Representation of teenagers

Dominant & Alternative (Collage)

Preliminary exercise evaluation (Learner Response)

1) Using this assessment, your last interim and the film language test, write what grade you are realistically working at in Media currently. Are you happy with this grade? 
- I am working at an A grade in AS Media Studies and aspire to achieve the highest mark possible. A B grade (current preliminary exercise evaluation grade) is evidently insufficient but still poses a starting point from which I can learn and develop to achieve the A grade. This is similar to the A I've obtained in the film language test as I can yet achieve a higher mark to secure my possibility of achieving this in the real exam by strengthening my exam technique. 

2) Choose ONE specific aspect of your evaluation that you will try to improve for the real thing next term. Next, explain HOW will you improve it.
- Level of depth in analysis is definitely an aspect I will improve for the real evaluation. I can simply improve this as I feel the effort deposited into the preliminary exercise evaluation was no where near the standard I would apply to the real assessment. The analysis should include chronology of events supported by film language and theory to affect the audience via this particular media text. 

3) Write a list of ALL Media work you need to do over the next three weeks - for both coursework and exam lessons.

Exam

• ALL Introduction to Media concepts and theories (MIGRAIN)
• ALL Film Language work (Mise-en-scene, camerawork, sound, editing)

Coursework

• Script, storyboard and shot-list for opening
• Improve research & planning post

Representation of women

Dominant & Alternative (Collage)

Research and planning Task #2: Institution research

E4

Channel history

Began broadcasting on January 18, 2001, retransmitting American series such as Friends, Smallville and The Cleveland Show as well as previously emitted British series from Channel 4 including Shameless and Hollyoaks. E4 receive kudos for their quality of production however the content generates controversy due to the reinforcement of negative stereotypes of particularly lower-class young adults in urban London areas such as Hackney. E4 is primarily known for comedies and dramas making them an entertainment destination for a cutting edge young audience.

Notable successes

Own production by E4 includes teen drama Skins, The Inbetweeners student sitcom or drama series Misfits. Other shows such as Made in Chelsea have received successful reception and gained a mass audience. E4 also won channel of the year at The Broadcast Awards in Feb 2011. The programmes aired have been praised for the originality and successful attempt at appealing to their target audience for effectively empathising by recreating storylines relevant to modern culture. This encourages the idea for my television show to incorporate themes and ideas recognisable and relevant to younger audiences of today and effectively fulfil the intention to entertain.

Target audience

E4 is recognisable as the top converting channel for Adults 16-34, Women 16-34 and ABC1 16-34s. On top of this it has a young and upmarket viewing profile, with:

·         52% of viewers 16-34

 (Vs 23% Total Commercial TV)

·         43% ABC1 (Vs 38% Total Com)

·         61% female (Vs 54% Total Com TV).

The target audience is known to be predominantly young and upmarket as well as sociable, outgoing as well as being heavily concerned with image and reputation. This associates them with the mainstreamer psychographic profile as they are likely to conform to trends in order to look good additionally to their concern for clothing and fashion also relating them to the aspirer psychographic profile. 

BBC Three

Channel history

Began broadcasting on February 9, 2003. The majority of the original content covers genres from comedy, current affairs, drama and animation. October 2004 introduced the successful Little Britain which progressed to the more analog channels BBC One and Two. BBC has proposed closure of airing the channel on television causing much debate over whether the channel aimed at young people should be entirely available online as of 2015.

Notable successes

The station has delivered successful series like EastEnders , Little Britain or Torchwood , a spin -off Doctor Who and Two Pints ​​Of Larger And A Packet Of Crisps . In October 2006 , the Torchwood series, which was the first program of science fiction created by the chain, managed to reach 2 million viewers, beating the previous record .

Target audience

BBC Three has been disciplined about focusing on the young - its core being 16-34 year-olds: people who are young in spirit and mind-set. BBC Three content is modern, distinctive and relevant - though not exclusively - to the core 16-34 year old target audience.  The tone of the channel is warm, personal and surprising with real take-out value

The motto of the channel involves to not fear trying new things which ties in with a sense of revolution and social acceptance which would be appreciated by young adults who employ the psychographic profile of an explorer. Reformers would also find purpose from watching BBC Three shows as they intend to entertain as well as raise awareness and promote learning and enlightenment of modern culture. 

Preliminary Exercise Evaluation

Brief

Produce a 30 second clip to exhibit a scene on TV with the manipulation of basic film production techniques (lighting, sound, editing etc.) as well as employment of match-on-action, the 180-degree rule and shot/reverse shots. The narrative of the scene should include a character opening a door and sitting down opposite another character with whom they exchange a couple of lines of dialogue with. 

Planning process and pre-production

The planning consisted of devising a storyboard which fulfills the role of assisting the director to achieve a particular visual look of the film and gives an idea of the mise-en-scene to include when filming, as a result giving ideas to formulate a shot-list to refer to while shooting. The script is the most crucial part of pre-production as it establishes the narrative result and what the director must film in order to tell the story. 

