Wednesday, 16 December 2015

AS Foundation Portfolio Brief


Print

Preliminary exercise: using DTP and an image manipulation program, produce the front page of a new school/college magazine, featuring a photograph of a student in medium close-up plus some appropriately laid-out text and a masthead. 

Additionally candidates must produce a DTP mock-up of the layout of the contents page to demonstrate their grasp of the program.

Main task: the front page, contents and double page spread of a new music magazine.


All images and text used must be original, produced by the candidate, minimum of FOUR images per candidate.

Monday, 14 December 2015

Christmas 50: Textual Analysis And Representation



Your Christmas 50 homework consists of the following:



Answer these:



Discuss the ways in which the extract constructs the representation of ethnicity using the following:
  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene
50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks
T: Terminology-10 marks


 

Discuss the ways in which the extract constructs the representation of gender using the following: 

  • Camera shots, angles, movement and composition 
  • Editing 
  • Sound 
  • Mise en scène 
50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks
T: Terminology-10 marks

Distribution - Ex Machina, Mad Max and Kill List

Now you understand distribution you need to find information about our three films.

Licencing
Who licensed Ex Machina in the UK and how much did it cost?
Who licensed Ex Machina in the US and how much did it cost?
Was Ex Machina an example of vertical or horizontal integration?
Who licensed Mad Max Fury Road in the UK and how much did it cost?
Who licensed Mad Max Fury Road in the US and how much did it cost?
Was Kill List an example of vertical or horizontal integration?
Who licensed Kill List in the UK and how much did it cost?
Who licensed Kill List in the US and how much did it cost?
Was Kill List an example of vertical or horizontal integration?

Marketing
What was the release date for Ex Machina in the UK?
Which major films appear in its UK release window?
What was the release date for Ex Machina in the US?
Which major films appear in its US release window?
What was the release date for Mad Max Fury Road in the UK?
Which major films appear in its UK release window?
What was the release date for Mad Max Fury Road in the US?
Which major films appear in its US release window?
What was the release date for Kill List in the UK?
Which major films appear in its UK release window?
What was the release date for Kill List in the US?
Which major films appear in its US release window?

Distribution
How many screens was Ex Machina released on in the UK?
How many screens was Ex Machina released on in the US?
When did Ex Machina screen at the Phoenix Leicester?
How long was its theatrical run in the UK?
How many screens was Mad Max Fury Road released on in the UK?
How many screens was Mad Max Fury Road released on in the US?
When did Mad Max Fury Road screen at the Phoenix Leicester? 
How long was its theatrical run in the UK?
How many screens was Kill List released on in the UK?
How many screens was Kill List released on in the US?
When did Kill List screen at the Phoenix Leicester? 
How long was its theatrical run in the UK?

Thursday, 10 December 2015

What impact does media ownership have upon the range of products available to audiences in the media area you have studied?

All media is owned by a company or conglomerate, a media conglomerate is a multinational firm that distributes media products in the industry, six conglomerates hold 90% of what we read, listen to and watch therefore the public is easily manipulated without them knowing through the use of the hypodermic needle theory. Moreover these conglomerates tend to provide a variety of products to audiences to promote their brand or film through synergy. Walt Disney pioneered synergy; it is the promotion of a media product through numerous media platforms in the hope of attracting audiences, therefore making a large profit.

Big six companies such as Time Warner produce media to make a profit therefore they are given large sums of start-up capital and in return they expect large profits. With the large market share they have they can force their product onto audiences without they realising.
“The Hobbit Desolation of Smaug” was produced by Warner Brothers a subsidiary of Time Warner and is owned by Wingnut Films and Metro-Goldwyn-Mayer two giants in the media ownership market, therefore it was expected that their product would make a large profit ($735.4 million) with the pre-existing fan base from the previous Lord of The Rings Trilogy. “The Hobbit Desolation of Smaug” commits audiences to continue to watch the films as they have made it into a three part trilogy therefore making large profits and completing a successful synergistic production. Gratification Theory, realising that the audience is much more complex in modern times, the audience selects media products that best suits their needs and ambitions; “The Hobbit Desolation of Smaug” entices the audience as they too desire treks across ancient lands and battles with bloodthirsty orcs and enchanting elves. This captivation bodes well with Warner Brothers as with their games division they can produce videogames which further the experience viewers witness in cinemas.

On the other hand “12 Years A Slave,” produced by Fox Search Light, PlanB, River Roads Entertainment and Film4, does not have the funds that a Big 6 company would, it had $22 million to make the film, moreover it was originally made for a small film festival where viewers would pay to watch a screening of a film which they knew nothing about. Despite its content, the film's critical success has assisted its domestic distribution by Fox Searchlight that began with a limited released aimed primarily towards art house and African-American patrons. The film's release was slowly widened in subsequent weeks, similarly to how films such as Black Swan and The Descendants had done in previous years. In a clever marketing stunt the international release dates for 12 Years a Slave were largely delayed to early 2014 in order to take advantage of the attention created by awards seasons. This paid off as 12 Years made an astonishing $187.7 million at the box office. This is due to the actors and producers who evolved the production as Brad Pitt and Benedict Cumberbatch (actors) played key roles in advertising through the use of trailers therefore grasping the audience’s attention as they are ‘A listers.’ Furthermore the influence of Kanye West and Chris Rock proved imperative as 12 Years A Slave made it to the big screen eventually.

