- Analysing openings guide
- AUDIENCE U+G theory
- Blog setup
- CINEMATOGRAPHY low light shoots
- COURSEWORK GUIDE in 10 steps
- Eval OVERVIEW
- Eval Q1a CONVENTIONS
- Eval Q1b REPRESENTATIONS
- Eval Q2a AUDIENCES
- Eval Q2b DISTRIBUTION
- Eval Q3 DEVELOPMENT
- Eval Q4 TECHNOLOGIES
- Final Cut Pro X
- GENRE research
- TECH tips blog
- TECHNOLOGIES tag
- Titles tag
- Working title(s)
Friday, 20 April 2012
Applying BritCin lessons to Eval
1. In what ways does your media product use, develop or challenge forms and conventions of real media products?
Low-budget film-making & auteurs: Meadows; Monsters + digital film-making. Hybridity + intertextuality. British social realist tradition? Link to Hammer tradition or LHotL? Explicitness of Saw or subtlety of Ring? Blog posts:
Also consider lessons from Monsters.
2. How does your media product represent particular social groups?
Gender, class, age, regional/national: TisEng v WT rom-coms (Wild Child) v MBL. Link to aud but also either international crossover appeal or sticking within UK social relaist tradition
3. What kind of media institution might distribute your media product and why?
WT v Warp distribution. Avatar distribution. Costs + implications of digitisation. Optimum Releasing’s link to NBC-Universal as subsidiary of Studio-Canal. UKFC closure + its distribution funds. Also DVD/stream/download + piracy issue. Difficulty of getting ANY distribution – film festivals (Co-Op!) + funding. USA distribution? Look at TisEng figures … but also The Full Monty, Slumdog, even Kings Speech.
4. Who would be the audience for your media product?
Comparing box office for UK + US horrors; WT/WT2 + Warp films. The case of Mickybo + Me. How BJD + Avatar attracted broad auds. BBFC
How did WT2 films seek to attract male and female, and perhaps a secondary 25-34+ as well as primary 12/15-24?
5. How did you attract/address your audience?
AliGIndahouse use of UK-specific cultural references (but wrapped in a recognisable US genre framework). TisEng + social realism; slang + nostalgia (Reynolds book). Rarity of active female chars. Hybridity. Marketing. BBFC
There is an overlap with Q3: consider what, if any, specific British (and break down further: English, N.Eng, Yorkshire, Ilkley; youth culture) references you’ve included (may be landmarks or mise-en-scene [eg clothing labels/references] as well as dialogue)
6. What have you learnt about technologies from the process of constructing this product?
Digitisation, editing, SFX; social media (Hot Fuzz pacman, WT website, Avatar). Has digitisation enabled YOU to compete? Colin + LeDonk etc. See links to blog posts for Q1. Also consider lessons from Monsters.
7. Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Genre knowledge. Role of aud feedback: BJD + jumper; preview trailers etc online + fanboys (own Twitter? Facebook? Company blog?). Reshoots. Practice at filming. Using FCE. Soundtracking.
Level 1 0–7 marks
Level 2 8–11 marks
Level 3 12–15 marks
Level 4 16–20 marks
Excellent understanding of issues around audience, institution, technology, representation, forms and conventions in relation to production.
Excellent ability to refer to the choices made and outcomes.
Excellent understanding of their development from preliminary to full task.
Excellent ability to communicate.
Excellent skill in the use of digital technology or ICT in the evaluation
Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In addition, candidates should be familiar with:
the issues raised by media ownership in contemporary media practice;
the importance of cross media convergence and synergy in production, distribution and marketing;
the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
the significance of proliferation in hardware and content for institutions and audiences;
the importance of technological convergence for institutions and audiences;
the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
This unit should be approached through contemporary examples in the form of case studies