Strengths and weaknesses 

The most prominent qualities of this production are the selection of shots and the editing. This includes the interesting close-ups such as that of the gun, as well as well as the footstep featured in the second clip of the sequence. Shots exchanging between close-ups of the character reaching their hand towards under the table and the rival reaching into their pocket effectively develops enigma codes of what they are about to obtain, following onto the action code of a gun which establishes the peak of climax and tension. The editing assists this particular scene especially because of the rapid cuts and the match-on-action to show continuity of the guns being approached as well as the unveiling. Editing allows exhibition of the 180-degree rule effectively due to exchanging angles between the two conversation participants, in conjunction to the accuracy of filming and maintaining consistency of following the 180-degree rule to engage the audience.  The sound was also impressive as well as the overall background non-diegetic soundtrack which connotes suspense and drama. A scene when the sound was used to effect was the footstep shown at the start of the video, as well as the guns cocking simultaneously. The selected background track was timed in effect to the fluctuating tension of the on-screen actions, beginning with a lover volume beat with a slower pace, developing onto a louder and faster beat at the peak of the tension - resultant to editing of sound to be compatible with the timing of action in the scene. The lighting was also impressive with the low-key lights to display the two characters and creating a setting of secrecy because of the surrounding dark room. However this calls for the weakness that the character with the black/red leather jacket being poorly lit during the majority of the second half of the scene, from which it can be learnt that it is important to position lights  Another crucial weakness is related to the script which includes long lines of dialogue provoking the audience to lose the pace of tension and become caught up into one individual clip of a character talking. Overall, the editing, acting and filming were exceptional traits of this video however details such as lighting lacked consistency and script manipulation should be considered in the future to ensure dialogue maintains attention and the desired effect. 

Representation

1. This campaign video produced by 'No more page 3' highlights the idea that The Sun, a high-selling UK tabloid, reinforces the representation of objectifying women sexually with the mass display of women barely dressed and posing in a provocative manner. This is in contrary to men, who are otherwise represented for their careers and achievements as photos of them exhibit various emotions. The video also mentions that The Sun is 'a newspaper renowned for sport', however there is 'not one(...)single picture of a woman doing sport'. This further validates the overall 'snapshot of the media' representation of women as merely sexual objects. I personally believe such a representation of women to be a social defect in our ever-developing and growingly accepting world of abolishing prejudice and inequality. Such representations of women can influence audiences as suggested by the hypodermic needle and two-step flow model which identifies opinion leaders/the media such as The Sun to have potential to heavily influence audiences into believing in a particular idea. 

2. (H/W) 
'The video games brutalised women are used as background decoration in' - discusses the idea that women are used in video games only to fulfil the purpose of enhancing the ambience or 'background decoration' in the form of sex objects and victims of violence. 

'The Problem With 'The Casual Cruelty' Against Women in Video Games' - suggests that video-game producers and narrative directors merely include women into the overall production of the game in order to elicit shock and titillation within an audience. This means to argue that women do not contribute any significance to the storyline of video-games. 

'GTA 5 and 5 other video games banned from stores' - this news article second-handedly reinforces the criticism of video-game developers portraying women as victims of violence. Australian Target stores have refused to retail the newest GTA because of the influence such controversial games can inflict on an audience. 

'Why does sexism persist in the video games industry?' - the focus of this particular article is dedicated to the inequality of fictitious characters portrayed in video-games. Game producer Ubisoft has made the decision to eliminate female assassins from their best-selling Assassin's Creed franchise leading to controversy and criticism from feminist satirical comments such as:  '"#womenaretoohardtoanimate when you throw all your efforts into putting them in situations where their clothes are strategically ripped off" wrote @emilyrwanner.'. This comments on the complaint of video-games presenting women with the mere role of sexual temptation instead of the more protagonist role of an assassin.

MEST2 Research and planning

Five opening scenes from television programmes aimed at an audience similar to the brief (E4 18-35 year olds). This means the programmes will conform to Channel 4's remit to “foster the new and experimental in television.  It will encourage pluralism, provide a favoured place for the untried and encourage innovation in style content perspective and talent on and off screen”.


