G322 TV DRAMA: FINGERSMITH January 2012

Textual analysis this week is the January 2012 exam extract Fingersmith. You have a copy of the extract, the exam question and the examiner's report. 
Please hand in on PAPER (the header contains your name, the exam extract title / year and today's date). Due Wednesday 11 December

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DISTRIBUTION TECHNIQUES

Distribution techniques: the build up to Spiderman (on release April 2014)

 

48 FPS THE HOBBIT

Director Peter Jackson used 48 frames per second to shoot The Hobbit in order to achieve greater depth and clarity. He hoped that younger audiences would be attracted to view the superlative spectacle on the big screen. Source: Cinema Blend

the effects look amazing; others say it makes the sets look cheap and the whole thing feel like a BBC series. Reactions are definitely mixed, and we will probably have to see a few more movies in the format before we know for sure if 48 fps is sticking around. 

PLANNING: SOUNDTRACK

I researched music for the soundtrack: we want to create thriller sound codes of enigma, suspense and jeopardy.

PLANNING: PINTEREST and INSTACOLLAGE

Using online pinboards like Pinterest, Tumblr and Instacollage helps me to organise my props and the ideas for my mise-en-scene.

Today I worked on the props for the scenes that show our protagonist's obsession with children. We plan to show how she dreams of having a child of her own, a dream that will lead her to kidnap unless brought under control.

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