Media Studies: Test
Using the text we watched last lesson, consider the effect of editing on the impression the audience is given of policing.
You should write about:
Cut
Continuity
Cross cutting
Eye-line match
Jump-cut
Sequence shot
Shot-reverse
Dolly shot
Pan
Cut shows contrast from violence to formality
Cuts from face shots of both crims and rozzers (Personability)
Washing Hands = Shot-Reverses
Cut from faces to birdseye. Returns then OTSS. Shows reactions
Continuity
Friday, 4 March 2011
Friday, 3 December 2010
Teachers Evaluation
- During the interview, the switching of shots from a medium shot of Jenny or Susan to the group of 5 interviewers gave the impression that they were being ganged up on, the use of reaction shots when either Jenny or Susan made a banterous line was used to great effect to show the cold nature of the headteacher and the board
- When Simon was cycling at any point during the show, he would ride standing and oftenly swerving, a comarison to a fellow cyclist (a child) is easily made. After it is revealed that he is dating Maggie, when he cycles away he faces away but swears at the students, this a key sign of immaturity as instead of taking the high ground, he is swearing at minors. The camera stays still, it could be used as if someone is watching him cycle away.
- When in the bar, they are joined by Jenny and the expressions of the three men are seen from a side angle-three shot. This is used to give reaction shots but from a more obtuse angle, this use of shot is oftenly used to replace a three shot whilst avoiding repetition of shots. It is then changed to a face on three shot to exacerbate the reaction when Jenny could be head of year. The awkward smiles are also a sign of comic relief.
Monday, 22 November 2010
Notes on Exams
The 3 Main Criteria
Explanation, Analysis, Argument
Examples from what is seen
Terminology
LEVEL 1
Referring to the question (...in relation to...)
Don't use intrusive spelling mistakes and legible spelling
LEVEL 2
Representation
Mise en Scene - Sound - Camera Angles - Editing
LEVEL 3
Proficient understanding of the task
Consistent textual evidence and range of examples
LEVEL 4
Excellent understanding of the question
Frequent textual analysis
Full range of examples from technical areas
Use of terminology is relevant and accurate
Opinions
THE TOPICAL GROUPS
Gender
Age
Ethnicity
Sexuality
Disability
Explanation, Analysis, Argument
Examples from what is seen
Terminology
LEVEL 1
Referring to the question (...in relation to...)
Don't use intrusive spelling mistakes and legible spelling
LEVEL 2
Representation
Mise en Scene - Sound - Camera Angles - Editing
LEVEL 3
Proficient understanding of the task
Consistent textual evidence and range of examples
LEVEL 4
Excellent understanding of the question
Frequent textual analysis
Full range of examples from technical areas
Use of terminology is relevant and accurate
Opinions
THE TOPICAL GROUPS
Gender
Age
Ethnicity
Sexuality
Disability
Wednesday, 17 November 2010
Love Thy Neighbour Analysis
Love thy Neighbour is a controversial 70's sitcom revolving around the fluctuating relationship between socialist white man Eddie Booth and black conservative Bill Reynolds. The directors played off the ethnic relationship as well as political and social differences. It grew into a cult following but its political incorrectness would be the death of it.
In the scene I watched, Bill has made a bet with Eddie that because he is black, he is treated as less of a person than a white man, due to Eddie's stubborn nature he agrees and paints his face and wears a garishly large black wig. The humour of this scene derives from the viewer understanding that this is not open racism but poking fun at the ideas of racism. It also stems from Eddies sheer ignorance.
The surroundings for this scene are obviously posh, upper class and in 70's culture, an only white based bar. The white walls and gold trimming adds to the overtly 'white' based nature. When eventually a character does enter he is a typical upper class, fat, monocled WASP. His accent and attire are stereotypical of the upper classes, and his ignorance is also laughed at, when comparing Eddie to a member of the 'Black Minstrels'.
The director has compromised the scene entirely of two shots and over the shoulder shots when Eddie and Bill are talking about Bill's past, the switch from one to the other with the incorporation of reaction shots for some of Eddie's lines. Bill knows that Eddie is not being racist but is just poorly informed of evolution. His ideas are misguided and based on movies and assumptions. For example, he believes that black people evolved from monkeys compared to white people evolving from Adam and Eve solely on the fact that 'there are no monkeys in the UK' and he has seen Adam and Eve 'on a Swedish movie'. This ignorance is once again laughed off by Bill, thus quelling the tension that would be felt in a normal situation. This awkwardness is another aspect of the comic relief.
When the portly posh man begins talking to Eddie and Bill the use of three shots and close ups of just the man are used to great effect, the three shot shows the man trying to impress Eddie. It also shows Eddie reeling away, trying to avoid the man’s advances, as well as Bill revelling in the situation, laughing at how involved Eddie has become. The canned laughter also helps diffuse the situation, without insulting the viewer; it can be used to cue viewers at home to laugh along.
The show tries to simplify the show by avoiding complicated transitions but has one obvious and comical use of a fade. After Joan reveals to Eddie that the colouring he used to paint his face was permanent the shot fades out with the trio of Bill, Barbie and Joan laughing at Eddie trying to clean his face in a sink without it working. This use of almost slapstick comedy is the final representative of a comedy drama, and is used as a universal way of getting a laugh
In the scene I watched, Bill has made a bet with Eddie that because he is black, he is treated as less of a person than a white man, due to Eddie's stubborn nature he agrees and paints his face and wears a garishly large black wig. The humour of this scene derives from the viewer understanding that this is not open racism but poking fun at the ideas of racism. It also stems from Eddies sheer ignorance.