Misfits

http://www.channel4.com/programmes/misfits/on-demand/44919-001

The narrative begins by introducing the five main characters of the cast. The cuts exchange through a selection of medium close-ups of the two female and three male actors as they dress in prison apparel. The location is identified as some sort of low-class changing room, presumably at some sort of rehabilitation centre as suggested by the costumes of the actors. The audience is exposed to the attitudes of the characters suggested by their arrogant facial expressions as well as the way they are presented getting dressed and looking in the mirror - an action which is the utmost of physical self-evaluation. The sound is non-diegetic and features a fast-paced techno beat which develops in pace as the cuts occur quicker and each character displays an action which resembles their character. This includes a woman doing her hair which connotes image-consciousness and another female character is exhibited creating cleavage as she adjusts the position of her breast which establishes the idea of sex into the themes of the television show as this particular character is associated with that via this first impression to the audience. The individual cuts of the characters proceed to a halt to the music and cut spontaneously into a low-angle long shot of the six characters stood leant against a fence with distinctive body language to complement the nature of their attitudes. Simultaneously, we hear the dialogue of the probation worker which receives uninterested facial expressions displayed with a series of close-ups switching between the characters. The dialogue exchanged among two of the male characters develops into a fight which consumes the sound of the scene inviting a sound bridge to introduce the cartoon-styled title sequence. This proceeds onto the setting besides a river with the young offenders doing community service until visual effects are used to portray a supernatural storm at which point editing is rapid and the camerawork is manipulated to suggest chaos with rapid camera tilts and disorganised pans. The scene which follows afterwards uses visual effects to show an interval and indicate that a change has occurred and the narrative to follow will suggest that the characters have been affected by the storm.

Youngers 
http://www.channel4.com/programmes/youngers/on-demand/53167-001
This British comedy show opens with a hip-hop styled instrumental beat with extreme close-ups displaying a golden chain being kissed by a teenage male which symbolises pride and is an effective method of introducing the nature of the character. This moves on to the teenager rapping on a microphone in the setting of what seems to be his friend’s bedroom studio. The lighting is low-key and a shot displays that it is late at night which is validated when the rapping teenager’s mother interrupts the recording session to insist that he is sent home. This scene is halted with the inclusion of a short title sequence to display the name of the show. An establishing shot follows immediately to display flats based in what appears to be the location of East London with a radio-rip playing in the background, cutting to a shot steadily zooming into a male character sat on a bed half-dressed with who seems to be his girlfriend dressing in the background. This continues to a cross-cut over to the other character who is displayed listening to his mother speak to him on the subject of GCSE results. One of the upcoming shots is a close-up showing the frame occupied by a letterbox (an actual letterbox – not the film term for adjusting aspect ratio) being opened and shut by the other male character. A medium shot is used as they exchange dialogue in the midst of a suburban estate. Sound is focused on the three 'mandem' sat on a wall as they speak obnoxiously loud, after which a medium close-up is used to display one of the two main characters' facial expression - disappointed and annoyed. This introduces a sense of conflict in the narrative immediately which is further supported with the use of a long shot of the five subjects, out of which one is furthest away and continues to walk off after a discussion exhibited with over-the-shoulder shots edited rapidly into a sequence.

Run
http://www.channel4.com/programmes/run/on-demand/53615-001

The expository minute of the drama 'Run's opening scene begins with overlay shots out-of-focus with sound effects to create an eery effect which slowly transitions with a cross-fade onto the ambience of a setting appearing to be a suburban east London street of shops. The camera tracks the travelling woman, with the use of a medium close-up to show the back of the woman as she walks into a convenience shop. The editing is very slow and cuts have long durations in between and the camera follows and pans the movement of the woman’s actions. An aerial shot follows her movement to display the surrounding environment and continues to the setting of a flat kitchen with an argument exhibited with background dialogue. Non-diegetic melancholic music is featured in the following scene continuing onto a phone ringing and a title sequence follows. Meanwhile, cross-cuts are made between the mother and her two sons who are shown following a young woman named Tracy which is exhibited with medium close-ups showing her being followed by the two men in the background. Shortly afterwards, editing is at its highest pace yet in the opening of this show as a man is brutally punched and kicked to death which is emphasised with sound effects of contact between the man and the attacking moves. This is supported with non-diegetic music to elaborate the dramatic effect of the murder. The occurrence of these events establishes conflict in the narrative and creates an anticipation for repercussions to follow on and affect the characters introduced in the opening scene. 

Psych
http://www.videoweed.es/file/2903488e69df8

Text-on-screen ('1986, santa barbara, ca') is used at the introductory frame of the clip to establish the idea that the following scenes are in retrospect as this TV show is set in 2006. This proceeds to introduce an American diner with a panning shot displaying the setting, accompanied with upbeat non-diegetic music. A sound bridge introduces the father of a young son with typical dialogue exchange among a father and son relationship. This continues onto conversation dictated via over-the-shoulder shots employing the 180-degree rule. The close-up of the fudge-cakes creates an enigma code of its significance and continues to become a foundation point for the forthcoming narrative from which the audience learns of the child's supernatural psychic ability. This is exhibited via the use of visual effects to show a glow on particular mise-en-scene features mentioned in the context of the dialogue on order to present the meaning of the action clearly to the audience who is newly introduced to the television show. The scene develops and proceeds onto one set in 2006 (suggested by on-screen-text) as transitioned via a dissolve to display the child as a matured man. The scene shows low-key lighting and exhibits a couple engaging in sexual activity as the television is playing in the background, proceeding onto the title sequence and zooming out show from a medium close-up of the protagonist upwards to the establishment of the area of what appears to be a police station. The visual effects of the glowing objects continue to be used in the upcoming scene and a non-diegetic music track is to connote a casual atmosphere and the upcoming dialogue exchange provides further insight into the character’s intelligence and wit. 

