Week 26 Media ISP
Reply
Easter ISP
| Key WORD | dEFINITION |
|---|---|
| Audience | Target, global, positioning, categorising, profile Reception Analysis |
| Ideology | Linked to representation and of the BBC |
| Demographic | Link to Audience |
| Psychographics | Link to Audience |
| The BBC’s Mission | Inform, educate, and entertain |
Week 25 ISP
Week 28
Task One:
I watched Season One, Episode One of ‘Life on Mars’
Task Two: PowerPoint Activities
List as many TV Genres as you can in 60 seconds
Crime, thriller, mystery, comedy, romance, drama, sc-fi, fantasy
Component 2: Investigating Media Forms and Products
Media Language of TV
Representations
The TV Industry
Audiences
Television in the Global Age: An Introduction
- John Logie Baird is the inventor we normally credit for making the television, he was at the front of the pro-tv revolution, and an engineer.In the 1920’s he started experimenting with the idea, having been obsessed with the idea for many years. His work was deemed a success in the 20s, as he created what is essentially very early TV.. Lord Reith is the founding father of the BBC, and was against the idea of TV.
- By 1934, the government decided that the country should have a television service. But they couldn’t decide who should provide it, and so hired both Baird and Marconi EMI for a trial period. There was a transmitter that was large enough to cover London. The cost of building the studies was around £200,000, this was a huge amount when the country was in the middle of a depression. And so, the BBC had to start a television service.Germany started using television for propaganda purposes. After a change of plan, the BBC gave employees 9 days until the start of tv, and they delivered on time. The Baird system was not suitable and far too complicated, and in 1937 was dropped.
- 1/12/1939 in the middle of a show, tv was shut down and an ominous message was broadcast. War was declared on Sunday. It’s possible that despite reasons given, they wanted the TV engineers for the radar effort. German television continued through the war. By the time the war was done, in Britain, people relied heavily on BBC radio for war updates, and TV seemed like a distant memory. But on the 7th of June 1946 TV opened up again. It started up the exit way that it ended, with the same show, possibly as a coded message of Britain picking itself up after the war and just carrying on after victory.
- Showbiz, light entertainment was a table of television in the early 1950s. It came from theatre, musicals. Maybe it was because it was post-war, and there was an interest in everything continental. The news of the day was often shown the day afterwards. Originally, the news people were not seen on screen. Children’s television began.
I struggled with this one, sorry.
2) Public broadcasting involves radio, television and other electronic-media outlets whose primary mission is public service. In many countries of the world, funding comes from governments, especially via annual fees charged on receivers.
3) A portfolio of television services, including the UK’s most-watched channel BBC One, the pioneering online-only youth service BBC Three, and our multi award-winning channels for children, as well as national and regional television programmes and services across England. Northern Ireland, Scotland and Wales. Ten UK-wide radio networks, providing the best live music broadcasting in the UK, as well as speech radio which informs, educates and entertains. We also have two national radio services each in Scotland, Wales and Northern Ireland and 39 local radio stations across England and the Channel Islands, providing an invaluable and unique service to listeners across the UK. Our digital services including BBC News, Sport, Weather CBBC and CBeebies, iPlayer and BBC Sounds, BBC Red Button and our vast archive. BBC World Service television, radio and online on more than 40 languages
4) Established by a Royal Charter, the BBC is principally funded through the licence fee paid by UK households. Our role is to fulfil our mission and promote our Public Purposes.Our commercial operations including BBC Studios, the BBC’s award-winning production company and world-class distributor, provide additional revenue for investment in new programming and services for UK audiences.The BBC’s Board ensures that we deliver our mission and public purposes which are set out in the Charter. The Executive Committee is responsible for day-to-day management.
5)?
Commissioning: order or authorize the production of (something).
Narrowcasting: transmit a television programme, especially by cable, or otherwise disseminate information, to a comparatively localized or specialist audience.
Multi-channel era: spans the mid 1980’s to the being of the 21st century and is marked by increasing advancements made in media technologies and the loosening of control by the main networks
Crime Drama Codes & Conventions
- W.B: Page 2: What types of crime drama can you identify?
Detective fiction, the who-dunnit, legal thriller, spy, psychological thriller.
- Look at a TV listings magazine or use an online listings page such as the Radio Times http:// http://www.radiotimes.com/tv/tv-listings/
a) Identify and list the crime dramas in a week’s viewing using the task sheets on pages 3&4 .
b) Try to group them according to sub-genre.