Big 6 companies tend to use over the line promotion stunts for example “The Hobbit Desolation of Smaug” released the trailers 3 month before the film was released therefore allowing fans to anticipate the release. Moreover a face book page was established allowing fans to communicate before the big release whilst adverts trolled the webpage promoting the film. The Cinema release promoted the film in 3D and widescreen HD creating an experience for cinema goers. Moreover using synergy to their advantage Time Warner made a deal with Lego allowing their characters to be present in the new release therefore the production was promoted and Lego receives greater revenue. Moreover synergy played a part in the production of a Lego Hobbit game. A tie in game was also made further promoting the film. As the Hobbit was originally a book the companies decided to renew the cover of the book and create an audiobook giving the rights to the audio book to iTunes and Amazon Prime. This creates problems such as Piracy as with media conglomerates they overprice products to create the greatest profits possible therefore hackers manage to publish online illegal versions of the film meaning revenue is lost by the larger companies. The producers decided to burn the tape to Blu-ray, Blu-ray 3D and then created a new cover once it received an Oscar.
On the other hand as 12 Years a Slave had little range of products as it was originally a novel. This novel was reproduced after 12 Years won numerous awards, the book was branded with the same images as on the DVD’s which were distributed. Moreover with the new title the book was concentrated into an audiobook where the dates of the release of the film were imprinted on the title. This continued before the release of the film in national cinemas. Moreover the film was advertised online through social networks and in trailer form displaying sneak peeks and interviews with the characters. Therefore attracting fans. The film rights where given to Amazon Prime where piracy was a threat. Small figurines were released after the film’s success however its main products where the DVD with multiple covers after awards season and the audio book.


Audiences were given every opportunity to receive products from both cases, some other products from other productions such as Battle ship failed in the promotion with a tie in game however the small production costs and minimum advertising has worked in 12 years favour as it was promoted as a work of art rather than a multimillion explosive Peter Jackson production. Products attract audiences and small children however many people now see big 6 companies as producing media products for the sake of profit.

12W & 12X: Work To Do (2nd-10th December)


Do the following:


Make a plan to answer this:

What impact does media ownership have upon the range of products available to audiences in the media area you have studied?


50 marks

20 marks Evidence, Analysis, Argument
20 marks Examples
10 marks Terminology

Refer to Ex Machina, Mad Max: Fury Road and Kill List in your answer.

For Mad Max: Fury Road you need to research the production companies Village Roadshow PicturesRatpac- Dune Entertainment and the distributor Warner Bros.

For Ex Machina you need to research the production companies DNA Films, Film4 Productions, Scott Rudin and the distributor Universal Studios

Tuesday, 8 December 2015

Representation of Sexuality-The Street



Discuss the ways in which the extract constructs the representation of  sexuality using the following:

• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise en scène
[Total 50]

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks
T: Terminology-10 marks

Sunday, 6 December 2015

Digital Distribution

Towards the end of 2005, the UK distribution and exhibition sectors were starting to move towards digital distribution and exhibition. For exhibitors, digital projection, especially when married to the increasing use digital formats in production, can now replicate - if not surpass - the image quality of conventional 35mm cinema presentation. And, of course, digital sound systems have been used in cinemas for some time.
In distribution terms, the advantages of digital technology are even clearer, though perhaps longer term. Digital technology is seen to offer a more cost effective and logistics-light alternative to the tried and trusted, but unwieldy model of 35mm print distribution described above. It will, eventually, be cheaper and much less stressful to send films as computer files to cinemas across the UK, than to transport 20-25kg tins of film in the back of a van.
Digital distribution and exhibition on a large scale has started to appear in certain parts of the world, notably China and Brazil, where conventional logistics cannot, for one reason or another, efficiently bring together supply and demand. In the UK, digital technology has been embraced by the non-theatrical sector, in film societies and schools, where the use of DVD and mid-range digital projection has replaced 16mm.
The force of this change, coupled with the new capacity of technology to replicate 35mm imaging, has led the UK Film Council to establish a digital distribution and exhibition programme for the theatrical sector at the end of 2005. Entitled the Digital Screen Network (DSN), it will eventually support new facilities in 211 screens across the country (out of a total of just over 3,300 screens in the UK), and is seen as a small but important step change towards full digital cinema.
The DSN will initially work with files transferred from a high definition digital master (either HDD5, or HD Cam). The compressed and encrypted files will be sent directly to cinemas to be downloaded, de-encrypted (unlocked) and opened as files for screening with digital projection equipment. In principle, digital distribution will, in time, change the paradigm of 35mm print logistics. It will be possible for the distributor to send feature film files electronically, via broadband networks, thus eliminating dependence on transportation.
There is little doubt that the advent of digital distribution has the potential radically to alter the modus operandi of distributors around the world. The comparatively low cost of film copies and additional logistical effectiveness of digital distribution provide the distributor with greater flexibility. It will be less expensive in the coming years to offer a wide theatrical opening with many copies, and also conversely, to screen a film for just one performance at any cinema. In theory at least, it will be possible for both distributors and exhibitors to respond more precisely to audience demand.
All this suggests that in the future, more titles, both mainstream and specialised, will receive wide theatrical openings, and that this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months. Thereafter, films will enter into a second-run and repertory programming market aided by lower costs.

The shortened first-run period will in turn bring forward the distributor's release of the DVD. And there's the rub. The adoption of digital technologies offers greater opportunities for distributors to create joined-up campaigns for theatrical and DVD releases, in which, increasingly, the theatrical opening is used as a way of providing a loss-leading marketing platform for the highly lucrative DVD leg.

Logistics

The distributor will enter into an agreement with the cinema to screen the film on certain 'play-dates'. It is the responsibility of the distributor to arrange the transportation of the film to the cinema, as part of its wider coordination of print use across the UK. Logistics represents the phase of distribution at its most basic - supplying and circulating copies of the film to theatres, of tapes and DVDs to shops and video rental stores, and managing the effectiveness of the supply. The showing of films in cinemas is a time-pressured activity. Cinemas spend their money publicising film play-dates and times in local papers or through published programmes. There's an imperative for the distributor to deliver the film on time.
For UK theatrical exhibition, the distributor typically handles 35mm film prints. Each print can cost around £1,000 - or twice that if subtitled - so a degree of care is required of everyone involved in handling the print. In the UK, prints are generally broken down for ease of handling into smaller reels, each lasting around 18-20 mins when run through a projector at 24 frames per second. So a feature print, in its physical form, will usually be 5 or 6 reels, stored and supplied in a single hard case, weighing in at 20-25kgs. Prints are hired by the exhibitor for the duration of their play-dates, and therefore each print is made for repeat use. It's easy to see from this that, during the course of even a short theatrical release period, any single print needs to be moved many times from the main print warehouse, onto a delivery van, to the cinema, onto an assembly bench, through the projector and then back through the process and onto the next cinema.