Topboy
http://www.dailymotion.com/video/xw0f4l_top-boy-episode-1_shortfilms
The TV show Topboy begins by displaying various establishing shots of an urban setting based in a suburban London council estate. The non-diegetic soundtrack accompanies the sinister atmosphere of the environment and suggests reinforcement of the stereotypes associated with such a setting being linked with crime and violence - further supported with the sound of a police siren. The scene continues to display an over-the-shoulder shot showing a long distance surveillance over who the audience may assume to be the main characters of the forthcoming narrative, dressed in urban clothing associated with whom are referred to as 'hoodrats' supporting the stereotype of engagement in crime. The editing featured in the upcoming seconds is rapid to suggest development of tension and creates suspense for action to occur. This is validated with the sound of a ringtone suggesting an action code of accepting and replying to the call, thus raises enigma codes regarding the caller and the context of the conversation - answers to which remain a mystery at the moment. The following shots feature a market in the suburbs of East London with short pans to show the average population of the commuters. In the midst of the introduction, the narrative reaches a climatic point when a black SUV is displayed speeding towards the male and female subject at the council estates, supported with cross-cuts exchanging between the locations of the characters' peers as well as himself and his companion who anticipate danger from the arriving car. The props of the guns are effective in creating tension as the characters are shown to be anxious, which is shortly exacerbated as the characters aggressively argue with one another, the background music increases in volume and a cut switches to the young male in the flat who’s actions are followed with a medium close-up and a pan to his mother in bed who is evidently unwell. The combination of these two problematic situations lead to validate the anticipated tension and create conflict for the narrative of the TV show to develop into a complex story.

Dependency theory - questions

1. What do YOU primarily use the media for: entertainment or information? (or something else?)

To accommodate media into my lifestyle I grant it a primarily informative purpose. This means that the TV shows, films and e-media I engage with fulfils my gratification (as proposed by Blumler and Katz) of surveillance in the form of enlightenment, if not education, discovery and information. 

2. To what extent do you feel we are dependent on the media?

I feel that more impressionable audiences tend to be dependent on the media and hence emphasise the validity of the hypodermic needle theory. However dependency does rely on individual differences and can be influenced via opinion leaders as suggested by the two-step-flow model which gives audiences a more active decision on media consumption - thus dependence.

3. Has our dependence on the media changed over the last 10 years? If so, how?

As a society, the dependency theory of media has been developing into reality as it is often heard of the mass impact inflicted onto audiences (especially modern audiences) due to the messages conveyed via different forms of media. An example of this is demonstrated by the influence of e-media texts such as Twitter, as well as news suppliers such as The DailyMail Online. Such providers of information provoke particular views, opinions, beliefs on topics as well evoke certain feelings and emotions such as outrage or acceptance within audiences. Over the last 10 years, the accessibility of media has witnessed an 'explosion' as modern audiences are constantly consuming media by commuting on a daily basis as well as using a smartphone, tablet or another 'smart' device. Consequently, reliance is evident due to the high extent of exposure to the media. 

Audience Theory questions

Article 1 

- 'Playing violent video games for just 20 minutes a day can encourage aggressive behaviour'

• How can you link this news article to the hypodermic needle theory? 

The news article demonstrates the indoctrinating aspect outlined in the hypodermic needle theory which suggests that the media will inject ideas, beliefs and ideas into an audience. This particular article aims to convince the audience to believe that playing violent video games will promote aggressive behaviour.

• Find another online article/academic study that challenges the belief that violent video games are harmful. Provide the link and summarise its key points.

Playing violent video games ‘not harmful to children’ - This article challenges the belief proposed by the DailyMail article and suggests alternatively that playing violent video games can actually benefit. Benefits outlined by this media text include that violent video-gaming could be therapeutic and reduce aggression and bullying behaviour in children. 

• What's your view on this debate?

I believe that the entire concept of aggressive behaviour being encouraged by entertainment such as violent video games relies solely on subjectivity and individual differences. This can vary according to exposure to sensitive material within an audience as well as their characteristics such as age and education. 

Article 2 

- 'Jamal Edwards: Amateur film-maker turned multimillionaire'

• How can you link this feature to the two-step flow model?

This feature relates to the two-step flow model because an audience (opinion follower) is being influenced by the BBC news reporter, being the opinion leader to channel the mass media of this particular YouTube channel.

• Identify FIVE other YouTubers who are influencing audiences. 

'Nigel Alexander' - https://www.youtube.com/user/nkalexander7

'DeliStatus' - https://www.youtube.com/user/DeliStatus

'ChampChong' - https://www.youtube.com/user/ChampChong

'NigaHiga' - https://www.youtube.com/user/nigahiga

'KSIOlajideBT' - https://www.youtube.com/user/ksiolajidebt

• Post up links to their content and explain how they mediate information/content for their audiences.