- Then move on to hybridity. Identify any hybrid crime dramas with examples.
I didn’t really understand this lside, sorry.
Media Codes
What is the difference between a tracking shot and a panning shot?
In cinematography and photography panning means swivelling a still or video camera horizontally from a fixed position. … Panning should never be confused with tracking or “travelling,” in which the camera is not just swivelled but is physically displaced left or right, generally by being rolled parallel to its subject.
What is the difference between diegetic and non-diegetic sound?
Diegetic: Sound that is heard by the characters
Non-Diegetic: Sound that only the audience can hear, eg. Voiceover & soundtrack
5 Signifiers of the crime genres – RESISTS
- Crime, car crashes
- Narrative repetition
- Highly stylised
- Cigarettes
- Pubs, outdoors
- Brutality, power
- The idea of the ‘Good and bad guys’
(Watched the video)
What conventions of the crime show, particularly the ‘70s cop show’ are evident?
Car chases, guns, ‘the good and the bad guys’, actual crimes taking place, male gaze element
Subgenre: Crime Dramas
1.What is a Flagship Show?
A programme that has particular importance for a channel or broadcaster – one that attracts particularly high ratings, or that is strongly identified with the channel
2.Quick Fire 5.3: Make a list of all the different crime dramas that you can think of.
Luther, True Detective, Midsommar Murders, Life on Mars, The Sweeney
3.Read through pages 127-131: Suggest 4 reoccurring conventions of TV Crime Dramas.
‘Double Act’ – two good guys working together, protagonists tend to have a unique set of skills, iconography (e.g. guns, settings), similar stock characters
4.What are Stock Characters?
A stock character is a stereotypical fictional person or type of person in a work of art such as a novel, play, or a film who audiences recognise from frequent recurrences in a particular literary tradition.
5.Crime Drama Partnerships: Give two more examples of Crime Drama Partnerships.
Sherlock and Watson, Scott and Bailey
6.What is an audience surrogate? What is meant by Point of Identification?
Audience Surrogate: A character within the text that stands in for the audience. They may think as we do, or act as ourselves might act in the same situation
Point of Identification: A character within the text that the audience can identify with or relate to
Genre Theory
Western: cowboy hats, boots (close up), saloons, horses, guns, stand off’s, ‘good and bad guys’
Richard Coe coined the term ‘Tyranny of Genre’.
He believed that “generic categorization limits and constrains creativity”.
Coe argues that Genres make it difficult for authors to express themselves creatively as they must conform to genre specifics. For example: If a writer intends to produce a Horror Narrative there are certain criteria he/she must adhere to in order to stay true to the genre.
Evaluate and explain the drawbacks of repeating generic codes and conventions: It can become stereotypical and predictable, and the rules can hold adventurous writers back from subverting the genre. It can become boring and repetitive.
Hybridity and intertextuality
‘Life on Mars’ contains many intertextual elements with which audiences may be familiar. – probably, especially since shows like The Sweeney already existed. As crime has so much iconography and classic narrative elements, it’s natural that audiences would feel familiar with the intertextual elements.
The Surreal/Fantasy Elements
Twin Peaks (David Lynch)
The Wizard of Oz – – yellow brick road, Dorothy, over the rainbow, “I think I’m going to miss you most of all, scarecrow”
Genre Theory: Steve Neale – Repetition & Difference
Neale’s theory is useful as it highlights:
Dynamic and historical nature of genre.
Emphasises economic and institutional contexts in which genre as produced.
Genre’s necessitate a ‘degree of repetition or ‘sameness’.
They are also marked by ‘difference, variation and change’
What is “old” in terms of genre and what is new, “innovative and imaginative”?
Old is the original convetions, that normally get adhered to. Imaginative is changing them, even if only slightly, like how if ‘Life on Mars’ the protagonist is from a different decade to everyone else -“Life On Mars (BBC1) is an inspired take on the usual formula of Gruff Copper of the old school”.
Why has the genre changed/developed?
So that people don’t feel that they are being given the same content over and over. Something knew, re-invent a genre.
Narrative Theory: Todorov
Binary Opposites – Key Theory Levi Strauss
Narrative Strands
Enigma Codes: the questions or mysteries that a narrative sets up in order to make the audience continue watching. Roland Barthes refers to this as the hermeneutic code.
What Enigmas are present
in LOM E1?
The mystery of the connection between the decades, the mystery of the killer
What is a Flexi-Narrative?
A narrative structure that combines aspects of the series and the serial.
Which character/s is an audience surrogate?
