How Is Gender Represented In The Extract?
- Mise-en-scene
- Camera
- Editing
- Sound
As Laura Mulvey (1975) said, women are "objects of desire for the characters within the screen story, and as erotic objects of sexual desire for the spectator within the auditorium." This is shown though the extract due to the female sexual representation through use of mise-en-scene, camera work, editing and also sound. The clip also presents two of the four types of masculinity as stated by R.W Connell (1995). It presents men as sexual desire and also goes against male stereotypes by presenting homosexual males.
The clip starts with fast paced, up-beat, non-diegetic music that picks up when the main, blonde character comes into shot. This changes the importance of her and also presents her as a
Thursday, 3 April 2014
Homosexuality theories
Theorist ANDY MEDHURST (1998) claims that sexuality disrupt representation claims, like those made by Dyer (“How we are seen determines in part how we are treated; how we treat others on how we see them; such seeing comes from representation” Dyer, 1993), because in the REAL world you cannot ‘see’ sexuality. Unless someone tells you they are homosexual you have no way of knowing.
However, in the media stereotypes are used to explore ideological positions about sexuality. “Films and television comedies are full of images of gay men as effeminate screaming queens…It chooses that aspect of gay male behaviour (SELECTION), inflates it into the defining male characteristic of male homosexuality (MAGNIFICATION), then establish it as the most easily recognizable image (REDUCTION).”
“The ideological implications of stereotyping are obvious, since groups most liable to be stereotyped are those with LESS social and cultural power; indeed one crucial distinction between powerful and less powerful social groups is that the former hold the ability to stereotype the latter.”
“Stereotyping becomes ideological the moment it stops being simply a method of description and becomes a vehicle for values: the image of the screaming queen does not just mean ‘all gay men are like that’, it means ‘all gay men are like that and aren’t they awful’, which in turn means ‘and they are awful because the are not like us.”
“This is why stereotypes of sexuality strive so vigorously to create two, polarized sexualities, hetro and straight, and to insist with such obsessive reductiveness that people who belong to those poles are easily identifiable – hence the recurring presence across media texts of the screaming queen and his female equivalent the butch dyke.”
Medhurst argued this is done to make heterosexual viewers feel safe in the believe that there way of living is the only ‘natural one’. So, stereotyping for the ‘straight’ viewer makes them feel safe and superior. In addition, the embedded social norm of straight sexuality is reinforced.
Tuesday, 1 April 2014
Class
Marx and Engels (1982):
Marxist argues that the media is used by the ruling classes as a means of control.
Medhurst (1998):
- "Stereotyping becomes ideological the moment it stops being simply a method of description and becomes a vehicle for values."
- Talking about the lower class - "they are awful because they are not like us."
Gandal (2007):
Class is not that dissimilar to the portrayal of race or gender because those that differ from the dominate social group producing TV drama/film etc (middle class white males) portrayed class groups other than their own as the minority.
In other words, upper class and lower class people are portrayed as a 'cultural other'.
Working class males are buffoon like, well intentioned but dumb. Women take upon the masculine role (Homer Simpson)
Middle class men are head of the household, hardworking and smart.
Popular nineteenth century cross-class classploitation tales:
- Sentimental rags to riches: poor boy aided by rich person
- Sentimental/sensational seduction: poor girl ruined by rich boy
- Cinderella seduction/redemption: poor girl ruined then rescued by rich boy.
New popular cross-class classploitation tales:
- Slumming drama: rich girl or boy liberated by poor boy or girl or by downward mobility
- Class trauma: rich boy or girl degraded by lower-class boy
- Slumming trauma: rich boy or girl degraded and liberated by poverty.
Marxist argues that the media is used by the ruling classes as a means of control.
Medhurst (1998):
- "Stereotyping becomes ideological the moment it stops being simply a method of description and becomes a vehicle for values."
- Talking about the lower class - "they are awful because they are not like us."
Gandal (2007):
Class is not that dissimilar to the portrayal of race or gender because those that differ from the dominate social group producing TV drama/film etc (middle class white males) portrayed class groups other than their own as the minority.
In other words, upper class and lower class people are portrayed as a 'cultural other'.
Working class males are buffoon like, well intentioned but dumb. Women take upon the masculine role (Homer Simpson)
Middle class men are head of the household, hardworking and smart.
Popular nineteenth century cross-class classploitation tales:
- Sentimental rags to riches: poor boy aided by rich person
- Sentimental/sensational seduction: poor girl ruined by rich boy
- Cinderella seduction/redemption: poor girl ruined then rescued by rich boy.
New popular cross-class classploitation tales:
- Slumming drama: rich girl or boy liberated by poor boy or girl or by downward mobility
- Class trauma: rich boy or girl degraded by lower-class boy
- Slumming trauma: rich boy or girl degraded and liberated by poverty.
