Monday, 18 May 2020

music video theory

Movement is vital to a video because it compliments the music. In "this is america" movement was achieved by dancing in beat to the music and the movement of the camera, showing the rest scene. 


the video references Jim Crow,” a caricature of a clumsy, dimwitted black slave. Jim Crow” came to be a derogatory term for African Americans, and in the late 19th century it became the identifier for the laws that reinstated white supremacy in the American South after Reconstruction. The demeaning character symbolically rationalized segregation.


'Minstrel show face' is also referenced, The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.


Another Intertextual reference is death getting a police escort which is a biblical reference to the 'end of time' with death riding a pale horse but in this case, we see a cloaked figure and alongside him is the police.

other references include the chase scene like in the film gets out. the 17 seconds of silence to denounce gun violence and tribute to the 17 people who lost there lives in Florida.  As well as the church shootings another is the dancing kids who reflect appropriation of black culture. 


2) What comment is the video making on American culture, racism and gun violence?

American culture and history is violent. the video also touches on gun violence and its implications as well as its ties to the African Americans experience. it parallels the impact of violence and racism.

3) Write an analysis of the video applying the theories we have learned: Gilroy, Hall, Rose and Dyson. Write a short paragraph for each theory.


Gilroy states that black culture doesn't t have any solidity. instead, black people experience liquidity of cultures.  Gilborn believes that the black diasporic identity links to the slave trade and the huge cultural influence on modern America. this is America highlights this by showing racism and white supremacy. this is showcased in the injustice of African Americans and never truly belonging. 


Hall states that there is a blur between race and class which leads to people associating particular races with certain social classes.. hall believes that western cultures are still white-dominated.


Rose believes that commercial hip-hop has appropriated black culture and this is a reference with the dancing children who are seen as a reflection of appropriation. however, rose also believes that hip-hip gives a voice to express themselves.


Dyson defends hip-hop and black culture and suggests“Hip hop music is important precisely because it sheds light on contemporary politics, history and race. At its best, hip hop gives voice to marginal black youth we are not used to hearing from on such critics. Sadly, the enlightened aspects of hip hop are overlooked by critics who are out to satisfy a grudge against black youth culture…” 


Now read this Guardian feature on This Is America - including the comments below.


4) What are the three interpretations suggested in the article?


One interpretation is that he is playing jim crow.
he's dancing to distract us from the violent riot behind him.
he's taking on the police.

5) What alternative interpretations of the video are offered in the comments 'below the line'? Choose two and explain what the comments are suggesting.


''Childish Gambino shows his sanity and humanism by showing and condemning random violence and madness. '' Gambino is exposing humanities biggest flaw as they condemn violence and allow others to suffer or do the suffering themselves.


 '' Shines a beacon on American cultural absurdity. Guns, patriotism, the police state, racism, hate speech, disinformation and violence.'' explains how lost America is and what the effects of the acceptance of bad things have done to the area.


Media Magazine - This Is America: Music, Politics and Protest


1) The article offers an excellent textual analysis of the opening of the video. What are some of the suggested meanings and references the writer discusses? Can you link this analysis to any of the theorists we have studied?

we hear an African choir chant what sounds like a joyous refrain as a barefoot man plays a finger-picking melody on an acoustic guitar. As the camera pans, we see a topless figure – Donald Glover aka Childish Gambino – standing in the middle of the warehouse. He jerks his body in time to the beat. As he turns and starts to dance towards us, his movements become more exaggerated: his body rolls, he grimaces, pops one eye wide open, and stops behind the seated man, who is now hooded and without his guitar. The topless dancer pulls a gun from thin air, aims for the head, and shoots. As the dead body falls, a rumbling hip-hop rhythm kicks in and Glover turns to the camera, casually saying: ‘This is America’. 
Rose who believes that commercial hip-hop has appropriated black culture and this is a reference with the dancing children who are seen as a reflection of appropriation. however, rose also believes that hip-hip gives black men and women a voice to express themselves.


2) What does the writer suggest are the main political themes in the video - and why is the message unclear?


it interrogates and criticises American gun culture and racism past and present. however, the message is also unclear as the video itself is seen as deliberately problematic: the video’s entirely black cast means that its ‘crimes’ are all perpetrated by black people.


3) What meanings and suggestions does the writer highlight in Beyonce's video for Formation?