'Nigel Alexander' - https://www.youtube.com/user/nkalexander7 

- NKA delivers skateboarding and fitness related content with a cinematic approach as well as integrating comedy as an entertaining factor of appeal.

'DeliStatus' - https://www.youtube.com/user/DeliStatus 

- DeliStatus is a skateboarding based YouTube channel which showcases series's of videos with a montage format with accompanied adult humour as well as reference to current trends to appeal to it's teenage urban audience.

'ChampChong' - https://www.youtube.com/user/ChampChong 

- ChampChong 'providing the latest in gaming news' aims to supply video game enthusiasts with updates and reviews of video games from an unbiased perspective as he does not represent a gaming institution. 

'NigaHiga' - https://www.youtube.com/user/nigahiga 

- Ryan Higa is known primarily as a vlogger but also produces film content such as skits and sketches with a comedic approach. He mediates the opinions and beliefs in his videos from a personal perspective with an urge for support from an audience by using convincing methods of antertainment appeal and persuasion.

'KSIOlajideBT' - https://www.youtube.com/user/ksiolajidebt - KSI is a regular YouTuber who also employs the comedic approach of streaming and supplying gameplay footage. The views and ideas he advertises in his videos are not intended for impressionable audiences as his dialogue consists majorly of satire and incongruity. 

Blumler & Katz - Uses and gratifications theory

The uses and gratifications theory (1974) posed by Blumler & Katz suggests that an audience will actively use a form of media text to fulfill the needs of the user. 

- Diversion provides a sense of escapism for the audience as a means of entertainment. 

A high-concept big budget film such as Gravity would provide the audience with the pleasure of engaging in an outer-space fantasy - one which is unfathomable by the mundane consumer. 

-

- Personal relationships can be formed via using media to develop empathy/affection towards a character/celebrity by the audience.The film Street Dreams provides a narrative based on the protagonist Derrick Cabrera for whom the audience is inclined to feel affection towards as well as feeling a part of the protagonist's journey.

Another example could also be Boardwalk Empire which evokes sympathy within an audience for the teenage boy who strives to earn money to combat an abusive father and support a sick younger sister. As well as a magazine such as VIBE which discusses issues within a particular music genre with direct address to the audience via the use of rhetorical questions. 

-

- Personal identity is established with an audience as they can find reciprocity with themselves and a media text which exhibits and reflects similar values or lifestyles.

The constructed reality TV show exhibits the drama in the lives of Chelsea residents. An audience may familiarise themselves with particular characters who reflect certain characteristics with which a consumer can identify oneself.

-

- Surveillance is also a factor of gratification achieved when an audience uses a text to acquire useful information such as weather, news and other updates.

BBC News is an example of media used for surveillance as it is recognised as the UK's leading news channel providing live updates on current affairs, weather, sport etc.

Film language test - Learner response

Feedback - Mr Halsey

WWW

- Many good points to just get you an A grade - the media language and theory is particularly impressive

EBI

- All four questions could have a little more focus. Notetaking and topic sentences will help here - make it easy for the examiner to award you the top level.

LR

 - Choose Q2/Q3 to rewrite on your blog 

---

Camerawork

 - How is camerawork used to introduce the two characters in the opening scene

The scene is exposed with a close-up displaying the prop of a matchbox used to light a flame, creating an enigma code to the audience which develops speculation regarding the character who possesses this item connoting danger with potential for destruction. A gradual vertical pan is used to display the character's facial expression and him smoking a cigarette via a medium close-up which serves as the audience's initial acquaintance to the character. Familiarisation occurs as a personal relationship is established due to the camerawork being dedicated to this particular character who is made to most frequently accommodate the frame. As a result, a sense of empathy is created to evoke inquisition about the character's identity and past, as well as the following events in the narrative. More close-ups are used to show the character's activity of setting fire to the matches and the camera pans along to direct the audience's sight correlatively to the fire's progress. The flames approach a dead boy displayed via a medium close-up which, despite its severity, is marked irrelevant as it is occupies very little of the frame, does not utilise a camera angle such a close-up to familarise the audience with the character, and is only featured for a limited number of times.

The camera pans to follow the flame which continues to pan vertically upwards as urine is displayed coming down from an unknown character stood in a position of higher altitude than the audience is set to occupy, via the usage of a lower angle to connote the superiority and egotistic nature of this anonymous character. The camera then forth pans downwards to follow the character's journey down a staircase which is exhibited with a long-shot in order to maintain distance between the audience and evoke speculation about this character constructed to be mysterious. Close-ups are used frequently when displaying the involvement of this character in this scene and restricts the overview perspective of the audience to create discretion about what is happening. Furthermore, throughout the scene there is a complete lack of any shots displaying the character's face so his identity continues to remain a mystery.