Maybe the police woman
Which character would you consider being Point of Identification?
The protagonist?
Task 3: Television – Industry
- What is a public service broadcasting company? Who funds the BBC? Public broadcasting involves radio, television and other electronic-media outlets whose primary mission is public service. In many countries of the world, funding comes from governments, especially via annual fees charged on receivers. The BBC is publicly funded through a license fee.
- What are PSBs ‘required’ to do? Inform our understanding of the world through news, information and analysis of current events and ideas, stimulate knowledge and learning of the arts, science, history and other topics through accessible content, reflect UK cultural identity through original programming at UK, national and regional level, represent diversity and alternative viewpoints through programmes that reflect the lives of other people and communities, both within the UK and else where
- Where are these requirements set out?Communications Act
- Which regulatory body is responsible for monitoring PSBs like the BBC?Ofcom
- What the main purposes of PSBs?ensure audiences who might otherwise be neglected are catered fir and that quality and diversity are not compromised by commercial factors such as the desire to maximise profits
- What is OFCOM responsible for? Give specific examples. Everything in Q2 and setting certain quotas that the public service broadcasters have to meet
- What does ‘BBC’ stand for? British Broadcasting Corporation
- What is the BBC’s mission? To entertain and inform?
- Who is Lord Reith?the first director-general of the BBC. He’s widely credited with establishing the corporation’s governing ethos
- How is the BBC’s new ‘charter’ different from previous ones?More explicit emphasis on distinctiveness.
- In what ways is the BBC a vertically integrated organisation? It has its own in-house production unit, BBC studios, as well as a commercial subsidiary, BBC worldwide,which is responsible for distributing its products and services around the world
- What functions does the BBC Worldwide service provide for the company?distributing its products and services around the world
Task 4
- How are men represented in this section of the show?
- Men are represented as powerful, the ones in charge, and the ones in control. They have the power heavy jobs, and tend to be shown as superior over women. Such as, the interaction with the woman in bed, and how the man’s office had a calendar with a woman posing provocatively which is objectification. The men had high status, and cared about dignity and respect.
- How are the police represented in this section of the show?
- Not good enough, as they mistakes and then struggle to catch up with the criminal’s actions. However, they are not entirely useless, as they win the chase and are represented as having personal power.
- What are the parallels with Life on Mars?
- They have distinct crime links, like the idea of two cops working together, chases, the idea of good and bad guys, violence. The purposeful mistreatment of women during the past times in LOM can in some way relate to the representation of men and women in the show.
Stretch and Challenge
“Life on Mars is an ‘copy’ of 70s Police cop shows like The Sweeney” – How far do you agree with this statement?
On the one hand, this statement is true. Both shows are of the crime genre, and therefore share some rules and conventions in terms of narrative, character and mise en scene. Such as, both shows utilise the idea of a double act, and have two cops working together to solve a case. Moreover, they share similar plot situations like chases, and character types like the clear difference between the good (police) and the bad (criminals) guys. This links in with Neale’s Repetition & Difference theory, and the idea of ‘sameness’ across content of the same genres. This links in because the two shows share so many similarities, which can be viewed samey, and therefore maybe a way that creativity is limited because of genre, because shows like these are limited to the and stuck inside the conventions.
However, there are also differences, which links in with the difference part of Neale’s theory. Due to the time that the shows were created, their representation of gender is very different. Despite their representation of men largely being the same, with the idea that they are powerful and in control, their representations of women are different. Such as, in TS, the majority of the characters are men, and all of the main characters are men. These men are shown as powerful, in powerful and respected jobs, in contrast to the women who just lay in bed, or are objectified on calendars for the male gaze. This links in with Hall’s representation theory, and the idea that stereotyping reduces people to a few simple characteristics, like how the woman on the calendar in provocative clothing is objectifying and sexualisation, and belittles women in to one category of ‘sexy’, especially when they have no major roles in the TV show unlike the men. To contrast, LOM uses its time jump into the past to explore how bad treatment of women used to be, it uses characters in a way that is sexist to highlight the sexism, rather than in TS where it is shown as normal – like the performance between the man and woman in the bedroom, and the calendar. LOM makes sure to show this sexism by the protagonist treating the woman police officer with respect, while the other officer’s call her by belittling names. Moreover, this show also has a similar calendar (mise en scene), this however is used to show the sexism of the characters, which the protagonist stands against.
Magazines: Audience
Magazine Audiences
Readership – An estimate of how many readers a publication has.