Beyoncé’s ‘Formation’ made headlines for its ‘unapologetic blackness’,
recalling Beyoncé’s ‘Formation’, which juxtaposes imagery referencing the NewOrleans floods, the antebellum South, and modern police brutality. It even has its own Easter eggs: for example, a fleeting shot of graffiti reading ‘Stop shooting us’, a message associated with Black Lives Matter. Beyoncé and her director Melina Matsoukas leave it to the viewer to connect the dots, though the video’s


4) What is notable about Glover's comedy-drama TV show Atlanta

He wanted to have a black writing team. The show was notable for its refusal to ‘translate’ the black experience for a white audience.

5) What examples does the writer provide of hip hop as a political genre? What theorist can we link this to?

Both ‘This is America’ and ‘Formation’ were praised for their undiluted blackness, which is a culture of white hegemony is seen as a powerful political statement in itself.  hip-hop has been an inherently political form since its inception as far back as 1971, This links to Dyson who defends hip-hop and black culture and suggests“Hip hop music is important precisely because it sheds light on contemporary politics, history and race. At its best, hip hop gives voice to marginal black youth we are not used to hearing from on such critics.

Wednesday, 18 March 2020

TV: Deutschland 83 case study

1) Find one positive aspect and one criticism of Deutschland 83 in reviews.

 Criticism: It back tracks into stereotypes about Stasi officers
positive: fitting soundtrack

2) Why does the second Guardian article suggest the Germans didn't like the show?

It doesn't let the audience sympathise with a Stasi officer on a human level.

1) What does Jonas Nay say about growing up in a united Germany? 

2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)

3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest the Channel 4 News audience?

Behind the scenes clips

The All4 website has a range of clips from behind the scenes of Deutschland 83. Watch the following:

Making Of: Why Should You Watch Deutschland 83
Watch this short promotional clip for Deutschland 83.

1) According to the clip, why should audiences watch Deutschland 83?

2) Why is history an important aspect of the appeal of the show?

3) What technical aspects are highlighted in the video?


Making Of: Set Design
Watch this interview with Production designer Lars Lange.

1) Why were the set design, costume and props so important for Deutschland 83?

2) How historically accurate was the setting, costume and props?

3) Why were the props, costumes and music such a key audience pleasure for Deutschland 83?


Production and industry contexts

Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by FremantleMedia International. It was broadcast on RTL (Germany), SundanceTV (US) and Channel 4 (UK) as well as many other broadcasters around teh world.

1) What kind of company is UFA Fiction and what shows have they produced? 

2) What kind of company is Freemantle Media International and what do they produce?

3) How does Deutschland 83 reflect the international nature of television production?


Walter Presents

Watch this Channel 4 trailer for their Walter Presents international drama.

1) How does Channel 4 introduce 'Walter'?

2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?

3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?

1) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).

2) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?

3) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?



Press pack

Read the Channel 4 press pack interview with writer Anna Winger. (If the link doesn't work, you can find the text from the interview here). 

1) How did she use the historical context and real-life events to create a successful drama?

2) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?



Press release

Read this Channel 4 press release on the success of Deutschland 83. (If the link doesn't work you can find find the text from the article here).

1) List the key statistics concerning audience figures. Why is considered the most successful foreign language drama?

2) How does the news release describe the drama?


International marketing

Look at these two different marketing campaigns - the UK DVD release (left) and the American Sundance TV advert (right).




1) How does the UK DVD cover communicate the sub-genre of the drama?

2) How do these use font, colour and graphics to appeal to an audience?

3) Why might the distributors Freemantle Media International have used different marketing campaigns in different countries? 

Thursday, 12 March 2020

BBFC

1) Research the BBFC in more detail: what is the institution responsible for? How is it funded? What link does it have to government?

The British Board of Film Classification ,is a non-governmental organisation, founded by the film industry in 1912 and responsible for the national classification and censorship of films exhibited at cinemas and video works, Films pay a fee to be classified by the BBFC

2) Read this BBFC guide to how films are rated. Summarise the process in 50 words.


Classifying decisions are reached by consensus. Films are classified by teams. Controversial content is seen by larger teams. Most recommendations are based on the BBFC Classification Guidelines. Distributors can ask for an age rating. Cuts are suggested to meet the age rating. Controversial/uncertain discussed during meetings. If content is illegal or unacceptable, Compliance Officers will make a list of cuts. If the content as a whole is unacceptable, it is rejected. Senior members are consulted on difficult content, especially if it is refused an age rating or raises serious policy issues.

