CHECKLIST

I am about to write your student reviews.
I hope that you are posting accounts of your filming and editing as you go.  
Ideally, you have at least one 'BEFORE AND AFTER FEEDBACK/ REVISION' post, which shows critical awareness of challenges and revisions. 
Ideally, all your posts are analytical, not descriptive. 
Ideally, you state your own role (" I was director on this shoot. I...") 

You should have completed and posted on your blog for marking by the end of this week:

1. Preliminary Exercise (please use only these 2 words in your title to make it simple for the Moderator to locate). Have you checked on an independent computer that it opens?
2. Completed Story board, uploaded to ALL the group members' blogs
3. Completed Call sheets, uploaded to ALL the group members' blogs
4. Completed Shot List, uploaded to ALL the group members' blogs
5. Post on Laura Mulvey and 'the male gaze' (open this link for reminders and guidance) for the group doing the film called Focus.
6. Evaluation q. 2 Representation of social groups in your film. Upload your 'character interviews' with an introduction explaining what you have done, and why you have done it. Upload your presentation about your characters: pictures of your actual characters (a video still?) with captions, next to an image of a similar member of that social group, perhaps from real life, perhaps from a movie. Examples from our centre here . 
7. Further examples of representation of social groups here.
8. Evaluation q. 3 Distribution. For now, you read the class blog post on Distributing Indie Films (Sunday 24 January) and you summarise what you have researched. Present this in Emaze, Calameo, SlideShare or a presentational platform that using visuals. Upload to the 'page'. Later, in class, we look at  two distribution case studies (one high budget, one low budget), which you will offer as well, then after your BFI study day, you will report on Warp and Vertigo.
9. Evaluation q. 4 Leave for now.
10. Evaluation q. 5 Attracting and addressing audiences: first identify your audience. Then upload onto the page an introductory sentence explaining your reasons for using social media and what platforms you have created to attract and address your audience (Twitter, FB, Instagram...). Claim responsibility ('I have created... I know from my research that...') Second paragraph, write an introductory sentence explaining the more conventional ways in which you attract and address your audience, like P & A (prints and advertising). Use this terminology. Post your own film poster (nice and large!). Then post an analytical page where you have your film poster in the centre and you draw attention to your methods of attracting and addressing your audience.
11. Evaluation q. 6 New Technologies. This should have been completed last week. At present, it is just a list with hyperlinks to your own use of new technologies, with explanations about why or how YOU have used them. Anticipate a bit... you may not have completed editing, such as the distribution ident, but if you know that you'll be using iStopMotion (say), then include it now. You can add hyperlinks to own own work later. When it is all completed, next month, we'll be making the New Hive.

DISTRIBUTION: INDIE FILMS

Breakdown Of The Major Online Indie Film Distribution Platforms

By Noam Kroll December 13, 2013

Seeking out distribution can be a very scary task for independent filmmakers. The good news is that now there are more online distribution platforms than ever…and many of them can be quite lucrative if approached properly.

Before the Internet paved the way for online film distribution platforms (like Netflix, Amazon, iTunes, etc.), the only real path to distribution was to find a sales agent or a distribution company that could get your film out there into the world. For most indie films up until the last 5 years or so, the most realistic outcome would be for a straight to DVD release, with profits split with the distributor. This type of distribution still exists, in some cases it could still be the best option for certain filmmakers, but personally I’m a lot more excited by the potential of self distribution as it puts the power back in the hands of the filmmaker.
Last year, when I was looking for distribution for my first feature film ‘Footsteps‘, I realized almost immediately that self distribution would be the way to go. I had a number of offers on the table from distribution companies, but when I really broke down what they were offering, I realized I would be able to do just about everything that they were offering myself, and I could avoid paying them a 30% commission on the film’s profits.
That said, I also came to terms with the fact that self distribution is a relatively new concept and there is a lot of terrain to navigate. There are literally HUNDREDS of options out there, but below I’ve broken down a few of the major players that I would recommend looking into as a starting point.
Keep in mind, if you find alternative options that seem to suit your needs better, than by all means go for it (and be sure to share them in the comments!) These film distribution platforms should give you a good baseline to draw comparisons from:

iTunes Film Distribution

Probably the largest and most prevalent distribution platform, iTunes can connect your film with an absolutely massive audience.
Advantages of iTunes film distribution: For starters, your film will be available on the same platform as major motion pictures and that alone adds a sense of legitimacy to your project. If the same person came across a film on an industry standard platform like iTunes, they may be more likely to actually watch that film than if it was hosted on a platform that the person was not familiar with. iTunes users already have accounts set up with their credit card info plugged in, so if they want to buy your movie it’s really easy – literally just a click away.
Disadvantages of iTunes film distribution: There are a few downsides to going through iTunes (other than the fact that it is one of the more costly options). For instance, in order to get your film on iTunes you’ll need to go through an ‘aggregator’, which is a company that you pay to deliver your film to iTunes (one example is Distribber). The fee to do this can be fairly hefty (in the $1500 range), but is well worth it as the aggregator is a sure way in. It is also possible to submit your film to iTunes yourself, but it is a fairly complex and difficult process which still may leave you rejected. If you do wind up on iTunes, they will take 30% of the profit from each sale and leave you with 70%.

BitTorrent Film Distribution

BitTorrent you ask? Yes. BitTorrent. Believe it or not they are quickly becoming one of the best options for independent filmmakers that want to self distribute films after they released their new ‘Bundles’ platform. Essentially a bundle is a downloadable package that you create which can include your film, trailer and any other materials you want to share.
The bundle is hosted on BitTorrent and is accessible by their massive user base of approximately 180 million users, but only if they unlock it by performing an action that you specify. For example, you might ask users to pay you $5 for the film. Or you may want to give users the film for free if they first share a link to your film’s website. You might ask for a kickstarter donation or an e-mail address. The options are almost limitless.
Personally speaking, I think their model is structured better than any other platform out there today as it gives the content creators the power of choosing how they want to benefit from their film. I also love the fact that it can deliver lighting fast download speeds as it is all peer to peer. While I will be releasing my film on multiple platforms, I chose BitTorrent as a starting point as I really wanted to be a part of what they are doing. Now my feature ‘Footsteps’ is amongst the first films to ever be released on the Bundles platform.
Keep in mind though that Bundles is still in the alpha stages (as of this writing) and not yet available to the public.

Vimeo On Demand Distribution

Another big up and coming platform, Vimeo On Demand effectively lets anyone with a pro account upload their film to Vimeo and charge a fee to view it. It’s one of the best options out there as it’s open to anyone and is directly accessible by the filmmaker.
Unlike iTunes where you need to go through an aggregator, Vimeo On Demand allows you to go straight to the source and really simplifies the process. Once your film is hosted with them, it’s also being seen by a growing number of users who are not only accessing Vimeo on their computers, but also through devices like their Apple TV’s.
I think Vimeo’s platform is ideal for filmmakers that have preexisting websites or any other forms of a preexisting online presence and are able to direct their traffic to Vimeo. I would speculate that it may be harder to get your film discovered on Vimeo than let’s say iTunes, without heavily promoting it yourself as there is an abundance of unregulated content populating the site. The other factor to consider is the cost involved which is about $200 a year for the pro account.
All in all, Vimeo is offering a really nice alternative solution here.

Netflix Film Distribution

Like iTunes, Netflix offers one of the best platforms for getting your film seen by a massive amount of people. Their user base is huge and growing everyday, and with the new original content that they’re producing, it’s likely they will grow exponentially over the next few years.
Also like iTunes, the most effective way of getting on Netflix is to go through an aggregator (like Distribber), which will in turn cost you somewhere in the $1500 range, depending on which service you choose.
That said, Netflix doesn’t have the best track record with independent filmmakers as their payment structure isn’t flexible. Typically they will offer an up front fee (let’s say $12,000) which will give them unlimited usage for anywhere from 1 – 2 years. This isn’t bad if you have a no-budget film and just want to get it out there and get noticed, but if you are really trying to monetize your film there are better options out there.

Amazon On Demand / CreateSpace Film Distribution

I’ve always really liked the way Amazon’s platform is set up. As a filmmaker, you can upload your film, DVD artwork and other materials to their service ‘CreateSpace’. You can instantaneously start selling DVD’s online while also streaming your film as you would on any other streaming site.
If a user wants to buy your DVD, they can order it off of Amazon like any other DVD, but you as the filmmaker aren’t responsible for actually producing the copies. It’s fully automated by Amazon. They print the DVDs, label them and ship them off themselves.The user can also download your film either as a rental or as a purchase (much like iTunes), which allows for a more flexible pricing structure.
There aren’t many downsides to this platform other than the fact that Amazon takes a larger percentage than most other online platforms (50%). That said, the 50% fee is completely reasonable as they have more costs associated with the physical creation of the DVD discs and cases.