During the interaction among the two characters, there is no panning as the camera remains stationary and exchanges shots along the characters' lines-of-sight. Extraordinarily however, this is executed from contrasting angles to establish a difference in superiority and power as the mysterious character is seen from a lower angle from the one who is eventually killed. Multiple close-ups follow through onto a shot of a handgun to create an action code of a gunshot to be anticipated by the audience, continuing on to not display the victim of the kill, but alternatively with the employment of an establishing shot, the audience witnesses the death narrated by the use of thoughtful camerawork. 

Preliminary exercise

'Debrief' - Opening scene

https://www.youtube.com/watch?v=IIzz5hh4Yts

The opening scene of a drama/crime/comedy story introducing two characters of conflicting intellect and intentions.

'Debrief' - Planning documents

Script: 

https://drive.google.com/file/d/0B9w2u2E5_xLvbnRMWE9DcThkZFE/view?usp=sharing

Shotlist:

https://drive.google.com/file/d/0B9w2u2E5_xLvTE1kaTI5a1dmWEk/view?usp=sharing

Pair presentation: Psychographic Profiles - Reformers (with Ahmed Ismail)

Psychographic Profiles - Reformers Presentation w/ Ahmed Ismail

Young & Rubicam's 4Cs Values Segmentation

Results

Evaluation: 

I agree with the results to some extent and support that control, discovery and enlightenment are my top 3 values. 

Editing analysis task

The French Connection 

Subway/car chase scene 

The expository seconds of this extract from the fast paced 70s police/crime thriller uses plenty of fast-paced straight cuts every 2-3 seconds of the scene to establish the rivetingly rapid progression of the narrative. This is parallel to the manic action displayed on screen which is exhibited via the employment of a large array of shot types and angles in order to set a scene; which makes use of many key film conventions to suggest to the audience that an expeditious typical chase scene is featured.  Sound is used in the diegesis at the start of the film to create this unified blare of car horns to accompany the enhanced sound effects (SFX) of the tires of the character's car screeching and turning. The shots shift rapidly and include a bird's-eye view angle of the car which displays the car's phenomenally quick speed at such an angle it'd create a resemblance between a car to a mouse which would move very quickly in a state of vulnerability and fear. A track/dolly is also used frequently to show to car as it manoeuvres through the streets as well as an over-the-shoulder shot to show the driver's struggle as he drives. 

An evident disequilibrium is established by the use of frequently rapid straight cuts because it associates the fast-pace of the mise-en-scene of the car in the metropolitan setting with crime and action. Enigma codes are repeatedly used as the editing accommodates cross-cuts periodically from the car's journey through the city and the train's journey as the subject is being chased by the policeman, leading the audience to question the upcoming events and resolutions in the narrative. The cross-cuts serve as a means of juxtaposition, an editing decision which creates a multi-strand narrative of two characters or events to establish simultaneity and hence an association among them that the events occurring in one of the settings/characters will have an effect on the associated narrative. The audience is impressionable on predicting the upcoming events with the use of action codes which include the more apparent ones such as: opening the train door to walk through, revealing a gun to shoot at the policeman and turning the steering wheel of the car. The pace of the cuts begins to decrease as the car is near to the train and the characters in the vehicles are near; in order to create inquisition in the audience via the use of enigma codes suggested by the man's knocking on the cabin door. Throughout this phase of the scene, the cinematography is altered and features many close-ups of the man with whom the audience can now develop personal relationships with and develop a sense of empathy. 

Following on, the actors dressed in costumes which regard them as authoritative figures begin to approach the cabin, this is filmed in a single-take and creates suspense as to what the repercussions of the criminal's actions may resort to. Cross-cuts are used to a higher meaning henceforth as the car is displayed to be directly below the over-ground train-track travelling at a similar speed; this is shown with a track/dolly moving at a large frame of a long shot. The cuts then arrive to a repeated shift between a medium shot of the car driver's facial expressions and struggle to adjust the steering wheel continuously; and a track/dolly shot facing towards the oncoming danger of the traffic from an eye-line view from the front of the car. Throughout the scene so far there is very little dialogue from the setting of the train and no dialogue at all from the car driver. When the car driver approaches threateningly towards a mother with a pram and a baby, the straight cuts alternate swiftly between the horrific reaction of the driver and the fear on the mother's face with a use of close-ups - this occurs very quickly and audiences experience a short-term outrage as personal relationships create empathy for the mother due to social norms of it being indubitably taboo to be responsible for the death of a mother and their child(ren). This creates a flash-blub enigma code which causes audiences to question the potential victims' survival. 

The scene proceeds with dialogue and interaction among the criminal with the gun and the authoritative figures after which the audience questions whether he will shoot or not as well as the outcome of the train and its' destination. The pace of editing is slow during this period because the confrontation among the two parties is questionable in regards to whether the criminal will be prosecuted yet. Soon after however, the train is travelling at a fast speed and the straight cuts shift quickly in chronology as the criminal frantically attempts to stop the train. The scene concludes with the enigma code of the car driver's exit near the setting of the juxtaposing narrative of the train crash, leading the audience to find out whether the two characters will meet and the resolution of this highly thrilling disequilibrium. 