The surroundings for this scene are obviously posh, upper class and in 70's culture, an only white based bar. The white walls and gold trimming adds to the overtly 'white' based nature. When eventually a character does enter he is a typical upper class, fat, monocled WASP. His accent and attire are stereotypical of the upper classes, and his ignorance is also laughed at, when comparing Eddie to a member of the 'Black Minstrels'.
The director has compromised the scene entirely of two shots and over the shoulder shots when Eddie and Bill are talking about Bill's past, the switch from one to the other with the incorporation of reaction shots for some of Eddie's lines. Bill knows that Eddie is not being racist but is just poorly informed of evolution. His ideas are misguided and based on movies and assumptions. For example, he believes that black people evolved from monkeys compared to white people evolving from Adam and Eve solely on the fact that 'there are no monkeys in the UK' and he has seen Adam and Eve 'on a Swedish movie'. This ignorance is once again laughed off by Bill, thus quelling the tension that would be felt in a normal situation. This awkwardness is another aspect of the comic relief.
When the portly posh man begins talking to Eddie and Bill the use of three shots and close ups of just the man are used to great effect, the three shot shows the man trying to impress Eddie. It also shows Eddie reeling away, trying to avoid the man’s advances, as well as Bill revelling in the situation, laughing at how involved Eddie has become. The canned laughter also helps diffuse the situation, without insulting the viewer; it can be used to cue viewers at home to laugh along.
The show tries to simplify the show by avoiding complicated transitions but has one obvious and comical use of a fade. After Joan reveals to Eddie that the colouring he used to paint his face was permanent the shot fades out with the trio of Bill, Barbie and Joan laughing at Eddie trying to clean his face in a sink without it working. This use of almost slapstick comedy is the final representative of a comedy drama, and is used as a universal way of getting a laugh
Wednesday, 3 November 2010
Men and Women: Portaying them in 'Bodies'
Bodies - A BBC Drama about the NHS, mainly medical based.
The first sight of any characters is that of a female receptionist in a hospital, this stereotypical view of a female, in a small
The first sight of any characters is that of a female receptionist in a hospital, this stereotypical view of a female, in a small
Description of Representation
How the media relates reality into their works. This also involves how the media makes certain topics more important by the coverage they recieve. In conventianal terms, a wildlife documentary intends for you to experience the world but there are cases of false representation. These include time-travel series' and many space related dramas.
Before the over-exaggeration of plitical correctness, many male roles were chosen due to the masculinity, strength and resiliance. These would be ideal for machinery or beer. Compared to the often softer, feminine approach to a female character. These are usually used in households products and hygenic products. They can also be interpereted as sex symobls for the opposite sex, this is common in perfumes and colognes. Race is no longer portrayed as very diverse races, in the early 20th century minority races were discriminated against, but this is no longer the case. Age can be used by drama for both comic relief and as a sign of weakness. An elderly character may be portrayed as unaware of the modern surroundings (and then hilarity insues) or sometimes in too deep (resulting in some form of uncomfortableness for them and the viewers)
Before the over-exaggeration of plitical correctness, many male roles were chosen due to the masculinity, strength and resiliance. These would be ideal for machinery or beer. Compared to the often softer, feminine approach to a female character. These are usually used in households products and hygenic products. They can also be interpereted as sex symobls for the opposite sex, this is common in perfumes and colognes. Race is no longer portrayed as very diverse races, in the early 20th century minority races were discriminated against, but this is no longer the case. Age can be used by drama for both comic relief and as a sign of weakness. An elderly character may be portrayed as unaware of the modern surroundings (and then hilarity insues) or sometimes in too deep (resulting in some form of uncomfortableness for them and the viewers)
Monday, 18 October 2010
Mise-en-scene with Skins
A house party gone awray, the house looks modern but after the events that occur involving cream and water, the house is trashed. The guests are oftenly half-naked, creamed and coated in foam. It gives the impression that the actors were told to go wild whilst a camera crew roamed around. This appeals to the teen audience with the promise of fufilling the dream party that most teens want to go to. Oftenly, drugs and alcohol appear as this relates to the 'common' teenager and the no-holds barred party they want. Bright lights and colours help the teen image, whilst the strobe light flashes help give the impression of hecticity.
In the second scene (S2 Ep1) the opening church/dance sequence helps enforce the illegality of the scene. In a church (a place of worship), the lack of lighting and the dancing all leads to them being sacreligous. When the scene cuts to the bus, the dramatic music and scene collapses when a bus rushes past causing Tony to flinch. The scene now centres round the closeness between them, with the sombre weather and darkened bus lighting are very depressing.
In the second scene (S2 Ep1) the opening church/dance sequence helps enforce the illegality of the scene. In a church (a place of worship), the lack of lighting and the dancing all leads to them being sacreligous. When the scene cuts to the bus, the dramatic music and scene collapses when a bus rushes past causing Tony to flinch. The scene now centres round the closeness between them, with the sombre weather and darkened bus lighting are very depressing.
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