35mm theatrical prints invariably suffer cumulative damage as they pass through different projectors, and the hands of various projectionists. There are also overheads incurred by the distributor for the storage of prints at the UK's central print warehouse in West London. For these reasons, each theatrical print has a finite lifespan. Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months. From this point on, many of the now used release prints will be destroyed, leaving only a small number to be used for second-run and repertory theatrical bookings through the remainder of the film's licenced period.

Marketing - Prints And Adverts

The key elements of Prints and Advertising (P&A) that a distributor must consider at this stage are:
The quantity and production of release prints and trailers:
Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK. On the other hand, commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.
Press materials, clips reels, images, press previews, screener tapes:
For the majority of releases, favourable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.
The design and printing of posters and other promotional artwork:
The cinema poster - in the UK this means the standard 30" x 40" 'quad' format - is still the cornerstone of theatrical release campaigns. Numerous recent examples indicate that the poster design is highly effective in 'packaging' the key attributes of a film for potential audiences. Distributors will also consider other poster campaigns, ranging from Underground advertising to billboards.
Advertising campaign - locations, ad size and frequency:
Advertising in magazines, national and local newspapers works in tandem with press editorial coverage to raise awareness of a release. Press advertising campaign for specialised films will judiciously select publications and spaces close to relevant editorial. For mainstream films, scale and high visibility is the key. The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries. In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.
Press campaign / contracting a PR agency:
Many independent distributors in particular do not have press departments, and will consequently hire a press agency to run a pre-release campaign. This is especially the case if the distributor brings over key talent for press interviews to support the release.
Arranging visit by talent from the film:
The use of talent - usually the director and/or lead actors - wins significant editorial coverage to support a release. The volume of coverage can far outweigh the cost of talent visits.
Other preview screenings:

A distributor will consider the use of advance public screenings to create word-of-mouth and advance 'buzz' around a film.

Marketing

The marketing of a film release revolves around two key questions: 'When?' and 'How?'
In the UK, new films are released theatrically on Fridays. The schedule for forthcoming releases is coordinated and published by the Film Distributors Association. A distributor will assess this schedule to identify a Friday release date where there are only a few films scheduled for release. Finding a 'light' week will ensure that there will be both screen space and adequate review column inches in the press allocated to any potential release. A further consideration for scheduling a release is the seasonality of the film. For example, it is widely assumed within the industry that specialised films have the greatest potential to reach audiences during the academic year. Finally, the distributor will try to position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin). In recent years in the UK, these two aspects of release planning have become increasingly difficult, as the release schedule has regularly featured over 10 new releases in a week.
After setting a release date, the distributor works towards the theatrical release, investing in the materials and the marketing campaign to support it.

The costs of theatrical distribution, met by local distributors, are often referred to as 'P&A', or Prints and Advertising. P&A are the nuts and bolts of marketing and distributing films into cinemas, the tools used by the distributor to create a public for its film. P&A also represent the bulk of the distributor's investment, after paying the initial fee for rights, and can range from less than £1,000 to over £1 million for the release of a film in the UK.

Licencing

Licensing is the process by which a distributor acquires the legal right to exploit a film. In distribution, licensing itself can take place on two levels.
International distribution ensures that films find their way to the 90+ market 'territories' around the world. The major US studios generally have their own distribution offices in all the major territories. By contrast, independent producers have to sell their films to different distributors in each territory. Independent production companies are usually small concerns, sometimes set up for one film and often lacking the necessary knowledge or contacts of each of the territories around the world. Instead of doing this themselves, they might choose to hire a specialist sales agent, whose function is to understand the value of a film in many different markets. The sales agent will then set up stall at the film markets that take place throughout the year.
Then there is 'local' distribution, which involves the distributor acquiring the licence to release and exploit the film in a particular country. The distributor will usually pay the producer a minimum guarantee for the licence. This fee will vary depending on the status and perceived commercial potential of the film, and on the range of rights that the distributor chooses to exploit. A distributor will usually be offered theatrical rights, for showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.
In addition to paying a fee to secure the film, the licence will stipulate that the distributor will also pay royalties to the producer, taken from the profits that the film generates. A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.
Once the licence has been agreed, it is then the distributor's job to launch the film. In the UK, feature films are released initially theatrically (in cinemas). A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.

Some months following the theatrical release, a film will be packaged and released on DVD and VHS video, then on various forms of pay television and eventually, two years after opening in cinemas, on free-to-air television. The value of the film built up by its theatrical release reaps dividends throughout its release cycle, influencing the audiences and commercial value it subsequently commands.At every stage, the successful distributor must have an in-depth knowledge of the marketplace - which cinemas, video outlets and broadcasters can best draw an audience for its films - and of the variable marketing costs involved in releasing a film in that territory. The trick is to weigh up the two factors, to invest as much as is needed in promoting the film to draw out the maximum returns.

What Is Distribution?

The history of film is usually related through the achievements of producers, directors, writers and performers. Making films, production, has always been perceived as a glamorous pursuit.
Alternatively, our personal understanding and appreciation of film is shaped by our experiences at the cinema. The exhibition of film is a commonplace, shared cultural activity highly visible in every city and town in Britain, constantly feeding the popular memory.
By contrast, distribution, the third part of the film supply chain, is often referred to as 'the invisible art', a process known only to those within the industry, barely written about and almost imperceptible to everyone else.

Yet arguably, distribution is the most important part of the film industry, where completed films are brought to life and connected with an audience.
So what is involved in this invisible process? Distribution is about releasing and sustaining films in the market place. In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition operate most effectively when 'vertically integrated', where the three stages are seen as part of the same larger process, under the control of one company. In the UK, distribution is very much focused on marketing and sustaining a global product in local markets.