Regional Identity
Stereotypes:
- London:
Chavs, rich, black people
- Essex:
Orange, stupid, fake
- Scotland:
Wears kilts, ginger
- France:
Snails, frogs, smell
- Wales:
Sheep shaggers
- Cornwall:
Farmers
Andrew Higson (1998):
"Identity is generally understood to be the shared identity of naturalised inhabitants of a particular political - geographic space - this can be a particular nation or region."
"Representation of national/regional identity are contracted as the narrative as the text unfolds, as characters are pitted against one another, so a sense of identity emerges... but at the ams time producers often resort to stereotyping as a means of establishing characters and identity."
"Stereotyping is a form of shorthand, a way of establishing character by adopting recognisable and well established conventions of representation... the stereotype reduces characters to the most basic form and attempts to naturalise them and the more widely recognisable they because the more readily they are accepted. Except that if a stereotype becomes more widely recognisable it becomes comic."
"As Britain becomes visibly multicultural, so the makers of media texts have attempted to deal with plurality, to find space in representation for cultural minorities, ethnic or otherwise. In doing so, the cultural boundaries of the nation have been redefined, and a wider, more extended and hybrid national 'community' imagined."
Benedict Anderson (1983):
"The unification of people in the modern world is achieved not by military but by cultural means - in particular the media system enables people (of a nation or region) to feel part of a coherent, meaningful and homogenous community."
Corrigan (1992):
"Identity is fluid, unstable and contingent on circumstances."
- London:
Chavs, rich, black people
- Essex:
Orange, stupid, fake
- Scotland:
Wears kilts, ginger
- France:
Snails, frogs, smell
- Wales:
Sheep shaggers
- Cornwall:
Farmers
Andrew Higson (1998):
"Identity is generally understood to be the shared identity of naturalised inhabitants of a particular political - geographic space - this can be a particular nation or region."
"Representation of national/regional identity are contracted as the narrative as the text unfolds, as characters are pitted against one another, so a sense of identity emerges... but at the ams time producers often resort to stereotyping as a means of establishing characters and identity."
"Stereotyping is a form of shorthand, a way of establishing character by adopting recognisable and well established conventions of representation... the stereotype reduces characters to the most basic form and attempts to naturalise them and the more widely recognisable they because the more readily they are accepted. Except that if a stereotype becomes more widely recognisable it becomes comic."
"As Britain becomes visibly multicultural, so the makers of media texts have attempted to deal with plurality, to find space in representation for cultural minorities, ethnic or otherwise. In doing so, the cultural boundaries of the nation have been redefined, and a wider, more extended and hybrid national 'community' imagined."
Benedict Anderson (1983):
"The unification of people in the modern world is achieved not by military but by cultural means - in particular the media system enables people (of a nation or region) to feel part of a coherent, meaningful and homogenous community."
Corrigan (1992):
"Identity is fluid, unstable and contingent on circumstances."
Medhurst (1997):
"They’re awful because they’re not like us"
Colloquial dialect.
Semantic Field
OCR G322 - youtube revision clips
Friday, 28 March 2014
Ethnicity
Sarita Malik (1998): The word 'race' in the cultural and political terrain has almost universally been aligned with black and Asian people, as though they are the only racial groups that 'own' and ethnicity. 'Whiteness' has been naturalised, as though it is an invisible norm. When it is of course an ethnic group like any other.
1) Examination:
- The relationship between audiences of the media and the messages they transmit.
- Theorists focus on issues around 'textuality' and context' by analysing how various media forms choose to select and present information on different racial groups.
2) Investigation:
- Possible connections between the consumers of media images and those in control of its output.
- Dynamics between ownership, control and content.
- Focuses on the process of media production and considers wider social, political and economic implications of the media.
- It is considered with issues of authorship and examines whether those in control of output (largely white, middle class men) affects the type of images the media produces.
Functionalist View & The Marxist View:
1) The functionalist view argues that program makers 'cater for what the public wants' and simply reflects attitudes, tastes and opines on ethnicity.
2) The other (the Marxist view) is that those in control of media output shape how audiences view race.
Equal Opportunities:
1) BBC Charter (1977): Following viewer complaints and general criticism, this concept was taken seriously by the BBC in 1977 when the committee ruled that 'liberal pluralism' must be the ethos behind programming in order to ensure 'good broadcasting would reflect the competing demands of society which was increasingly multiracial and pluralist.'
2) Liberal pluralism: A philosophy and political principal that argues for the universality (sameness) of humanity.
In media theory the following usually applies:
- Black: African Caribbean and South Asian decent
- Asian: Those from the Indian Subcontinent
- Diaspora: A group of dispersed people e.g. black and Asian people within a British context.