Circulation – A count of how many copies of a particular publication are distributed, including subscriptions.
Readership and Circulation
- The National Readership Survey (NRS) provide publishers and advertisers with vital data on readership and circulation
- The NRS categorises audiences using demographic variables – gender, age, social grade etc.
- The use public data, they don’t just use data from people who read the magazines
- Social grade method of classifying readers is most widely used – since 1956.
- In this system, readers are given a grade based on the occupation of the chief income earner in their household.
NRS (National Readership Survey) Social Grades
Why Is This Used?
- Strong correlation between social grade and income – useful for publishers and advertisers.
- For example, magazines which target AB or ABC1 readers often carry more expensive brands, whilst those which target C2DE readers are more likely to endorse everyday brands.
Blumler and Katz’s Uses and Gratifications Theory
(Notes from: WJEC/Eduqas Media Studies for A Level Year 1 & AS)
Another audience theory that is particularly useful when considering the relationship between magazines and audiences is Blumler and Katz’s uses and gratifications theory.
This differs significantly from media effects theories such as the hypodermic syringe model. Rather than seeing the audience as a passive mass that is manipulated to think and act in certain ways by the media, the uses and gratification theory suggests that audiences actively seek out media products in order to satisfy particular needs.
The four main needs that are identified in the uses and gratifications theory are:
- the need for information (surveillance needs)
- the need for diversion, escapism or entertainment
- the need for personal identity
- the need for social interaction and integration
Magazines can be seen to meet these particular needs in a number of different ways, as researchers such as Joke Hermes (Reading Women’s Magazines, 1995) have shown.
Hermes conducted extensive interviews with readers of women’s magazines in order to find out how they used these products. One of her main findings was that women’s magazines are primarily used as a means of relaxation. The fact that they are ‘easy to put down’ was said to be a source of appeal as they could be made to fit within the routines of everyday life.
In order to explore the uses and gratifications your set magazines offers, you may find it helpful to address the following questions:
- What particular information or advice does the magazine offer its readers?
- In what ways could the magazine be seen to distract or divert its readers from the routines of everyday life? What particular pleasures does it offer?
- How might the magazine be used to construct or consolidate a sense of identity?
- In what ways might the magazine be seen to facilitate a sense of belonging? What opportunities does it provide for interaction with others?
Video Notes: The Changing Role of Women in the 1960s
- The 60’s saw boom in the number of jobs available to single, young women, who were thus able to be something other than a mother or wife.
- Advertisers celebrated these new women – and made a bid for their cash
- More women went into higher education. In 1962, there were over 26,000 girls at university
- Living away from home, with financial and intellectual independence, many emerged with greater expectations
- Elizabeth Sidney read English at Oxford University “if you want to suppress women, you really mus’t educate them. That’s a grave error.”
Magazines: Representation
- Vogue PDF on Moodle
1916
- first world war
1920s
- roaring 20’s
1930s
- influence of Hollywood
- Movie make-up and beauty
- second world war – vogue used to boost morale
1960s
- cultural change
- swinging 60s
- Space race
- Female rights and freedom
1970
- second eave feminism
- women ‘having it all’
1980s
- rock
1990s
- Models become household names
- Celebration of youth, free spirit and natural rebellion
2000s
- actors and popstars
2010’s
- new ways to access vogue
Main Image
- the main image is a close-up of a woman applying the makeup that is being advertised. In this image, her performance is interesting, as her eyes are shut, suggesting it is easy to apply. This links in with the stereotype that women aren’t capable of things, and rely on men.
- The woman is smiling, which is obviously adding connotations of happiness and ease to the product to try and encourage sales
- The woman in the main image is wearing a lot of make up, has her hair done and her nails done which in magazines can be a way to sexualise women, but also a way to group them into a box in terms of how they should look. This can be done to sell products, like this brand of make up.
- The idea that women are materialistic e.g. the earrings
- High key lighting – typical of a beauty advert, but it could also have been used to possibly try and make the woman look a certain way
Text
- The adjective ‘fluff’ suggests that it is easy to apply, which again adds to the stereotype that women aren’t capable of doing hard things.
- The idea that women need to defy age and remain looking young is strongly reinforced and used as a selling point. The fashion and beauty (and diet) industry has a tendency to create “problems” for people (“untense, untired, untwined”), especially women, so that they then spend money to “fix” it. This advert focuses on age, with adjectives like “youth” and even going as far to calling it “alive”. “come alive” is underlined, to reinforce this idea of women needing to look a certain way, and needing to look young. This all links into the sexualisation of women. Plus, the use of exclamation to emphasise all of these points.
