Yr 10 – The Making of our Trailer (camera shots, angles, environments, etc.)

 This week, Nancy, Jess and I started the video section of our trailer for the (fictional) horror movie, Penumbra. We used various shots and a variety of environments to do so, including slow-pans, over-the-shoulder shots, and a mixture of angles. The use of camera shots such as slow pans increases the intensity of the scene, and allows the viewer to anticipate what the camera is moving to. This creates interest in the scene as the viewer becomes more curious as to what the camera is panning to from the previous image, and creates suspense in the scene which again draws the viewer to the scene.

We also used environments such as an autumnal wood, a dim corridor and a slender, shaded tunnel. An autumnal woodland connotes isolation and emptiness; as the silence may follow you on a walk through it, while also being sinister in the sense that you are exposed in harsh, hollow daylight. Whereas a dim corridor may also be sinister; but in the sense that you are not exposed, but walled in, with no exit besides what is in front – and behind.

In conclusion, the making of our currently soundless scenes was aiming for a sense of isolation and desolation, while also dissipating the numb silence with ominous dread of what is to come, and what has already. Our shots were largely successful at achieving the sense of barrenness, but we could improve on this by adding audio or visual effects. The experience of making this was surely enjoyable, and I hope for it to continue that way.

Yr 10 - CUFFS Q1 and Q2

1 Analyse how camerawork is used in the extract to create meaning. Refer to at least two examples from the extract in your answer. (5 marks)  

The camerawork is used to create meaning in the sense that it shows us the actions and reactions of characters, the meaning and thought behind those, and the effect on those around them. The use of an arch shot while the thieving woman is stripping down her clothes gives us a scope of the effect on the crowd and the officers as she screams and draws attention to herself, painting the officers in a negative light as she gains the shock and attention of the public - her wailing and stripping may connote themes of humour, and ridiculously dramatic action to avoid herself being arrested, being funny while also a dreadful and awkward situation for the officers - an example of dark humour.

Also, the use of a reaction shot earlier in the extract while Joe is interviewing a family shows her shamefully looking down - awkwardly smiling - while the man she is interviewing reveals that the police force has done nothing for his family. The reaction shot shows her shame at this statement, not only her knowing its true, but that she can do nothing for it, connoting feelings of guilt and shame. 

In conclusion, the camerawork is used to show the emotions of a character as they act and react, and the effect on others around them as they do that - as a recruit gets framed for assault when a thieving woman panics, and a detective unable to help a family's situation reacts with shame and guilt to their circumstances.

2. Analyse how far the extract creates a humorous view of policing. In your answer you must:

·                     analyse aspects of the extract using examples to support your analysis

·                     make judgements and draw conclusions about how far these aspects create a humorous view of policing. (10 marks) 

Example of how to answer on camerawork:

·              ·  sweeping aerial shot of Brighton pier connoting a glamorous seaside location

·              ·  bird’s eye view of the small police car driving through

the streets of Brighton on a call-out, carrying connotations such as danger, excitement, and urgency

·              ·  the use of an over-the-shoulder shot of the beach sign, as we arrive at the sign at the same time as the police officer, connoting surprise and anticipation of what is to come

·              ·  slow pan / track of the new recruit police officers as they are introduced to the audience connoting authority and power

·              ·  high angle long shot of the beach scene showing the police officer outnumbered by the group of men on the stag do

·              ·  any other relevant analysis 

The extract creates a humorous view of policing with the aid of fast cuts, slow pans and over-the-shoulder cuts to connote feelings of ironic dramatic tension. For example, the fast cuts between the new recruits being celebrated and the officer taking failing dramatically and humorously to control a group of drunkards show contrast and juxtaposition, almost making the police force seem laughable and ironic in action while they are glorified in ceremony. Another example would be the slow pan of the ceremony, showing the respectable new recruits in a positive light, connoting authority and power as they are introduced. This also provides humour as the contrast between them and the defeated officer who seems to fail at every point made during the ceremony, showing the public mocking him while they clap and celebrate the new recruits.

Finally, the over-the-shoulder cut as the officer makes his way towards the stag-do earlier in the scene not only build up dramatic anticipation, but reveal the comical aspect of the naturalist beach, giving the audience a foreshadowing the comical situation to follow while the officer still remains respectable when striding over - creating humour in the sense that the audience can anticipate the coming scene. 