1) Examination:
- The relationship between audiences of the media and the messages they transmit.
- Theorists focus on issues around 'textuality' and context' by analysing how various media forms choose to select and present information on different racial groups.
2) Investigation:
- Possible connections between the consumers of media images and those in control of its output.
- Dynamics between ownership, control and content.
- Focuses on the process of media production and considers wider social, political and economic implications of the media.
- It is considered with issues of authorship and examines whether those in control of output (largely white, middle class men) affects the type of images the media produces.
Functionalist View & The Marxist View:
1) The functionalist view argues that program makers 'cater for what the public wants' and simply reflects attitudes, tastes and opines on ethnicity.
2) The other (the Marxist view) is that those in control of media output shape how audiences view race.
Equal Opportunities:
1) BBC Charter (1977): Following viewer complaints and general criticism, this concept was taken seriously by the BBC in 1977 when the committee ruled that 'liberal pluralism' must be the ethos behind programming in order to ensure 'good broadcasting would reflect the competing demands of society which was increasingly multiracial and pluralist.'
2) Liberal pluralism: A philosophy and political principal that argues for the universality (sameness) of humanity.
In media theory the following usually applies:
- Black: African Caribbean and South Asian decent
- Asian: Those from the Indian Subcontinent
- Diaspora: A group of dispersed people e.g. black and Asian people within a British context.
Tuesday, 11 March 2014
Gender Theories
Images of females used by media present females as sex objects (Wolf)
Men can also be portrayed as objects of sexual desire (Gamman and Marshment)
The four types of Masculinities:
- Hegemonic (most powerful - top of society)
- Complicit (second most powerful)
- Subordinate (least power)
- Marginalised (just about subordinate)
Hegemonic:
- Hegemonic masculinity refers to the dominant form of masculinity within the gender hierarchy.
- Hegemonic masculinity is associated with "white males", heterosexual, marriage, authority and physical toughness.
Complicit:
- Men in society who do not themselves live up to the ideal of hegemonic masculinity (follow trends)
Subordinate:
- Subordinate masculinity is defined by and in opposition to hegemonic masculinity in a society (binary opposite)
- Homosexuality as a common example of a subordinate masculinity.
Marginalised:
- These could be based on ethnic, religious or racial identifications.
- They are marginalised in that their interests are perspectives are often not taken into consideration by the dominant culture.
The Male Gaze: Laura Mulvey (1975)
"As erotic objects of desire for the characters within the screen story, and as erotic objects of sexual desire for the spectator within the auditorium"
- The look of the camera
- The looks of the male character
- The looks which originate from the male spectator which imitate the other two constructed gazes
Men can also be portrayed as objects of sexual desire (Gamman and Marshment)
The four types of Masculinities:
- Hegemonic (most powerful - top of society)
- Complicit (second most powerful)
- Subordinate (least power)
- Marginalised (just about subordinate)
Hegemonic:- Hegemonic masculinity refers to the dominant form of masculinity within the gender hierarchy.
- Hegemonic masculinity is associated with "white males", heterosexual, marriage, authority and physical toughness.
Complicit:
- Men in society who do not themselves live up to the ideal of hegemonic masculinity (follow trends)
Subordinate:
- Subordinate masculinity is defined by and in opposition to hegemonic masculinity in a society (binary opposite)- Homosexuality as a common example of a subordinate masculinity.
Marginalised:
- These could be based on ethnic, religious or racial identifications.
- They are marginalised in that their interests are perspectives are often not taken into consideration by the dominant culture.
The Male Gaze: Laura Mulvey (1975)
"As erotic objects of desire for the characters within the screen story, and as erotic objects of sexual desire for the spectator within the auditorium"
- The look of the camera
- The looks of the male character
- The looks which originate from the male spectator which imitate the other two constructed gazes
Wednesday, 5 March 2014
Practise Exam Question
“Is
it a fair and level playing field in the area you have studied?”
As
stated by the BBC on their article ‘The History of British Cinema’ (BBC, 2010):
‘The British film industry has been through some amazing highs and lows over
the last 100 years… but there has always been (despite some amazing creative
talent like; Hitchcock, J.K Rowling and Dench) a struggle with finance’.
However,
from looking at contemporary cinema – as I am going to do through comparing and
contrasting my British and Hollywood case studies – I will understand how this
statement is still applied. I will be exploring Skyfall (2012) and Indiana Jones and the Kingdom of the Crystal Skull (2008) to understand how the balance is still in favour of the massive
Hollywood conglomerates, which take up a large percentage of the market place.
