PLANNING G321: CAMERAWORK

We plan our camerawork - camera angles, camera movement and shot types -in advance of filming. It is an integral part of our storyboard.
W e watch again the rich texture of camerawork in Les Bleus de Ramville on The Art of the Title 
We also watch other student film openings that successfully create the key thriller codes of enigma, suspense and jeopardy such as The Mask.

G322: INSTITUTIONS and AUDIENCES

In Section B of your examination, you answer a long essay question on aspects of the film industry and processes of production, distribution, marketing and consumption. 

We focus on specific studios/production companies that target British audiences (e.g. Hollywood, UK film). 

We consider contemporary film distribution practices (digital cinema, DVD, HD-DVD, downloads etc) and how these affect production, marketing and distribution. 

In the words of the specification, we will study:

• 'the issues raised by media ownership in contemporary media practice' = who makes, owns, funds and distributes specific recent films; the difference between the way in which the 'Big 6' function (Dalecki's 5 S megafranchise model found here) and the British film industry
• 'the importance of cross media convergence and synergy in production, distribution & marketing' = technological convergence is the way in which technologies and institutions come together in order to create something new. My games console Xbox 360 is a platform on which I access multimedia: as well as playing games (including multi-player games), I watch films on Netflix, listen to music, surf the internet using apps such as YouTube and Facebook. I contribute to viral marketing Facebook Spoderman The iPad represents the convergence of photography, videos, music, newspapers, books, TV, maps, the internet and the mobile phone. Marketing convergence and synergy is the way in which a product  a film) is marketed / advertised / promoted in a range of ways. Use the Disney film Avengers case study HERE as a case study read this. View this.
• proliferation in hardware and content for institutions & audiences
• how national and British audiences are targeted by film institutions
• how your own experience illustrates wider trends

CASE STUDY: MR TURNER

Mike Leigh's biopic of the great English romantic painter J.M.W.Turner is currently in post production in London. Screen Daily feature here

EVALUATION QUESTION 3: DISTRIBUTION

The Film Distributors Association website explains the film industry, distribution and marketing. We study three presentations. Today, INSIDE FILM DISTRIBUTION: PART 2 THE CAMPAIGN Launching Film site here
You watch the presentation again for PREP and write a detailed post in which you present your understanding of the campaign process, ready for your evaluation question number 3. Follow the steps in the presentation; use your own words to present your points but quote where necessary. Give your source (the person and their job title).

RESEARCH: THRILLER CODES & CONVENTIONS

In a blog post, define what the genre's codes and conventions are. Make another ScoopIt! like mine HERE to show where you sourced your information.

NME TARGET AUDIENCE PROFILE

Today we make an audience profile for our thriller films. We model this on professional practice, the way that NME creates an infographic of their target audience Look at what IPC advertising created for NME HERE.

• What films and TV programmes are your target audience watching now?
• What platforms do they watch programmes on?
• What social groups do they relate to?
• What issues might they be interested in?

RESEARCH / PLANNING: ENIGMA, SUSPENSE & JEOPARDY

(Use this as a model for your post)
I have identified certain shot types, camera movements, visual and sound codes that I find inspiring. In the caption to each shot I explain why I have drawn attention to it.

From Inspector Montalbano: A wide, high angle shot that functions as an establishing shot conveys the location, crime and personnel quickly to the audience.

From Lewis: A high angle shot positions two detectives moving rapidly through a crime scene and talking rapidly on the phone. The audience can share their haste and sense of urgency; the mise-en-scene of the grand surroundings is established effortlessly.

Smoke moves across the screen during the title sequence of Silent Witness, creating mystery and secrecy by half obscuring the letters. The graphics suggest what might be seen through a microscope slide, in keeping with the forensics of crime detection.