So, Which Option Is Best For Your Film?

None of the above options are necessarily better than the other, they simply provide alternatives for different types of distribution strategies.
If you have a no-budget film and your primary goal is exposure, you might be best off going through a service like BitTorrent or Vimeo On Demand where your costs are kept low and you have access to a large audience.
Conversely, if your budget is a bit healthier and you can afford to go through an aggregator, iTunes is a standardized platform that has the potential to get your film seen by the masses. Netflix would fall into this category as well.
Amazon is a flexible platform that may be suitable for many films, but generally might be preferable for those filmmakers who have an audience that is going to want physical DVDs, as right now it seems to be the best solution for delivering DVD content to your audience.
The key to choosing a platform is deciding what is best for your film and your career. Do you need exposure? Profit? Accessibility? Answering these questions will help you determine which path is best for you.

LAURA MULVEY: VISUAL PLEASURE AND NARRATIVE CINEMA

Marilyn Munroe

Daniel Chandler writes about film spectatorship and Laura Mulvey's gaze theory:

'Film has been called an instrument of the male gaze, producing representations of women, the good life, and sexual fantasy from a male point of view' (Schroeder 1998, 208). The concept derives from a seminal article called Visual Pleasure and Narrative Cinema by Laura Mulvey, a feminist film theorist. It was published in 1975 and is one of the most widely cited and anthologized (though certainly not one of the most accessible) articles in the whole of contemporary film theory. Laura Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political use’ of Freudian psychoanalytic theory (in a version influenced by Jacques Lacan) in a study of cinematic spectatorship. 

Such psychoanalytically-inspired studies of 'spectatorship' focus on how 'subject positions' are constructed by media texts rather than investigating the viewing practices of individuals in specific social contexts. Mulvey notes that Freud had referred to (infantile) scopophilia - the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects.



Rita Hayworth

In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen. She declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27). 

This is reflected in the dominant forms of cinema. Conventional narrative films in the ‘classical’ Hollywood tradition not only typically focus on a male protagonist in the narrative but also assume a male spectator. ‘As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence’.

Halle Berry

Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’, presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’. Men do the looking; women are there to be looked at. The cinematic codes of popular films ‘are obsessively subordinated to the neurotic needs of the male ego’. It was Mulvey who coined the term 'the male gaze'.

Both Steve Neale and Richard Dyer (1982)  challenge the idea that the male is never sexually objectified in mainstream cinema and argued that the male is not always the looker in control of the gaze. Since the 1980s there has been an increasing display and sexualisation of the male body in mainstream cinema, television and advertising (Moore 1987, Evans & Gamman 1995, Mort 1996, Edwards 1997). Gender is not the only important factor in determining what Jane Gaines calls 'looking relations' - race andclass are also key factors (Lutz & Collins 1994, 365; Gaines 1988; de Lauretis 1987; Tagg 1988; Traube 1992). Ethnicity was found to be a key factor in differentiating amongst different groups of women viewers in a study of Women Viewing Violence (Schlesinger et al. 1992). Michel Foucault, who linked knowledge with power, related the 'inspecting gaze' to power rather than to gender in his discussion of surveillance(Foucault 1977).
Slideshare Presentation on Laura Mulvey Scouting For Girls: She's So Lovely

FILM POSTERS: THE BILLING BLOCK

THE BILLING BLOCK
Read this article by Ben Schott of The New York Times which is the source of the images below:

CONSUMING PASSION: TV DRAMA

We deconstruct the representation of gender in the TV drama Consuming Passion: 100 Years of Mills and Boon

Source: IMDB
Three stories to celebrate the centenary of the British publishers of romantic fiction, Mills & Boon, are cross-cut. 

In 1908 Mary Boon, from a wealthy family, and recently married to the lower class Charlie, supports him financially when he and his business partner, Gerald Mills, start a publishing house specializing in brightly-packaged, inexpensive and easy-to-read fiction. Charles' innovative idea is that the readers will also be the writers, actually being invited to submit their own plot-lines for publication. When the First World War breaks out Charlie enlists in the Royal Navy and Mary runs the publishing house herself. She is aware of the lack of passion in her own marriage when she accidentally witnesses a married male employee having sex with a female colleague. On Charlie's return she has become a much more forceful character and it is her idea that Mills and Boon specialize in love stories aimed at the female reader, telling her husband that "Women need romance." 