3) Read this BBFC outline of the issues faced when classifying a film. Summarise the debate in 50 words.



4) Read this BBFC section on controversial decisions. Why did The Dark Knight generate a large amount of media coverage regarding its certificate? Do you agree with the 12A certificate The Dark Knight was awarded?

5) What are the guidelines for a 15 certificate?

6) The BBFC website offers an explanation of every classification it makes and detailed case studies on selected titles. Look at the rating for Chicken and explain why it was given a 15 certificate.

Monday, 3 February 2020

Chicken Assessment LR

1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

WWW: A strong start with particularly good knowledge of the chicken CSP and its promotion.

EBI: Q3 is the weakness here: your argument is not clear and you need to show a greater understanding of both the british film industry and Hesmonmdhalgh's theory
2) Read the mark scheme for this assessment carefully. Write down the number of marks you achieved for the three questions: _/3; _/6; _/9. If you didn't achieve full marks in a question, write a bullet point on what you may have missed.

3) For Question 2 on the promotion of Chicken, use the mark scheme to identify at least one strategy used to promote Chicken to an audience that you didn't mention in your answer and why it was used. The key lesson from this question was to make specific reference to the CSP in your answer.

4) Now look at Question 3. Using the mark scheme as a guide, write a paragraph arguing that it is NOT important for the British film industry to make social-realist films like Chicken and that it should concentrate on making bigger-budget movies funded by Hollywood studios. If your mark for this question was already top-level, revise David Hesmondhalgh's work on the cultural industries and try to build an aspect of his theory into your paragraph.

5) Finally, cover the other side of the debate. Write a paragraph arguing that it IS important for the British film industry to make social-realist films like Chicken and that such films contribute strongly to the social and cultural influence of the industry. You may also consider how they should be funded here. Use the mark scheme to help you with this. Again, if your mark for question 3 was already top-level, use Hesmondhalgh's theory in your paragraph.

Monday, 20 January 2020

'Chicken' case study

Funding

1) What was the budget for Chicken?

    £110,000

2) How did Joe Stephenson end up raising the money to make the film?

   He made the money for the film by using his connections to wealthy people and people already in the industry.

3) How does the Chicken budget compare to a Hollywood-funded British blockbuster such as Spectre or Paddington 2?

Spectre had a budget of £192,375,000.
Paddington 2 had a budget of £30,780,800.00.
chicken's budget is substantially smaller than both of these films.

4) Joe Stephenson tried to secure funding from organisations that help low-budget filmmakers. What is the BFI Film Fund and how does it contribute to the British film industry?

The BFI uses National Lottery funds to develop and support original UK filmmakers and films, and to increase the audiences who can enjoy them.

5) Why do you think Chicken failed to secure funding from the BFI Film Fund?

It's subject matter was too niche, the ending may have been too much of a touchy subject for a seemingly happy-film

Production

1) What difficulties did the film run into during production?

Filmed in 19 days, almost all external locations so victim to rain, issues with lighting etc.

2) How many days did the film take to shoot?

19

Distribution

1) Why did the film fail to secure a distribution deal when first made in 2014?

2) What film festivals did Chicken feature at between 2014-2016?

3) Why are film festivals an effective way for a low-budget film to secure a distribution deal?

4) When was Chicken released in cinemas in the UK?

may 2016

5) Why do you think film subscription service MUBI chose the film to feature on the service?

6) Why was Film4 a good choice to give the film its UK television premiere?

7) When will the film be released on iTunes and other video-on-demand services in the USA and Canada?


Promotion

Note: some of these pages will be blocked in school - you will need to complete those particular questions at home.

1) What does the trailer suggest regarding genre and the potential audience pleasures of Chicken?

2) What synergy can you find between the trailer and other traditional marketing methods such as the film poster?

3) Why are reviews from industry figures such as Mark Kermode so important to a film's success?

4) How does the Chicken Twitter account create and maintain interest in the film?

5) Who does the Twitter account re-tweet? How does this help to promote the film?

6) How does the Chicken Facebook page use images and video content to promote the film?

7) What pages are liked by the Chicken Facebook page? What does this tell you about the film and potential target audience?

8) Go to the website of the B Good Picture Company. What does the homepage say and what other films have they produced or are in production currently?

9) Now go to the B Good Picture Company's website page for Chicken. How does this page promote Chicken specifically?

10) Go to the B Good Picture Company YouTube channel. What videos feature on the channel? How do they help to promote Chicken?