Despite this however, over the past ten years there has been substantial growth
for British films due to a range of different aspects. These aspects include,
technological advances, government, lottery and European funding, the Hollywood
writers’ strike and British talent such as J.K Rowling refusing to let
Hollywood take over the Potter franchise. All of these aspects amount to the
British film industry taking larger steps forward in the global film industry.
As
stated by McDougall (2008), Britain still cannot compete on a completely level
playing field as Hollywood because of the millions of pounds difference in
production, distribution and exhibition. This brings with it funding issues for
higher budget British films. For example a higher budget British film may need
funding from other places – so even though it’s classified as a British film,
they still have some outside help meaning that in turn they loose a certain
percentage of their profit, from production and distribution to other countries.
Outlined
by McDougal (2008), my British case study (Skyfall) is a category D film. Category
D films are usually films that are made in the UK with (usually) British cultural content, but
financed fully or partly by US companies.
In terms of production, my British case study had a production budget of
$150-200 million, while my Hollywood case study had a budget of $220 million. Ideally
the British film industry would be self sufficient, as the Hollywood system is,
however our film industry hasn’t developed to that extent as of yet. Despite
this, it doesn’t mean that we are not making progress in the film industry.
This is because the British film industry still grosses a profit from D and E
category films – as seen in my case study. Producing films like this does
however not take a profit away from Hollywood films. One advantage of D and E
category films, like my case study, is that bigger production budgets mean
higher quality films and that there are bigger star names and talented crew.
After having compared the production information on my two film case
studies you can see a visible difference was made for my British film. My
British film starred Daniel Craig, Javier Bardem, Ralph Fiennes while my Hollywood
film stared Harrison Ford, Cate Blanchett, Ray Winstone. In terms of crew, the Hollywood film was
able to employ Producer: Frank Marshall, Director: Steven Spielberg, Cinematographer: Janusz Kamiński Editor: Michael Kahn, Screen Writer: David Keopp, Music Provider: John Williams, while my British film had Producers: Michael G. Wilson, Barbara Broccoli, Cinematographer: Roger Deakins, Editors: Stuart Baird, Kate Baird, Screen writers: Neal Purvis, Robert Wade and John Logan, Music: Thomas Newman. In terms of
locations and settings, my British film was filmed in Scotland, England, Japan, Turkey and China, while my Hollywood film was filmed in the USA and Argentina. This shows
that due to the Hollywood funding my British case study was on an equal footing
to my Hollywood case study.
In terms of content and target audience, the genre of my British film is
action, thriller crime, the age rating is 12A, and the primary target audience
is mainly male, however based around a family audience in the social brackets
of C1 – E. My Hollywood film is also of the action genre, it is rated 12A, and the
primary target audience is social grade C1 – E and a main family audience.
The fact that both films were two similar genres meant they were competing
for two similar target audiences. My British case study attracted this audience
more successfully because of the franchise associated with the Bond movies as
well as the diverse nature of the audience that it appeals to around the world.
In terms of age rating (developed due to hypodermic needle theory proving
young people are more likely to be influenced by film content and therefore
need protecting), research shows the most profitable target group is 15-24 year
olds. This is because they have a disposable income and time to socialise. My
British film would appeal to this group because it is an action thriller and
this age group is stereotypically associated with a film genre of this nature.
This could perhaps be shown through Stanley Hall’s theory of rebellion in
youths. My Hollywood film would also appeal to this age group – it is the same
genre of film and it has the same connotation, which link it to youth and
rebellion.
TV Drama Terminology
Camera Work:
Shots -
- Establishing Shot
- Long Shot
- Medium shot
- Medium Close Up
- Close Up
- Extreme Close Up
- Cut Away Shot
Angles -
- High Angle
- Low Angle
- Eye Level
- Birds Eye
- Worms Eye
- Over The Shoulder Shot
- Point of View Shot
Movement -
- Zoom in
- Zoom out
- Hitchcock zoom: Achieved through moving towards/away from subject while zooming out/in.
- Pan (left/right): Camera (usually following 180 degree rule moves rotates (pans) slowly to show a scene/subject - achieve using tripod, steady cam or crane.
- Swish pan (fast/blur): Similar to above only it is done quickly to achieve blurring/fast movement of image.
- Tilt/Dutch tilt: Tilt up or down - achieved using tripod, crane or steady cam.
- Tracking shot: Camera follows (tracks) the subject - done using steady cam, dolly/track or moving vehicle.
Sound:
- Diegetic sound: Sound whose source is visible on the screen or is implied to be present by the action of the screen.
- Non-diegetic sound: Sound whose source is neither visible on the screen nor has been implied to be present in the action.
- Title music: This is the theme tune, all theme tunes vary and have connotations concerning themes/genre etc.