In the independent film sector, vertical integration does not operate so commonly. Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors. Here, as the pig-in-the-middle, distribution is necessarily a collaborative process, requiring the materials and rights of the producer and the cooperation of the exhibitor to promote and show the film in the best way possible. In this sector, distribution can be divided into three stages - licensing, marketing and logistics.

Representation of Sexuality Research


Research examples of the different types of sexuality represented in British and American TV drama.

Key words:
  • homosexual
  • heterosexual
  • bisexual
  • asexual
  • straight
  • gay
  • lesbian
Present your findings using one of the following:
  • prezi
  • powtoon
  • infogram
  • powerpoint
or another presentational element of your choice.

Ensure you add clips and images to illustrate your work.

List of dramatic television series with LGBT characters

Wednesday, 2 December 2015

Representation Of Class & Status


ITV 1 Downton Abbey

Discuss the ways in which the extract constructs the representation of class using the following:

• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise en scène
[Total 50]

Friday, 27 November 2015

Improving Your Essay

In today's lessons you will make improvements to your essay.

Step 1. Update your YR12 tracker with your CWA grade from the essay.

GRADES
0-19 = U
20-24 = E
25-29 = D
30-34 = C
35-39 = B
40-50 = A

Step 2. Read the whole class advice ppt and identify audience and distribution pattern.
Step 3. Re-write your essay directly onto your blog ensuring that you have responded to your targets.
Step 4. Post onto blog for me to re-mark.
Step 5. Scan in your first draft and post to your blog.
Step 6. Await new grade



Improving your essay - AS Media Aud and Inst from Mr Smith


FAQ

Where can I find evidence? Your 100 facts blog post and this teaching blog!

Where can I see an example of two TOP B grade responses? HERE

What terminology should I use?
  • Production practices
  • distributed
  • audiences engage
  • distribution and marketing strategies
  • facilitating or challenging institutional practices
  • success or failure
  • synergy
  • cross media or digital initiatives
  • specific audiences




January 2013 Examiners' Report (Film)

Film was the most popular media area studied and at times very successfully. Those candidates that addressed the question well would compare and contrast a major Hollywood Studio with a British film company. The most able responses were supported by examples across a range of media and these in turn were embedded in institutional practices such as synergy, convergence and cross media promotion. The most able candidates also argued that despite the power of film companies (backed by conglomerates) outweighing smaller independent and British film companies in terms of success, many opportunities have been created by the ever changing online age, for example Vertigo films and ‘Monsters’ or ‘Streetdance 3D’ and ‘The Microwave’ scheme encouraging films like ‘Shifty’ to be produced. There were also some confident discussions of three of the majors: Disney/Sony/News Corp with ‘The Hobbit’ and ‘The Life of Pi’ and ‘Skyfall’ being introduced as particularly relevant and topical case studies. Candidates who studied these examples seemed to have a broad understanding of issues around audience.

Less able candidates would simply describe media ownership, sometimes incorrectly, for example using Pinewood Studios as a discussion of ownership, or offer potted histories of film companies. In some instances candidates had very little to say on media ownership, displaying a lack of preparation for the set question. There were a significant number of film titles mentioned which are deemed as non-contemporary: (‘Atonement’ (2007), ‘Notting Hill’ (1999) ‘Four Weddings and a Funeral’ (1994) and ‘Chicken Run’ (2002). When discussing examples form the online age it is a basic response to argue that a product or service is a T-shirt or piece of merchandising, candidates need to identify and explain the example; likewise a mention of a twitter account or references to Netflix or Lovefilm are basic ways to present examples. Candidates should be encouraged to provide detail in the examples they use and explain these in relation to the set question.

Ben Wheatley on A Field In England

A Field In England (2013) Trailer

Thursday, 26 November 2015

Mark Kermode Reviews Kill List

Kill List : Interview With Ben Wheatley

Kill List research



Find out as much as you can about the companies that helped produce Kill List:
Then do the same for the distributors:
  • Optimum Releasing (UK)
  • IFC Midnight (US)

Kill List (2011) Dir. Ben Wheatley


Kill List is a cult-classic from the low budget feature slate Warp X, which wowed the critics when it had its world premiere at SXSW in Austin, Texas. The dark and twisted horror film from award-winning director Ben Wheatley (Down Terrace), Kill List tracks an ex-soldier turned contract killer who begins to unravel when he takes on a new assignment. Kill List was filmed at locations across Yorkshire in 2010 with financing and support from Screen Yorkshire. Protagonist handles international sales and Studio Canal took the UK rights to Kill List following a bidding war between UK distributors. A US deal was struck with IFC Midnight. Michael Smiley won a BIFA for Best Supporting Actor.

Brief synopsis:

Eight months after a disastrous job in Kiev left him physically and mentally scarred, ex-soldier turned contract killer Jay (Neil Maskell), is pressured by his partner Gal (Michael Smiley), into taking a new assignment. As they descend into the dark, disturbing world of the contract, Jay begins to unravel once again - his fear and paranoia sending him deep into the heart of darkness….

Kill List is produced by Claire Jones & Andy Starke for Warp X / Rook Films with backing from the UK Film Council, Film4 and Screen Yorkshire.. Executive producers Robin Gutch, Katherine Butler, Lizzie Francke, and Hugo Heppell. Warp’s Barry Ryan co-produced.

The cast features Neil Maskell, Michael Smiley, MyAnna Buring and Emma Fryer. Ben Wheatley co-wrote the script with Amy Jump.