In conclusion, the use of these shots allow the audience to anticipate comical scenes, while also creating humour in the contrast between the respectable ceremonial recruits, and the defeated officer in action, almost making the police force seem laughable as they are celebrated yet seem to fail when needed.

Yr 10 Newspaper Prep

 

1.     Find one example of the representation of a woman and say how she is represented.

Women in the 60’s were represented as homemakers who hardly came into politics and hard-labour, and supposedly only read newspapers for ads such as lingerie and clothing items, rather than the hard news itself. This is shown by the fact that the only three women in a news paper besides the queen would be a model in a lingerie ad, and an actress in an ad titled “My face and Me” – discussing her face and body rather than her actual, raw talent at acting.

 

2.     Find another contrasting example of a woman and say how she is represented

In this ad, a women is seen waiting for her husband as he plays with his child, but as the text gives a context of “She belongs in the home, but you don’t! Come to our restaurant.” It depicts the woman as waiting urgently for her husband, as she ‘belongs in the kitchen’, almost literally meaning she shouldn’t go outside to play with her own kids. This paints a picture of a housewife who simply can’t wait for her husband to return from work – and while of course some women are still like that today, it paints a pathetic look on modern women, and many women at that time as well.

1.     Find one example of a news story about the Cold War

2.     Find one example of a story about a domestic disaster

3.     Find one example of a story about a European disaster

 

Yr 10 Q8 Response

 Q8 Response:

Video games provide an escapist, interactive experience – and can be part of a franchise as a means of promoting media such as a TV series or movie - The Lego Movie for example. The Lego Movie video game not only promotes the movie, but offers interaction with the audience’s pick of characters from the cast; not only providing lasting entertainment for the player, but having the player somewhat grow fond of the characters, creating a network of personal ‘connections’ and character values inside the game – adding to the escapist appeal.

The video game also gives an entertainment appeal and promotes the brand by offering a virtual sense of building (with Lego), and may draw younger audiences to want the more physical version themselves, usually of certain (possibly sponsored or a result of a collaboration) models, which may include Batman’s ‘Batmobile’, and more. This brings in young audiences more for the building, while older youths may want a sense of plot and action, where the story and motive comes into play; bringing in a large variety of audience looking for a simple, creative, plot based adventure.

Yr 10 Mojo Prep

 

How is media language used on the front cover of MOJO? In each point, compare how differently We Love Pop uses media language.

Comparison of media language in MOJO and We Love Pop

The layout of MOJO is shadowy, striking and highlighted by the chosen stars of the cover, which connotes (=has associations of) the feeling that this magazine takes itself very seriously, and features epic stars of classic times. By contrast, the layout of We Love Pop is bright, energetic and crowded, like a marketplace for gossip and fanservice, which connotes the feeling that this magazine provides entertainment and gossip for its readers, and doesn’t need to take itself seriously to be popular.

The layout of MOJO is organised and fixed, with the masthead being shadowed by its featured stars, which connotes the feeling that that MOJO is very planned, consistent and fixed with their layouts. By contrast, the layout of We Love Pop is splashy, crowded and creative, and don’t have their masthead shadowing the featured stars, which connotes the feeling that We Love Pop can rearrange their layout into very inspired and original styles, still splashing gossip and fun on their cover

The typography of MOJO is serious, epic and dark, which connotes (=has associations of) the feeling that MOJO’s typography is very serious, self-assured and impressive, as they take themselves very seriously.  By contrast, the typography of We Love Pop is bright, exciting and colourful, which connotes the feeling that We Love Pop is very entertaining, vivid and self-assured, without having to take itself seriously.

The colour palette of MOJO is limited to mostly black, white, and the colours of the image of the featured stars, which connotes (=has associations of) feelings of limited organisation, and serious control of colour and layout. By contrast, the colour palette of We Love Pop is lively, (mostly) unlimited and fashionable, which makes it seem very escapist, aesthetic and jam-packed with information and gossip.

The language of MOJO emphasises the legendary, classic age of the gods of rock, and their suffering for their art, whereas the language of We Love Pop is all about the update and chat of the stars of the time, and idolises them in very different ways compared to MOJO.