- Synchronous sound: Synchronous sounds are those sounds which are synchronised or matched with what is viewed.
- The score/incidental music: Orchestral music used to connote tone/atmosphere.
- Sound motifs: Sounds that are used to show a certain character (e.g. a villain) is about to appear or to show something good or bad is about to happen.
- Sound effects: These can be diegetic or non-diegetic depending on whether they have been added to create realism or connote atmosphere.
Editing:
- Axis match: Angle of the camera stays the same from shot to shot.
- Cross cut: Editing that alternates shots of two areas of action happening at the same time that are often related.
- Direction match: The direction of a person or object is consistent across the cut.
- Dissolve - Shot (A) gradually disappears and shot (B) gradually appears in its place worth a momentary superimposition of the two.
- Duration and pacing: The duration and rhythm of shots and scenes.
- Eye-line match: A cut in which two characters in different scenes appear to look at each other because of the direction of their glances.
- Fade-in: A gradual lightening of the image from black to light.
- Fade-out: Gradually darkening of image to black.
- Graphic match: Any juxtaposition of graphically similar images.
- Iris-in: Image gradually reveals from blackness through expanding circle.
- Iris-out: Reverse of iris-in
- Movement match: An action begun is continued or completed in the next shot.
- Jump cut: A break or jump in time, caused by removing a section of a shot then splicing together what remains of it; appears jerky.
- Parallel cut: Editing that alternates shots of two or more areas occurring in two different places, usually simultaneously, that run together in the same narrative.
- Straight cut: Two shots joined/splices together which no obvious continuity device.
- Wipe: One image is gradually replaced by another (usually vertically across screen but can take other shapes).
- Special effects: CGI (computer generated images).
- Sound bridge: Sound continues between shots.
- Continuity editing: A system of cutting used to maintain continuous and clear narrative action by following a set of rules.
- Parallel editing: Is the technique of continuously alternating two or more scenes that often happen simultaneously but in different locations.
- Matched cuts: Varied camera positions and angles of the same scene.
- Shot/reverse shot: Switches between the point of views of speakers in the scene.
- Jump cuts: Break, caused by removing a section of shot and then splicing what remains.
Shots -
- Establishing Shot
- Long Shot
- Medium shot
- Medium Close Up
- Close Up
- Extreme Close Up
- Cut Away Shot
Angles -
- High Angle
- Low Angle
- Eye Level
- Birds Eye
- Worms Eye
- Over The Shoulder Shot
- Point of View Shot
Movement -
- Zoom in
- Zoom out
- Hitchcock zoom: Achieved through moving towards/away from subject while zooming out/in.
- Pan (left/right): Camera (usually following 180 degree rule moves rotates (pans) slowly to show a scene/subject - achieve using tripod, steady cam or crane.
- Swish pan (fast/blur): Similar to above only it is done quickly to achieve blurring/fast movement of image.
- Tilt/Dutch tilt: Tilt up or down - achieved using tripod, crane or steady cam.
- Tracking shot: Camera follows (tracks) the subject - done using steady cam, dolly/track or moving vehicle.
Sound:
- Diegetic sound: Sound whose source is visible on the screen or is implied to be present by the action of the screen.
- Non-diegetic sound: Sound whose source is neither visible on the screen nor has been implied to be present in the action.
- Title music: This is the theme tune, all theme tunes vary and have connotations concerning themes/genre etc.
- Synchronous sound: Synchronous sounds are those sounds which are synchronised or matched with what is viewed.
- The score/incidental music: Orchestral music used to connote tone/atmosphere.
- Sound motifs: Sounds that are used to show a certain character (e.g. a villain) is about to appear or to show something good or bad is about to happen.
- Sound effects: These can be diegetic or non-diegetic depending on whether they have been added to create realism or connote atmosphere.
Editing:
- Axis match: Angle of the camera stays the same from shot to shot.
- Cross cut: Editing that alternates shots of two areas of action happening at the same time that are often related.
- Direction match: The direction of a person or object is consistent across the cut.
- Dissolve - Shot (A) gradually disappears and shot (B) gradually appears in its place worth a momentary superimposition of the two.
- Duration and pacing: The duration and rhythm of shots and scenes.
- Eye-line match: A cut in which two characters in different scenes appear to look at each other because of the direction of their glances.
- Fade-in: A gradual lightening of the image from black to light.
- Fade-out: Gradually darkening of image to black.
- Graphic match: Any juxtaposition of graphically similar images.
- Iris-in: Image gradually reveals from blackness through expanding circle.
- Iris-out: Reverse of iris-in
- Movement match: An action begun is continued or completed in the next shot.
- Jump cut: A break or jump in time, caused by removing a section of a shot then splicing together what remains of it; appears jerky.