- The idea that women need to wear make-up to look healthy – ‘instant health’, ‘come alive’. They only look “terrific” when wearing a product like this.
- ‘you’ve never looked so deliciously alive!’ – exclamation and use of adjectives is a way of sexualising women, and again putting them into a box of what women “should” look like.
- Direct address e.g. ‘you’ve’ and ‘your’ which is theorised to sell products
Smaller Images
- In one of the smaller images, the woman is shown applying the make-up to the back of her neck, while not wearing a top. This links into the sexualistaion.
- All of the images are showing how to use the product, but none of these images actually give any new knowledge. This could link in with the stereotypes that women aren’t intelligent, and need help with things
Suggested Ideas:
- Woman choosing to buy make-up – not an important decision
- While not explicitly in the home, the woman is clearly in a private space – not in the public or professional sphere
- Use of language such as ‘fluff’, ‘softly’ reinforces stereotypes of women as weak/ gentle
- Phrases such as ‘you’re blushing’.. ‘deliciously alive’ imply a sense of desire to look attractive (potentially to please a man)
- Multiple, fragmented shots of the woman’s face, and of the brush touching her face, eyes closed or looking up – subtly sexualised images
What singular, stereotypical representations of gender are evident in these examples?
The stereotype of women as nurturing and mothers. E.g. – the woman surrounded by children, with one of them on her lap.
The stereotype of women as innocent e.g. the connotations of the colour white which the woman (and the children) are dressed in, and which is also mentioned ‘romantic white’, ‘dreamy white’
The stereotype of women as marital e.g. the mention of ‘romantic’ and given the time period with the context of the rest of the advert (children)
The stereotype that women need a man’s approval e.g. the quote from Lord Henry
Suggested:
Passive
Nurturing/ maternal
Dependent on men
Housewife/ domestic role
Romantic
Seductive
Beautiful
The stereotype that women are emotional e.g. ‘one of the most surprising women I’ve ever met was a seemingly unemotional housewife’
The stereotype and expectation of women to be housewives.
The stereotype being held as truth e.g. ‘disguise’ being that she is a woman, and it was surprising when she didn’t just talk about horses, prices of food and being emotional
Suggested:
Passive
Nurturing/ maternal
Dependent on men
Housewife/ domestic role
Romantic
Seductive
Beautiful
Stereotypes – Women
- nurturing
- appealing to men/ sexualised/objectified
- dependent on men
- beautiful and elegant
- emotional
- domestic/house wife
- lack of employment
- weak
Representation of Gender in Women’s Magazines
Gauntlett’s Theory of Identity
Gauntlett argues that gender representations in the media are more diverse than those of previous generations. He suggests that today ‘we no longer get singular, straight forward messages about ideal types of male and female identities’, instead, the media ‘offer us an open realm of possibilities’ (Media, Gender and Identity: An Introduction, 2008, page 255).
Rather than being controlled or manipulated by the media, Gauntlett argues that we use the media to suit our own individual needs, taking a Pick and Mix approach as we borrow and combine different ideas from different media products we consume.
Domesticity and gender stereotypes in women’s magazines
David Gauntlett identifies historical magazines significant use of the stereotypical perfect housewife.
This stereotype has a long cultural history as traditional women’s magazines have placed particular emphasis on the domestic sphere (p.168)
Even though the stereotype of the ‘Happy Housewife’ was prominent in the 1950s and 1960s over 50% of working age women were in paid employment during this time.
By constructing ‘Domesticity’ as a feminine ideal, these magazines and print adverts were reasserting the importance of traditional gender roles.
Given that men occupied the majority of jobs and controlled corporations this can be seen as reinforcing the dominant ideology of patriarchy.
Applying the Theories:
- Yes, there is evidence of sexualisation, the idea that women are only concerned with beauty products, the idea of consumerism, idea of women as maternal, men being looked after by the women (house wife – but not at home in the picture)
- Better, but not 100% better
‘bright young things’ (on cover) – emphasis on women looking young
![Ana de Armas - Vogue Magazine Pictorial [Spain] (April 2020)](https://img2.bdbphotos.com/images/orig/a/m/am962x1pj1x6x2pm.jpg?djet1p5k)
Alternative representations of gender in the 1960s
•Emergence of contrasting messages and images.
•Majority of magazines reinforced the stereotype of the ‘Happy Housewife’.
•Minority offered more progressive representations of gender.