In the 1970s Janet, a clumsy,much put-upon secretary, accompanies her elderly, widowed mother to hospital for the latter's hip replacement and she develops a crush on the handsome doctor performing the operation, ultimately making a fool of herself by stalking him and gate-crashing his party where she falls into a hot-tub. On the plus side, she creates a romanticized version of them both,with herself as the glamorous Nurse Violetta Kiss and him as a saturnine love object, mourning his late wife and whom she seduces in his shower. The resultant novel that she writes about them is accepted by Mills and Boon and she is offered work as a staff writer for them. 

In 2008, Kirstie, a buttoned-up, thirty-something college lecturer specializing in the history of fiction, lives with her reliable but dull partner, Nick, and finds herself attracted to the aggressively sexual Jake, a 23-year-old student who never seems to wear a shirt. After sparring with him in class, she succumbs to a spot of passion in the college library with him, and starts to make herself look more glamorous. Ultimately she leaves Nick for him, knowing that the age gap may provide difficulties but accepting, as Mary Boon had commented some ninety years earlier, that women need romance. 

From Wikipedia:
The first thread revolves around the establishment of Mills & Boon itself, and the relationship between Charles Boon (Daniel Mays) and his wife Mary (Jodie Whittaker). Despite the youthful idealism that saw him establish the company with his friend and win his wife's love, and the nature of the stories he oversees from hopeful authors, Charles is himself ironically blind to Mary's repeated attempts to inject passion into their relationship. This constant inability to realise—or at least acknowledge—the emotional needs of his wife or to consider her and their son as significant in their own right is a constant plot point, finally leading to a confrontation between husband & wife following Mills's death from cancer at the end of the 20s. This in turn results in the epiphany that, along with an infusion of cash from a longtime employee who replaces Mills as a partner in the business, transforms the company into a single genre publishing house focusing on populist romance novels from the female perspective.
 
The second moves to 1974 and follows the fictitious Janet Bottomley (Olivia Colman), a dowdy typist who lives with her mother and is an avid fan of Mills & Boon stories. When her mother has to go into hospital for a hip replacement, she becomes infatuated with the arrogant surgeon handling the case. At first this inspires her to write a manuscript translating the infatuation into a hospital romance, but as she continues to write she begins to stalk him, culminating in an embarrassing confrontation at his birthday party. Soon afterwards however, she receives the welcome news that Mills & Boon have accepted her manuscript. Even more welcome is the astonishing amount the book will earn her, allowing her to quit her job to write full-time under the name Raquel Pretty.
 
The third involves the fictitious Kirstie (Emilia Fox), a 30-something university English lecturer in 2008 teaching a unit on modern romance using the output of Mills & Boon. Jake (O.T. Fagbenle), a university student in his early 20s acting on his long distance infatuation with her enrolls in the unit and soon begins forcefully courting her. Initially confused and repelled, Kirstie soon realises that he displays passion for her and for life that she can no longer find with her current partner Nick with whom she is about to purchase a house. Challenged by Jake in and out of class, she finds herself giving into her desires and has an affair with him which she eventually confesses to Nick. Ironically, her partner's desire to "get through this" spells the end of that relationship as Kirstie walks out due to the same lack of passion that led to the affair. Following a confrontation in class during which Jake sums up the prevalence of heroines seeking rape/forceful sex from their suitors in many modern romance stories as an excuse for women to have passion without the responsibility of guilt, she commits herself and the two become a couple for however long the passion lasts.

6 NEW TECHNOLOGIES

This week, start on the list part of Evaluation q.6 NEW TECHNOLOGIES.

GOOGLE DOCS SHOT LIST

How are you getting along with your shot list? Try using Google Docs. Pick 'sheets' for this document, then 'blank'.

Below is the example of the first page of a shot list:

PRISON BREAK: TV DRAMA

We continue to study good exam practice techniques: how to access level 4 marks using the three point strategy:

• identify terminology (10 marks); use technical terms
• give example in detail (10 marks); use adjectives, adverbs to 'paint with words'
• explanation, examination, argument: how the representation is constructed (20 marks)

In class, we revise terminology: match cut, master shot, establishing shot, VFX, focus pull, two shot, three shot, posture and gesture, casting, rim lighting, tracking shot, close up, shot / reverse shot, the use of silence, the use of dialogue, how music makes meaning, how the audience's emotions are manipulated to see the protagonists as worthy / admirable; in a two-shot, who has greater power.

Prison Break Season 1, ep. 3 English, Fitz or Percy