- Parallel cut: Editing that alternates shots of two or more areas occurring in two different places, usually simultaneously, that run together in the same narrative.
- Straight cut: Two shots joined/splices together which no obvious continuity device.
- Wipe: One image is gradually replaced by another (usually vertically across screen but can take other shapes).
- Special effects: CGI (computer generated images).
- Sound bridge: Sound continues between shots.
- Continuity editing: A system of cutting used to maintain continuous and clear narrative action by following a set of rules.
- Parallel editing: Is the technique of continuously alternating two or more scenes that often happen simultaneously but in different locations.
- Matched cuts: Varied camera positions and angles of the same scene.
- Shot/reverse shot: Switches between the point of views of speakers in the scene.
- Jump cuts: Break, caused by removing a section of shot and then splicing what remains.
Production, Distribution, Exhibition
SKYFALL:
Production -
* Which company produced the film (where the funding came from): EON productions
* What the production budget was: $150-200 million
* What year it was filmed: 2011
* How long filming took/where it was filmed: Scotland, England, Japan, Turkey, China
* Equipment used for filming: Alexa Systems Cameras. First Bond film to be filmed digitally.
* Nationality: British
* Who owns the source material: Ian Fleming
* The main producer, director, cinematographer, editor, screen writer and music providers: Producers: Michael G. Wilson, Barbara Broccoli, Cinematographer: Roger Deakins, Editors: Stuart Baird, Kate Baird, Screen writers: Neal Purvis, Robert Wade and John Logan, Music: Thomas Newman
* The principle cast members are (star vehicles): Daniel Craig, Javier Bardem, Ralph Fiennes, Naomie Harris, Bérénice Marlohe, Albert Finney and Judi Dench
* Any other production information e.g. any issues: MGM was close to $4 billion in debt and couldn't front any money for production.
Distribution -
* Distribution company US/UK: Columbia Pictures Industries & Metro-Golden-Mayer (MGM) (both USA based).
* Marketing budget: $15 million
* Test screening information: -
* Release pattern: October 23 premier release UK, 26th official release.
* Examples of marketing and promotion: Tv advertisement, bill boards, brand connection through tailored suits, Sony, Coke Zero etc.
* What other media is it available on: DVD, Blu-ray
* Any other information e.g, difficulties getting a distributor: -
Exhibition -
* Types of cinema shown in (Imax, 3D, MM, I, AH): First Bond film to be screened in IMAX venues.
* How long was it was on for: -
* Box office figures: $1.1 billion worldwide
* Age classification (UK/USA): 12A (UK), PG 13 (USA)
* Primary target audience: 15-60 year olds, male & females
* Success (compare to DVD/Blue-ray/download): -
* Any other information e.g. did it get kept in cinemas longer than planned due to how successful it proved: Highest grossing film in the UK
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL:
Production -
* Which company produced the film (where the funding came from): Paramount Pictures
* What the production budget was: $185 million
* What year it was filmed: June 18th, 2007
* How long filming took/where it was filmed: 3 months, USA, Argentina
* Equipment used for filming: Arriflex 235, Panavision Primo, C- and E-Series Lenses
* Nationality: American
* Who owns the source material: -
* The main producer, director, cinematographer, editor, screen writer and music providers: Producer: Frank Marshall, Director: Steven Spielberg, Cinematographer: Janusz Kamiński Editor: Michael Kahn, Screen Writer: David Keopp, Music Provider: John Williams
* The principle cast members are (star vehicles): Harrison Ford, Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Jim Broadbent, Shia LaBeouf
* Any other production information e.g. any issues: -
Distribution -
* Distribution company US/UK: Paramount Pictures
* Marketing budget: $40 million
* Test screening information: -
* Release pattern: May 22nd, 2008 (North America)
* Examples of marketing and promotion: Deals with Expedia, Dr Pepper, Burger King, M&M's and Lunchables
* What other media is it available on: Blu-ray & DVD
* Any other information e.g, difficulties getting a distributor: -
Exhibition -
* Types of cinema shown in (Imax, 3D, MM, I, AH): -
* How long was it was on for: -
* Box office figures: $185,000,000
* Age classification (UK/USA): 12A (UK), PG 13 (USA)
* Primary target audience: -
* Success (compare to DVD/Blue-ray/download): -
* Any other information e.g. did it get kept in cinemas longer than planned due to how successful it proved: -
Production -
* Which company produced the film (where the funding came from): EON productions
* What the production budget was: $150-200 million
* What year it was filmed: 2011
* How long filming took/where it was filmed: Scotland, England, Japan, Turkey, China
* Equipment used for filming: Alexa Systems Cameras. First Bond film to be filmed digitally.