What the critics said:

 “brutally impressive… a challenging and gripping chiller”  ScreenDaily

“weird and darkly amusing...progresses from uncomfortable character study to subtly intense crime thriller, and ultimately deep, dark horror”
Fearnet.com

“mystery, murder, and flesh-busting madness....rivals the best horror films for sheer tension and terror.”
FilmSchoolRejects

“several cuts above its fellow midbudget horror brethren...an effectively twisted piece of work”
Variety

Kill List (2011) Trailer

European Economic Area (EEA)



The European Economic Area (EEA) provides for the free movement of persons, goods, services and capital within the internal market of the European Union (EU) between its 28 member states, as well as three of the four member states of the European Free Trade Association (EFTA): Iceland, Liechtenstein and Norway.[4] The Agreement is applied provisionally with respect to Croatia—the remaining and most recent EU member state—pending ratification of its accession by all EEA parties.[2][5]

The EEA was established on 1 January 1994 upon entry into force of an agreement between the member states and the EU's predecessors, the European Economic Community and the European Coal and Steel Community.[4] EFTA states which join the EEA participate in the EU's internal market without being EU members, adopting almost all the relevant EU legislation other than laws regarding agriculture and fisheries. The EEA's "decision-shaping" processes enable them to influence and contribute to new EEA policy and legislation from an early stage.[6]


One EFTA member, Switzerland, has not joined the EEA, but has a series of bilateral agreements with the EU which allow it also to participate in the internal market.

The British Film Industry: Match the explanation to the institution (Answers)


Tuesday, 24 November 2015

What Class Are You?


Click on the image and take the test.

Class & Status


Find two examples (a mixture of images and clips) from UK and US TV dramas for each of the following:
  1. Upper Class (rich/posh)
  2. Middle Class (neither rich nor poor/in the middle)
  3. Working Class (poor/common)
Add a brief justification for each choice.

Possible programmes:

Mad Men
Peaky Blinders
Breaking Bad
Misfits
Downton Abbey
The Village
Ripper Street
Whitechapel
Spooks
Doctor Who
Atlantis
Merlin
Sherlock
Game of Thrones

What Class Are You?


Click on the link and take the test.

Wednesday, 18 November 2015

TV Drama Suggestions


  1. The Wire
  2. The Walking Dead
  3. Breaking Bad
  4. Chicago Fire
  5. Game of Thrones
  6. Doctor Who
  7. Spooks
  8. True Detective
  9. Misfits
  10. Gossip Girl
  11. Mr Robot
  12. Ironside
  13. ER
  14. The Good Wife
  15. Suits
  16. Top Boy
  17. Skins
  18. Line of Duty
  19. Homeland
  20. Prison Break
  21. Heroes
  22. Lost
  23. Agents of SHIELD
  24. Waking the Dead
  25. Luther
  26. The Vampire Diaries
  27. True Blood
  28. Hustle
  29. Empire
  30. Power
  31. Law & Order
  32. NCIS: Los Angeles
  33. Hawaii 5-O

Representation of Ethnicity


Find examples of how the following ethnic groups are represented in TV drama (British or American):
  • Black
  • White
  • Chinese
  • Asian
  1. Find examples from three TV dramas (not Soaps) for each ethnic group
  2. Are the representations stereotypical or not?
  3. How and why is this the case?

Tuesday, 17 November 2015

Representation of Ethnicity



Discuss the ways in which the extract constructs the representation of ethnicity using the following:
  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene
50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks
T: Terminology-10 marks

TV Drama-Generic Conventions


You will find that TV dramas all have the following ingredients:


  • Characters – even particular kinds of characters: eg, at its most simple, ‘good’ and ‘bad’ characters.
  • Stories – they all tell stories, whether those stories involve adventure, crime or romance and they often, but not always, end happily.
  • The stories are told against familiar backdrops: – eg, homes, police stations and offices (for crime dramas), hospitals (for medical dramas) – most of which are created in studios. However, most dramas also use outside locations to create particular effects.
  • Camerawork – particular kinds of shots are used: eg, sequences involving establishing shots followed by mid-shots of characters, shot/reverse shots to show character interaction and, in particular,close-ups to show the characters’ emotions.
  • Stories use dialogue to tell the stories. Occasionally, monologues are built in (as voiceovers, a character telling a story).
  • Music is used to punctuate the action, create effects (suspense, tension) and underline emotional moments.
  • Particular subgenres tend to have items which make them immediately identifiable – police cars, blue lights, operating theatres and scalpels, triage/reception areas in hospitals. Icons of the genre, they symbolise the (sub)genre.

Representations of Ethnicity-Theory


Four Key Themes in Racial Representations
  • exotic
  • dangerous
  • humorous
  • pitied
(Alvarado et al. 1987: 153)

Unity and Conflict

  • Conflict is often the binary opposition of ethnic groups and the wider society.
  • Unity is often an element of the representation of ethnicity, this hits a stereotype of ethnicity, that of close families and tight communities.

Monday, 16 November 2015

Mad Max: Fury Road Research - 100 Facts


Produce a fact file for the 2015 film Mad Max: Fury Road (directed by George Miller)

I have compiled some information about pre-production, production, post production, marketing and distribution.

You need to read all the articles and complete a blog post containing 100 facts about the film.

10 of your facts MUST be:
  1. The invasion (yes invasion) and subsequent war in which country, that stopped filming?
  2. What TWO formats was the film originally going to be in to only then NOT be in?
  3. How many times was filming delayed?
  4. In which year did filming first conclude?
  5. In what year did they have to go back and film additional scenes?
  6. At what point did Warner Bros panic and insist someone write a script?
  7. When did the stars sign up to be in the film?
  8. Where was the film originally going to be produced only for it to rain!
  9. How much was spent on TV adverts?
  10. How long did crew spend in Namibia?


Mad Max Fury Road: Choreographing Complex Stunts & Car Chases | Design FX

Sunday, 15 November 2015

Mad Max: Fury Road Delayed… Again [Updated]


[Update: George Miller is talking about the reason for the delay.]

Things are not looking good for Mad Max: Fury Road. George Miller’s fourth Mad Max adventure has hit another road block – meaning that the film won’t start filming until 2012, at the earliest.

