groups, events or places within the extract. It is not necessary to study the history of the
genre specified. Centres should use examples of the genre specified with their candidates to
prepare them for undertaking unseen textual analysis.
For examination from 2014:
The unseen moving image extract will be four to five minutes long and will be from the following
genre:
TV Drama
The sequence will be taken from a contemporary one-off drama
or series or serial drama
programme scheduled on British television stations including
some sourced from other countries. Guidance is given below regarding the administration of the examination. There will be viewing and
note-making time for Section A. The timings and rules for viewing of extract and note-making will
be explained.
Set Topic Content
The content below represents what candidates should learn
and is also provided as the source of the questions in the examination papers.
Section A: Textual Analysis and Representation
Candidates should be prepared to analyse and discuss the
following: technical aspects of the language and conventions of the moving image medium, in relation to the unseen moving image
extract, as appropriate to the genre and extract specified, in order to discuss the sequence’s
representation of individuals, groups, events or places:
Camera Shots, Angle, Movement and Composition
• Shots: establishing shot, master shot, close-up, mid-shot,
long shot, wide shot, two-shot, aerial
shot, point of view shot, over the shoulder 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
• 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.
• Soundtrack: score, incidental music, themes and stings,
ambient sound.
Mise-en-Scène
• Production design: location, studio, set design, costume
and make-up, properties.
• Lighting; colour design.
It is acknowledged that not every one of the above technical
areas will feature in equal measure in
any given extract. Therefore examiners are instructed to
bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail,
but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the
question, how these technical
elements create specific representations of individuals,
groups, events or places and help to articulate specific messages and values that have social significance. Particular areas of
representation that may be chosen are:
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
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