(832 words)

Brand values task 100-10-1

  Nike present a well constructed brand identity which claims intent to motivate and enhance lifestyles. Its brand values could promote opportunity and access to success as well as desirability for oneself. Nike could also fit into several of Dyer's lines of appeal: self-importance and pride, as exhibited by Nike's slogan 'Just do it.' which is regularly supported by successful celebrity endorsements which also fits Nike into the elite people or experts lines of appeal. This is linked via Nike's selected celebrity endorsements who specialise in a particular sport and are displayed wearing Nike products; as if Nike enhances their expertise.

The Nike brand is about motivating self- enhancement and improving lifestyles.

Nike in one word: Inspiration

-

  Apple accommodate a brand identity successfully adopted by idolised founder Steve Jobs. This brand identity aims to innovate existing technology and to do things differently, thus better, instead of conforming to the regularities. Apple fits into Dyer's lines of appeal: community and social interaction, family values, durability and longevity - especially due to their products which boast its social connectivity, but furthermore because Apple continue to broadcast adverts which exhibit a narrative involving family members using Apple products such as their iPads and iPhones. Opportunity and access to success is also another brand value Apple accommodates, this being because Apple users are marketed as talented and successful in a particular field.


The Apple brand provides technological innovation to fuel social/professional integration.

Apple in one word: Innovation 

-

  Facebook promote their brand identity as a social network which provides purely advantageous abilities to 'Share' content online instead of the contrapuntal alleged exposure of privacy. Facebook feature Dyer's lines of appeal including  community and social reaction as their campaigns are imminent on advertising the website's distinctively effective role as a communication platform. Opportunity and access to success also taps into their intended establishment as a brand identity because they wish to convince businesses, offices and other institutions to use Facebook as a means of sharing information in an integrated part of mundane working and social life. 

The Facebook brand compliments integrating people via information to 'Share'.

Facebook in one word: Interaction  

-

London 2012 occupies a brand identity intended to boost morale, patriotism and social integrity on a large-scale as well as enhancement in smaller scales from communities and cults to personal achievement. Dyer's lines of appeal are gratified by the brand identity: community and social interaction, durability and longevity class as a very important one because the event intends to bring the metropolitan city together as well as the entire nation via festive spirit and appreciation of sport and culture. Culture and sophistication is another one of the many lines of appeal implemented into the campaign because the event and beyond boasts the cultural perks of Britain.  

London 2012's brand identity is all about community and development.

London 2012 in one word: Pride

-

The F.A. Premier League most proudly stands to be the world's most watched sporting league, effectively due to the passionate spirit and love for English football as a culture; immediately this taps into their prestigious lines of appeal including culture and sophistication. The F.A. Prem. League is continuously treated and marketed religiously and claims its football culture to be an appealing factor of the brand's identity in association to the longevity of the historical heritage behind it. Particularly, TFAPL features significantly in the media and gains a lot of coverage worldwide because of the way it connects communities and inspires generations to appreciate football culture.

The F.A. Premier League is predominantly about passionate football appreciation.  

The F.A. Premier League in one word: Passion

-

-

Narrative Blog Task

1. Film - A scene from 'The Artist' 

- http://www.youtube.com/watch?v=v2Yc1RNFp_Y

                         This scene extracted from 'The Artist' features all three stages of Todorov's proposed theory of narrative equilibrium. In terms of the character by the name - George Valentin, there is an existing state of some stability as the scene exposes the character simply sat at a desk, which continues until many enigma codes are featured to create mystery of the upcoming narrative as suggested by Barthes. The scene implements shots of the lady (Peppy Miller) calling for a driver hurriedly which makes the audience question her destination as well as her purpose for haste. In this particular scene, the lady is our 'hero', George is quite ironically 'the princess' *pause for laughter/outrage/speculation* and the man's best friend (the dog) fits into Propp's character type of 'the helper'. The scene progresses to exhibit action codes such as the unveiling of a gun which suggests a killing is about to occur, which also serves as the disequilibrium as our tragic character is feeling suicidal. This continues until Peppy heroically arrives at the setting to resolve the conflict and preventing George from committing suicide, hence establishing a new equilibrium.

2. TV - A scene from 'Boardwalk Empire' 
- https://www.youtube.com/watch?v=kxeYhkY4FD4

                            The embedded scene from 'Boardwalk Empire' demonstrates many of Barthes' proposed enigma codes such as at the equilibrium stage of the scene, the phone-call creates mystery regarding who has said what to make a significant contribution to the upcoming events of the narrative. The 'hero' of this story is Nucky Thompson with whom we side against the absurd and slightly suspicious character of Roland Smith, who we may see to be the 'villain', as well as Owen who is seen as 'the helper'. Disequilibrium is created as soon as Roland's obnoxious character is identified by Nucky at which point he offers him a cigarette - a common (possibly coincidental) symbol meaning a character's time is up - the action code leads to a sequence of action codes such as Nucky's turning around as well as the reveal of a handgun. A new equilibrium is reestablished after Roland's death as the tension subsides.