It’s the second delay for the film (which is scheduled for back-to-back shooting with a sequel, Furiosa) in recent months and there are reports that the reboot might even be scrapped – as the price of the Australian dollar rises.The action adventure film, which is currently set to star Tom Hardy and Charlize Theron, was postponed in July because an unexpected amount of rain left proposed shooting locations too green for George Miller’s vision of a post apocalyptic world. Pre-production has already started on the film with millions spent – some rumors even state that some stunt work has already been filmed.

However, the crew have now been told that filming will not begin until February 2012.

The latest delay doesn’t bode well for Mad Max: Fury Road, which was originally set to shoot almost a decade ago – with original star Mel Gibson. Back then, troubles in the Middle East led to the film getting canned, and although no reason is given for this latest delay, the hopes of seeing Mad Max: Fury Road are starting to look bleak once again – as shooting has now been pushed-back more than a year.

This news is deja vu for Miller, who was well into pre-production on Justice League when the plugged was pulled due to budgetary reasons. It remains to be seen if Tom Hardy and Charlize Theron will even be in the film when (and if) Max returns to the screen. Thanks to Inception, Hardy’s star is on the rise, and Theron is constantly busy, thanks to her Monster Oscar win – so if, one year from now, Miller does get Mad Max on the road again – it might be with an entirely different cast.
The news comes as Mad Max’s studio, Warner Bros., is currently locked in a very public dispute with the Australian actors union over casting for The Hobbit. Any conspiracy theorist will likely come to the conclusion that the studio has delayed plans to shoot Mad Max in Australia as a way of getting back at the union as a result of their boycott of Peter Jackson’s film. Though this is purely speculation. The incident may even lead to a European The Hobbit shoot – not New Zealand where The Lord of The Rings trilogy was filmed.

UPDATE: Apparently weather conditions (not money) are to blame for the latest delay with Fury Road. As George Miller told the Sydney Morning Herald:


”Unfortunately for Mad Max, what was wasteland is now this wonderful flower garden…We’ve looked at every single nook and cranny in Australia for these specific locations…That’s why Broken Hill has become such a base for outback films: you’ve got the infrastructure of the city itself and the treeless plains beyond…Obviously if we go to Namibia or Morocco or Chile it’s a different kettle of fish, but we want to shoot it here…Governments are working incredibly hard to bring these productions in…They’re so sought after around the world because they infuse a massive amount of foreign cash into the economy and create a lot of jobs…Everyone’s competing for that and right now it’s no more expensive to shoot in America than it is in Australia.”


As a result of the delay, long time Mad Max fans might see a grain of hope that Mel Gibson could return to his iconic role of Max. The actor has had many well-publicized personal problems in recent years and a return to Mad Max would probably make more sense than the rumored Lethal Weapon 5 or Maverick 2. It remains to be seen if Gibson would even be interested, or if Miller would retool the script for an older (and madder?) Max – but it might be the only way of getting Max back into his Interceptor for another adventure filled with carnage and mayhem. It looks like we might need another hero after all.

‘Mad Max: Fury Road’ Production Delayed


Every recent bit of news regarding Mad Max: Fury Road has been fantastic. Despite concerns that the next Mad Max installment would be retrofitted with 3D, we later discovered the film would actually be filmed using advanced 3D tech. Additionally, despite earlier concerns about casting, we’ve seen Miller actually put together a decent group of talent.
Unfortunately, the news today is less fantastic – production on Mad Max: Fury Road has stalled.
At the L.A. Inception premiere, Tom Hardy (the star of Fury Road) told MTV the production has hit a temporary red light.
While the news is disconcerting, it may give Hardy a little more time to get in peak physical form for the role. It’s not like the man is out of shape, but Mad Max will call for a different kind of hero – a man physically affected by an apocalypse, but strong enough to defend himself at any cost.
Hardy’s reveal of the production delay comes without any explanation, though the recent Gibson controversy can’t help – but it doesn’t seem to be anything major. Basically, no Hobbit-like issues.
“[We’ve] stopped. They pushed it back a little bit so I’m not up against it at the moment, so I’ve lost some weight, that’s it.”
Normally, I scoff at any attempt to continue a franchise with a replacement leading actor, but Hardy has proven himself worthy of any role Hollywood offers up. Are you listening Bond casting directors?
Hardy’s dedication to beefing up for his unbelievable performance in Bronson proves he has what it takes to transform for a role. He is one of the best chameleons in film today and could someday challenge Christian Bale in the weight-shifting actor category.
Hardy’s focus and determination to create a character, instead of human scenery, is what will elevate Mad Max: Fury Road. The actor and his director, George Miller, have been working on a way to establish a human story within the action-filled movie. Then again, shooting in 3D doesn’t suggest high drama.
Somehow, even in the midst of this disappointing news, Hardy managed to stay positive and build anticipation for Fury Road. In response to a query about his co-star Charlize Theron, Hardy gushed about her “incredible” nature.
If there is one movie franchise I wish took the “James Bond route” and churned out dozens of sequels, Mad Max would be it. The character is rich and exciting. His motivation is one that could generate drama over the course of multiple films – and the apocalyptic world George Miller created is one I’d like to explore again and again.

George Miller’s involvement is a great place for the fourth installment to start, but if they want a successful continuation of the franchise, Tom Hardy will definitely have to bring his limitless charisma and star quality to the film.

‘Mad Max 4′ Will Be Shot Using ‘Revolutionary’ 3D Tech


The guys over at /Film had a reader point them towards an exclusive article in the Australian movie magazine Inside Film, which stated that Dr. George Miller’s upcoming sequel/reboot Mad Max: Fury Road is going to be going the 3D route.

For months now we’ve suspected that Mad Max 4 would be retrofitted with 3D – i.e., the type of post-production 3D conversion process that we’ve seen with Clash of the Titans, Alice In Wonderland and most recently in The Last Airbender.

Avid movie fans know all too well that the process of retrofitting a movie with 3D is a real issue in the movie industry right now. The post-conversion process diminishes the quality and colors of movie footage, and worse, creates a hackneyed pop-n-flat “3D effect” that is little more than a reason to charge moviegoers exorbitant prices for tickets. So, hearing that Mad Max: Fury Road was going to be subjected to such a format was pretty disheartening.