* Nationality: British
* Who owns the source material: Ian Fleming
* The main producer, director, cinematographer, editor, screen writer and music providers: Producers: Michael G. Wilson, Barbara Broccoli, Cinematographer: Roger Deakins, Editors: Stuart Baird, Kate Baird, Screen writers: Neal Purvis, Robert Wade and John Logan, Music: Thomas Newman
* The principle cast members are (star vehicles): Daniel Craig, Javier Bardem, Ralph Fiennes, Naomie Harris, Bérénice Marlohe, Albert Finney and Judi Dench
* Any other production information e.g. any issues: MGM was close to $4 billion in debt and couldn't front any money for production.
Distribution -
* Distribution company US/UK: Columbia Pictures Industries & Metro-Golden-Mayer (MGM) (both USA based).
* Marketing budget: $15 million
* Test screening information: -
* Release pattern: October 23 premier release UK, 26th official release.
* Examples of marketing and promotion: Tv advertisement, bill boards, brand connection through tailored suits, Sony, Coke Zero etc.
* What other media is it available on: DVD, Blu-ray
* Any other information e.g, difficulties getting a distributor: -
Exhibition -
* Types of cinema shown in (Imax, 3D, MM, I, AH): First Bond film to be screened in IMAX venues.
* How long was it was on for: -
* Box office figures: $1.1 billion worldwide
* Age classification (UK/USA): 12A (UK), PG 13 (USA)
* Primary target audience: 15-60 year olds, male & females
* Success (compare to DVD/Blue-ray/download): -
* Any other information e.g. did it get kept in cinemas longer than planned due to how successful it proved: Highest grossing film in the UK
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL:
Production -
* Which company produced the film (where the funding came from): Paramount Pictures
* What the production budget was: $185 million
* What year it was filmed: June 18th, 2007
* How long filming took/where it was filmed: 3 months, USA, Argentina
* Equipment used for filming: Arriflex 235, Panavision Primo, C- and E-Series Lenses
* Nationality: American
* Who owns the source material: -
* The main producer, director, cinematographer, editor, screen writer and music providers: Producer: Frank Marshall, Director: Steven Spielberg, Cinematographer: Janusz Kamiński Editor: Michael Kahn, Screen Writer: David Keopp, Music Provider: John Williams
* The principle cast members are (star vehicles): Harrison Ford, Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Jim Broadbent, Shia LaBeouf
* Any other production information e.g. any issues: -
Distribution -
* Distribution company US/UK: Paramount Pictures
* Marketing budget: $40 million
* Test screening information: -
* Release pattern: May 22nd, 2008 (North America)
* Examples of marketing and promotion: Deals with Expedia, Dr Pepper, Burger King, M&M's and Lunchables
* What other media is it available on: Blu-ray & DVD
* Any other information e.g, difficulties getting a distributor: -
Exhibition -
* Types of cinema shown in (Imax, 3D, MM, I, AH): -
* How long was it was on for: -
* Box office figures: $185,000,000
* Age classification (UK/USA): 12A (UK), PG 13 (USA)
* Primary target audience: -
* Success (compare to DVD/Blue-ray/download): -
* Any other information e.g. did it get kept in cinemas longer than planned due to how successful it proved: -
How is age represented in the extract?
How is age represented in the extract?
Refer to:
Camera work
Mise-en-scene
Sound
Editing
Refer to:
Camera work
Mise-en-scene
Sound
Editing
In 1904 Stanley Hall stated that "all young people go through some degree of emotional and behavioural upheaval". The media language in the extract supports Stanley Hall's theory in a number of ways, but also at times disrupts this and moves more towards the arguments concerning mixed metaphors of; "youth as trouble and youth as fun" that Hedbridge (1988) and Osgerby (1988) put forward concerning the media and youth stereotypes.
The extract starts with a fast moving visually interesting montage of short clips, which reveal the modern day setting and characters. The whole montage is linked together using a sound bridge of upbeat non-diegetic music. The non-diegetic music acts as a mixed message when put alongside the images because the shots show the characters being trouble/rebellious while the sound makes the whole thing seem 'fun'. This connotes that the extract links an supports Hedbridge/Oscarby's idea of youth as a mixed metaphor.
In terms of the images themselves, there are a number of shots that tell the viewer a lot about youth representation. To start, the first main shot portraying youth concerns a medium close-up of two boys in their mid teens, with one smoking. This shows the viewer that these boys are rebellious and fit common stereotypes and conventions concerning youth. This also fits Stanley Hall's argument which talks about rebellion in youths. The next shot is of a woman with the mise-en-scene connoting that she is rebellious due to her lack of clothing and also the way that she's portraying herself because of her hair, make-up etc. Osgerby's theory of 'youth as trouble youth as fun' is also portrayed later on in this sequence as one shot shows couples kissing, smiling and having fun. In general this goes with youth stereotypes because they're kissing and being in general 'rebellious'. This shows the audience that not all youth are depressed and some like to have fun while also being rebellious.