3. Other - A scene from 'Bruce Almighty' 

                               A comedic scene from 'Bruce Almighty' stars Jim Carrey as the protagonist we side with, and the character Evan Baxter as the villain who feels the wrath of Carrey's revenge which we do not hold sympathy for. The enigma codes of the scene include Carrey's peek through the blinds as well as his approach to the news report studio, after which he performs an air keyboard gesture as an action code to forebode the arriving comedic effect. The disequilibrium continues until the end of the scene as the protagonist's (not exactly morally correct) intentions of making Baxter's job difficult succeeds throughout. 

CoolBrands® - Brand values

1. Choose five brands that you personally admire (from the list) and explain what you like about them.

The O2 is one of the brands I'd top on my list of admired 'CoolBrands'. This is because of personal reasons which include the image of their brand associated to the O2 centre as well as the O2 Millenium Dome, venues as such enhance the brand image significantly (similarly to the Staples Centre or Barclays Centre). The O2 also serves diligently in their ways of marketing their products and services through their well-designed advertisement campaigns.

Itsu, let us begin with their brand slogan: 'eat beautiful'. They pose sophistication and boast beauty in convicing the average metropolitan businessmen/women to consider 'Itsu' an alternative investment to eat healthier than grabbing another Tesco meal deal. 

Virgin Atlantic continue to present themselves with the pride of being a travel 'superbrand' via a spectacular PR and marketing team. I personally appreciate how they promote their services.

Green & Black’s Organic is another brand from the list worthy of admiration because I personally believe that their brand image poses a more appealing exhibition of something considered unhealthy - chocolate. Nevertheless they do brag about their organic and relatively nutritional chocolate which is something worth appreciating in an average convenience store besides the grotesque appearance of rival brands such as Mars or Snickers etc.

GYMBOX is an admirable brand in terms of their methods of combining trends and culture with healthy living. They advertise their facilities and services effectively and appeal well to their target market of Londoners. 

2. For each of those five brands, write a sentence/paragraph summing up their brand values. Remember: brand values are the words or qualities that the brand would like to be associated with.

O2 promotes community and social interaction, family values, durability and longevity - brand values which support them as a company based primarily on telephone communication.

Itsu promotes desirability for the self and others, as a company which is based on healthy eating.

Virgin Atlantic promotes opportunity and access to success as a travel company which congratulates themselves on the provision of discovery of new places for people.

Green & Black's organic promotes social responsibility as a company which is imminent on preserving nature and using natural ingredients in their products as well as being a FairTrade company.

GYMBOX promotes brand values of desirability for the self and others as they advertise self-enhancement via fitness and use of their facilities to improve lifestyles.

3. Lastly, explain why you think those five brands made the list of the coolest brands in Britain. What is cool about them?

I think that these five brands are eligible contenders of being named within the top coolest brands in Britain because they successfully appeal to what is considered to be 'cool' in today's day and age. People want to feel as if they are investing their disposable income into something (product or service) which will enhance them or make them feel better about themselves as people in their society. Social status is something which is established from purchasing certain products and these brands successfully manipulate this in order to place themselves in a position where their products can imply social supremacy. 

Blog feedback and learner response -

Blog feedback: Kishan

WWW: An outstanding blog - continuing your exceptional work in GCSE Media. Your sound presentation collages offered spectacular design (although perhaps could have been slightly more starkly different) and your cinematography clips show a real interest and passion for film. Great choice of Silver Linings Playbook for sound analysis too!

EBI: Don't forget to highlight key media language - you're clearly using it but it's still a valuable habit to get into early on in the course. For the cinematography comparison (Citizen Kane and Three Colours: White) you produce excellent analysis of the two clips but don't discuss the differences between them. What changed in cinematography terms between the 1950s and 1990s?

LR: Reflect on your first month of AS Media. What is your strongest piece of work so far? What is your weakest? What specific skills or knowledge do you need to develop over the rest of the course?

-

The first month of AS Media has been highly enjoyable considering the increased exposure to film culture as well as the current media and its history. My strongest blog-post would be: '12C Sound presentations and homework', not only because of the quality of the collages but because of the analysis of sound in the Silver Linings Playbook scene which was somewhat interesting. My weakest work would have to be 'Film Poster Analysis - 12/09/2014',  because I found that due to the excessive number of example film posters to analyse I repeated myself a lot because the questions were fairly closed. Specific skills I would need to develop on would be influenced by my developing knowledge of topics, and remembering to include every aspect of a media text which has potential for analysis - this shall progress with time.