But alas, what we dreaded has NOT come to pass (for once). In fact, Inside Film is reporting that Mad Max 4 will be shot using 3D rigs and cameras that are being specially developed by George Miller himself. Said the director:

“We are doing 3D on Fury Road – we are shooting with real 3D cameras…Seven years ago we were going to shoot in 3D but the technology in cinemas wasn’t geared for it then but I always loved 3D or stereo…”

Mad Max 4 is currently slated for a rough-n-tumble shoot across the Australian Outback (likely early next year), which would represent something of a challenge, as directors such as Michael Bay have noted that shooting with 3D cameras is a cumbersome experience. However true that may be, it didn’t stop James Cameron from changing the landscape of cinema with Avatar; it also hasn’t stopped Bay himself from ultimately shooting Transformers 3 in 3D.
For now it seems that 3D is here to stay, and in the case of Mad Max 4, I’m not worried. Dr. George Miller is an Oscar-winning pioneer when it comes to visually impressive films (see Babe and/or Happy Feet), and was even recently awarded the status of honorary member of the Visual Effects Society – the first non-U.S. citizen to be recognized in such a way.

There’s also the fact that Miller has Peter Jackson’s WETA handling visual f/x, makeup and costume designs for Fury Road. When the guys who brought Middle Earth to life in Lord of the Rings are behind a film, in my opinion it’s somewhat safe to raise one’s expectations.

What do you guys think: Does George Miller developing new 3D shooting techniques intrigue you? Does the process (if done right) seem fit for a film like Fury Road? Or is the thought of “3D shaky-cam” already making you nauseous?

Mad Max: Fury Road should start production early next year (at the latest).


Sources: Inside Film via /Film

Summer Movie Piracy Rises: ‘Mad Max: Fury Road’ Tops 2015 Downloads



Digital pirates have been more active in swiping illegal copies of top Hollywood releases this summer compared with last year, according to new data.

For the period between June 21-Sept. 9, 2015, the five most-pirated films — led by Warner Bros.’ “Mad Max: Fury Road” — were downloaded on torrent networks worldwide 85.34 million times, according to piracy-tracking firm Excipio. That’s a 29% increase over 66 million during the same time period last year, when “Captain America: The Winter Soldier” was the No. 1 target of Internet thieves.

One reason for the piracy uptick may simply be that Hollywood released more popular movies this summer. In the U.S., box office revenue was the second-best on record, after 2014 hit a seven-year low, with ticket sales of $4.48 billion between May 1 to Labor Day weekend, according to Rentrak.

Indeed, the top five movies pirated globally piracy also performed well in theaters — and they’re clustered around sci-fi and fantasy themes, which appeal to the young-male profile of peer-to-peer downloaders.

“Mad Max: Fury Road,” which has generated $374 million at the box office worldwide, had 22.90 million shares on torrent networks over the summer. That was followed by Universal’s “Jurassic World” (18.16 million); Disney/Marvel’s “Avengers: Age of Ultron” (15.87 million); Lionsgate’s “Insurgent” (14.46 million); and Paramount’s “Terminator: Genesis” (13.94 million), which sagged at the U.S. box office but has done well overseas.


In the U.S., the five most-pirated movies for the summer of 2015 were: “Max Max: Fury Road” (1.75 million downloads); “Jurassic World” (1.21 million); “Insurgent” (1.16 million); “Ted 2” (1.10 million); and “Avengers: Age of Ultron” (1.09 million).

Mad Max 4 to be Retrofitted with 3D?


It’s been common knowledge that George Miller’s Mad Max 4 (or Fury Road ) would be a 3D feature for quite sometime. Considering that it’s a $100 million tent-pole film in the second decade of the 21st Century – that’s no big surprise.

However, what may come as surprise is that the movie, which stars Charlize Theron and Tom Hardy, will be converted to 3D – after the film has been shot. The 3D retrofit would be similar to fellow Warner Bros stablemate Clash of The Titans – and you already know how we felt about that conversion.

So what does this mean for Mad Max 4? Will it have the same substandard 3D presentation as Titans?

Titans had a rush 3D job intended to capitalize on the success of Avatar. Even though Mad Max will get a post-production 3D conversion, it appears that the 3D elements are at least being planned ahead of time – and already incorporated in the production process.

In addition, Max is getting a solid amount of time in post production, which would indicate that the film will have time for a high grade 3D conversion – and not a quick money-making cash-grab (well, not an overt money making cash-grab anyway).

Nicolas Hoult, who has parts in both Clash of The Titans and Mad Max 4 was responsible for the “retrofit” revelation – specifically stating Mad Max 4 would be “retrofitted” to 3D after the film was shot – so that it could incorporate preplanned 3D elements.

Hoult had been invited to a recent UK press event held by Samsung – a press event to unveil a new LED TV lineup. The electronics manufacturer brought together numerous actors, and other celebrities to offer their “thoughts” on 3D technology – and, of course, to help sell the product line.

In regards to 3D films as a whole, Hoult was optimistic about the format:

“You only have to look at the reception 3D is getting in theatres. Personally, I’m really enjoying it – you just want to be absorbed by a movie when you watch in 3D.”

In addition to Hoult, guests at the Samsung event included Kevin Spacey, BBC film presenter Claudia Winkleman, and Alexandra Burke – the 2008 X-Factor winner.

So, fear not Mad Max 4 fans – your 3D experience still has the potential for greatness. Well, unless you’re still bummed that Mel Gibson, the original Mad Max, isn’t involved.

Will you be seeing Mad Max 4 in 3D or, given the amount of 3D features en route, will you see this one the old fashioned way?

Do You Realize Mad Max: Fury Road Is A Miracle?


I’m serious. Mad Max: Fury Road should not exist. It should never have gotten made. It certainly shouldn’t be as awesome as it is. And yet somehow, against all odds, this impossible cinematic masterpiece is in theaters right now, in defiance of reality itself.