These reflected a growing sense of female independence and liberation
Representations of Female Beauty
•Women’s magazines play a significant role in constructing cultural ideas of female beauty.
•They impress upon the reader the importance of physical appearance as a defining aspect of female identity.
•‘Women’s magazines constantly reiterate the need to ‘Be More Beautiful’ – Marjorie Ferguson
•Readers are constantly encouraged to: –Scrutinise –Evaluate –Measure
Race, ethnicity & national identity
•Mainstream magazines criticised for lack of racial and ethnic diversity.
•Images of white women most prominent.
•Beyoncé, Rhianna and Michelle Obama have appeared as cover images but these are largely tokenistic (p.171).
•Whitewashing is said to occur, making skin tones ‘whiter’.
•Cultivates a ‘white beauty myth’.
•Rather than denying racial and ethnic differences, some magazines construct black, Asian or minority women as the exotic other = visual pleasure.
•Mainstream magazines mediated through controlling white gaze.
1.What messages does that magazine convey about female beauty?
That it comes in basically one form.
2.How is female beauty defined?
3.How is the reader positioned in relation to the representations that the magazine offers? Are the models, stars or celebrities who feature on the magazine constructed as aspirational figures? If so, how?
4.To what extent does the magazine define a woman’s value in terms of the way she looks?
Vogue Booklet
Half Term ISP
Stretch and Challenge:
Why do you think the creators of the game included the (female/mixed race) character of Aveline de Grandpre?
It may have been to address the rise in female gamers who could want a female role-play experience. Plus, one of the writers is a woman. Moreover, it aligns with social changes regarding equality and more representation for all, so having a female/mixed race character fits in to these social changes that have occurred. More cynically, it is possible that they had more representation so that they’d get a positive response to the representation, but this is a cynical way of looking at this. It also tied into the backstory of the game.
Component 3: Initial Statement
Due to my genre (musical), influences from existing musicals will influence my use of media language, like using props to reference iconic musicals. Such as, the motif of umbrellas referencing “Singin’ in the Rain” and “Umbrellas of Cherbourg”, as, to some extent, iconography. Moreover, “Singin’ in the Rain” focused on a male protagonist and his career in the film industry, whereas mine focuses on a female in the industry; linking to Steve Neale’s genre theory, and how genre can be dominated by repetition, but exists within specific contexts, like social changes.
Gauntlett’s representation theory suggests that representation in media can offer ‘tools’ which we can construct our own identities from. I will explore feminism and the representation of women in my film with an ambitious and talented female protagonist taking a career role usually recognised as male, and I’ll use visual codes like smart clothing to connote her professional side. These characteristics could be positive ‘tools’ for audience members to construct their own identity with.
In my survey, taken by people within the target age range (30-44), when asked which studios people could name, Warner Brothers was most mentioned. Therefore, my studio choice is another way of targeting a specific audience. Moreover, mainstream audiences stereotypically prefer happy endings. Therefore, I will use mise en scene in my posters and DVD pictures that connotes happiness, like using vivid colours. This links to Gerbner’s Cultivation theory, if seeing repeated representations over time can shape the way in which people perceive the world around them, happy endings may be preferred.
Curran and Seaton’s theory states that Hollywood runs as an oligopoly, which is driven by profit and power and limits creativity. As my chosen studio is one of the ‘big six’, my film does conform to this part of industry context. I’ll represent this with the Warner Brothers logo on my posters and DVD cover. Furthermore, being a major studio, having a big budget requiring genre is appropriate. Moreover, due to the plot being about film, my movie will be an awards season movie, as represented by the reviews on the theatrical poster. Representation wise, the protagonist in my film is female, contrasting to the majority of mainstream films starring a male protagonist, like in the musicals “Singin’ In The Rain” and “An American in Paris”.
ISP 16
- Write 10 of your own short critical reviews – use website/magazine/newspaper publications as the source of these quotes.
- A fantastic experience and soon to be favourite
- Masterful
- The musical of the decade
- I left feeling buoyant
- A must see for film fans
- Exceeds the boundaries of a musical
- Wonderful from start to finish, worthy of praise
- A necessary watch for everyone
- Beautiful… an exquisite film
- Effortlessly perfect
2. Go to www.dafont.com. Select five possible font styles for the title of your production pieces.
3) Go to https://www.dafont.com/sf-movie-poster.font and download the font. Use this font to write a credit block for your own film, using the directors and actors you identified in your Treatment, as well as researching casting, producers etc to use too.
Georgia Newman - Media Studies 