The whole title sequence is linked together with parallel editing and in places blue overlays are used to connote depression and sadness, as stated in Stanley Hall's theory. Moreover, this can also portray a mellow, laid back feel which in a sense contradicts the music which is upbeat. Each shot in the sequence is transitioned in a fade-in, fade-out sequence which allows it to flow and makes for easy viewing.
The title sequence is linked together with non-diegetic upbeat music which joins the clips together with a sound bridge. This connotes youth as fun as seen in Oscarby's theory.
The title sequence then moves onto an ariel shot of a girl jumping on a trampoline, which also connotes youth as fun. We then see an extreme close up of a girl coming home late and crying - this presents the idea of emotional instability in youths along with rebellion because of the time she arrives home. Finally we see an extreme close up shot of somebody smoking a joint. This is perhaps shown last so that it stays in the audience's mind the longest - it perhaps connotes rebellion the most out of all of the shots because of social stigma attached with drugs.
After the opening montage, the next shot is an extreme close up (birds eye view) of the main character - this is perhaps done to give the audience power and perhaps undermine the character. It zooms back to a high angle shot revealing an interesting mise-en-scene choice - the duvet which the main character is sleeping under has a naked man and woman on it. The mise-enscene here connotes sex and sexual intercourse and perhaps sets the scene for the rest of the clip. This links to hall's theory because of the rebellion attached with 'behavioural upheaval'. Moreover, in terms of miss-en-scene, we see contrasting colours of black and white, this connotes Bath's idea of good and evil along with binary opposition.
In terms of sound we then hear diegetic sound in the form of bells and birds tweeting - this is followed by the main character waking up and his alarm clock going off shortly after. This breaks stereotype as it shows a male, teenage character waking up before his alarm clock, in the morning, contradicting ideas put forward by Stanley Hall.
We then see a cut away shot of the main character turning the music on as he gets out of bed. He then carries on to work out in his underwear - connoting sex and carrying on with presenting Stanley Hall's theory. The music here is in the genre of R'n'B/HipHop and it connotes crime, rebellion and youth culture. This can all be shown through Stanley Hall's theory concerning youth and youth culture.
After the opening montage, the next shot is an extreme close up (birds eye view) of the main character - this is perhaps done to give the audience power and perhaps undermine the character. It zooms back to a high angle shot revealing an interesting mise-en-scene choice - the duvet which the main character is sleeping under has a naked man and woman on it. The mise-enscene here connotes sex and sexual intercourse and perhaps sets the scene for the rest of the clip. This links to hall's theory because of the rebellion attached with 'behavioural upheaval'. Moreover, in terms of miss-en-scene, we see contrasting colours of black and white, this connotes Bath's idea of good and evil along with binary opposition.
In terms of sound we then hear diegetic sound in the form of bells and birds tweeting - this is followed by the main character waking up and his alarm clock going off shortly after. This breaks stereotype as it shows a male, teenage character waking up before his alarm clock, in the morning, contradicting ideas put forward by Stanley Hall.
We then see a cut away shot of the main character turning the music on as he gets out of bed. He then carries on to work out in his underwear - connoting sex and carrying on with presenting Stanley Hall's theory. The music here is in the genre of R'n'B/HipHop and it connotes crime, rebellion and youth culture. This can all be shown through Stanley Hall's theory concerning youth and youth culture.
Tuesday, 4 March 2014
Youth Representation
In 1904 Stanley Hall wrote Adolescence in 2 volumes, in this text he puts forward a theory known as the ‘Storm & Stress Model’, despite being written over 100 years ago it is still relevant to modern youth stereotyping in music magazines. In short, Hall argues the following:
“Adolescence is inherently a time of storm & stress when all young people go through some degree of emotional and behavioural upheaval, before establishing a more stable equilibrium at adulthood."
Bill Osgerby argues that the portrayal of ‘youth’ in the media has not really altered much in the last 100 years (interestingly repeat patterns occur e.g. 1980s hooliganism and the recent riots) and is by-en-large pessimistic; “We do not have to search too hard to find negative representations of youth in postwar Britain. Crime, violence and sexual licence have been recurring themes in the media’s treatment of youth culture, the degeneracy of the youth depiction as indicative of a steady disintegration of the UK’s social fabric” (Osgerby, 1998).
Not all young people, especially younger teens, will want to read about extreme rebellious stars, this is where parent friendly magazines like Top of the Pops come in, because they present a different stereotype of youths, Hedbridge's idea of; "Youth as Fun."
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