Obviously, the fact that Hollywood decided to make a new Mad Max film 30 years after the last movie came out isn’t that exceptional. If there’s a franchise that anyone has nostalgia for — or at least awareness of — there’s a decent chance that Hollywood will make another in hopes of cashing in. Generally, these tend to be remakes or reboots, so the first miracle is that Fury Road isn’t a needless reboot, but a new chapter in the Mad Max saga. I can’t imagine how much Hollywood execs wanted to remake The Road Warrior, or give a new origin story for Tom Hardy’s turn as Max. I don’t know how director George Miller managed to convince the studio that modern audiences didn’t need to be coddled.

Actually, I don’t know how Miller was hired to direct the movie at all. Yes, Miller was the creator, writer and director of all three Mad Max movies, but when has Hollywood ever shown a creator loyalty? That’s not a studio executive’s job. Their job is to make as much money as possible, and given Miller’s track record, there’s no way he should have been hired, creator or not.

Do you know what Miller was doing before he returned to Mad Max? In the last 20 years, he has only directed three other movies: Happy Feet, a CG cartoon about a bunch of dancing penguins, Happy Feet Two, and Babe: Pig in the City. Three movies not just for kids, but for little kids. Movies that contain no action to speak of, no violence, and nothing in common with Fury Road. He literally hadn’t made an action flick since Mad Max: Beyond Thunderdome in 1985, and it wasn’t even a very good movie! Yes, Miller was tapped to direct a Justice League movie several years ago, but that fell apart, and no one gets to put “almost” on their resume.

Do You Realize Mad Max: Fury Road Is A Miracle?

Look, I know it makes sense to normal people that you would only let the creator of Mad Max make a new Mad Max movie, but Hollywood studio executives are not normal people. They’re cocaine-addled lunatics who are terrified at the idea of losing potential box office revenue. From that viewpoint, hiring Miller is a legitimately risky decision. He’s woefully out of practice, his last action film was mediocre anyways, he’s 70 years old… there’s no reason to suspect he could make a summer blockbuster, let alone a modern summer blockbuster, let along a goddamned action movie masterpiece. There are plenty of other movie directors out there who, while they may make crappy movies, still make movies that almost always make money. As nightmarish as it is to consider, from a studio exec’s point of view, it would have been more fiscally responsible to give Fury Road over to a Brett Ratner or a Len Wiseman or one of their ilk.

But not only was Miller hired, he was given a massive $150 million budget and, more insanely, he seemingly also had complete creative control. You know who gets that deal? Practically no one. Maybe guys like Chris Nolan, who have churned out enough summer blockbusters over the years that the studio doesn’t feel the need to second-guess their every decision.

The reason I know that Miller must have had almost total control over the movie is because he was allowed to make decisions no studio executive would have or should have allowed, no matter how much cocaine he/she was on. Here five things I can’t believe Miller was allowed to do:

• Have Max be the sidekick in his own film.

• Hire Nicholas Hoult, one of Hollywood’s youngest, most attractive stars, then shave his head, paint him bone white, and have him play a character with disgusting chapped lips for the entire movie.

• Get rid of Max’s iconic car in the first few minutes of the flick.

• Ignore conventional action movie structure in order to present one giant, two-hour long car chase.

• Give the main villain a name that will confuse every one all the time, because they assume there’s been some kind of error and the character’s real name must be “Immortal Joe.”

These are all reasons the film is awesome, but they’re also not things the studio should have allowed. These aren’t safe decisions. But then again, there’s nothing safe about Fury Road.

Do You Realize Mad Max: Fury Road Is A Miracle?

Was Miller blackmailing the president of Warner Bros. or something? Did he find a genie? Because those are the only two reasonable solutions for why Fury Road got made now, which, by the way, is yet another miracle. Reportedly, Miller has been working on Fury Road since 1998 and very nearly got it made on several occasions. At first Mel Gibson was going to reprise the role of Max, which would have been a disaster, because Gibson is an anti-Semitic loon. Then it was going to be a a 3D CG animated movie, which probably would have been lame and looked terrible, and even if it was good wouldn’t have been nearly as good as the movie we eventually got.

Ignoring the fact that most films that languish that long in development hell never, ever, ever get made anyways, so many random things had to happen to prevent us from getting an earlier, crappier version of Fury Road. The movie had to be thwarted, over and over again, for nearly 20 years so we could get this version of Fury Road — so Miller would have this specific idea, so the studio would give him that much money, that for god knows what reason the executives didn’t interfere with Miller’s vision, and that Gibson wasn’t involved.

So I’ll say it again — Mad Max: Fury Road shouldn’t exist. It shouldn’t have been possible. It certainly wasn’t plausible. Hollywood executives are paid to prevent this sort of potential disaster from ever happening. And yet somehow, one 70-year-old man who had been stuck directing children’s movies for two decades took a somewhat beloved franchise from the ‘80s and not only made one of the most badass movies of all time, but also created a legitimate masterpiece of the action genre.


If that’s not a miracle, I don’t know what is.

Three different types of reboot



Movie directors approach “rebooting” a film franchise in different ways.
There is the prequel, which often lays out the history of a beloved property prior to the point where the saga began many years before. Regretfully, those usually only score big for the original movie homers (see “Star Wars: The Phantom Menace” and try to forget all things Jar-Jar).
Conversely, there is also the sequel for those times when director or a studio thinks it would be a good idea to start the adventure again in “real time.” That’s what happened with “Superman Returns,” which ended up being everyone’s kryponite.
The most popular approach, however, may be the scratch model, or “starting over from scratch.” Take another angle, learn from the previous defects, and become a fan of the story first. Look at Christopher Nolan and “Batman,” J.J. Abrams and “Star Trek,” the latest iteration of Spider-Man, or even the Daniel Craig versions of 007.

People love these inventive takes on a story they all know because they are judging it along with the original the entire time they are gawking at the big screen. The latest scratch model is “Mad Max: Fury Road.”