Final reading: Media Magazine - the appeal of arthouse cinema

Complete the following tasks to improve your understanding of arthouse film and the possible audience pleasures that the genre offers:

Read Beyond Hollywood: Reading Arthouse Cinema. This is in MM45 on page 24 - go to our Media Magazine archive to find the article. 

1) Summarise the article in 50 words.


Arthouse films are artistic rather than commercial. They are films that are difficult to understand. An example of this is ‘Lore’ which considers what might have happened to the children of the SS after World War 2. This could be successful in Hollywood  but too downbeat in LA.

2) What are some of the suggested audience pleasures for arthouse film?

3) Why do some audiences struggle with arthouse film? Refer to some media theory here (there are some important media theories discussed in the article itself).

4) To what extent is arthouse film only for the middle classes and older audiences? Why might this be the case?

5) What type of audience would be interested in Chicken?

Wednesday, 8 January 2020

Film Industry: British film industry factsheets

Factsheet #132: British Film

Use our brilliant Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #132 on British Film. Save it to USB or email it to yourself so you have access to the reading for homework. Read the whole of Factsheet and answer the following questions:

1) Write a one-sentence definition of what makes a film British.

If it is has British actors, directors, producers. Is set in Britain and is about British historical events.

2) What is the difference between a Hollywood production context and production context of a British film?


For instance the Hollywood production context means that most films made by Hollywood studios
have high budgets, a heavy reliance on celebrities both in the cast and crew and spectacle driven stories. Whereas the independent production context films tend to have low budgets, character rather than spectacle driven stories and a heavier reliance on word of mouth and viral advertising. The British film production context does not have as many clearly defined characteristics. British films can be large budget, high concept films such as Harry Potter and the Deathly Hallows Part 1 (Warner Brothers, 2010) and Skyfall (MGM, 2012) or they can be character driven, small budgeted films such as Kill List (Optimum Releasing, 2011) or This is England (Optimum Releasing, 2006). What could be considered to be recurring characteristics of the British film production context are that films made within the British production context will in some way reflect British culture, films such as The King’s Speech (Momentum Pictures, 2010) and Son of Rambow (Optimum Releasing, 2007) have varying degrees of involvement from Hollywood or other outside agencies however they are both inherently British in their subject matter.

3) When did the James Bond franchise start?

1962

4) In terms of film censorship and graphic content, what began to change in British film in the 1970s and 1980s?


The custodian of censorship and classification in the UK for the last 100 years has been the British Board of Film Classification, (the BBFC). Although when first created in the early decade of the 20th century
the BBFC originally stood for the British Board of Film Censorship which tells you a little about how attitudes toward film have changed in the UK over time. All British and imported foreign films have been subject to
censorship and classification by the BBFC according with the social, cultural and political trends and beliefs at the times at which the films were made and considered by the BBFC. The history of British film censorship
of the 20th century is the history of social, cultural and political change as British Film being like any other art reflects the current climate of the times in which it is created. What we see over the course of the 20th
century and into the 21st century is a gradual acceptance of social taboos being included in British Film, this usually centres on the main subjects of violence, sex (the two combined being one of the last bastions of solid
censorship that films tend to see in the modern age), drug use and criminal activity. As the 20th century progresses each decade sees a willingness to allow more through to audiences than the previous decade with the tipping point being in the late 1950s, 1960s and early 1970s. The 1950s see the rise of the teenage audience as Britain leaves rationing and starts to become more affluent, social change in America and their films helps drive similar change in the UK and British Films start to reflect this going into the 1960s. With many notorious films being linked to riots by youth movements such as mods and rockers. The 1970s sees a rise in British Films of sexual content, both the act of sex and sex linked to violence with films like A Clockwork Orange (Warner Bros, 1971) coming under a lot of scrutiny. The 1980s see the rise of videos and the ‘video nasty’s scare where filmmaking was becoming more accessible and more extreme content was being created and finding its way to Britain. And so a continual evolution of film censorship and classification in this country has happened since the 1980s that sees all films released in the UK to have one of 7 (possibly 8 although the R18
certificate is rarely used) classifications awarded to it. The BBFC in the last few decades has tried to engage more with British audiences, making its guidelines not only accessible to all but also engaging with the public
when reviewing these guidelines.

5) What groups are often represented in British film? Give examples of films these groups feature in.


There are contemporary representations of youth in films such as Attack the Block (Studio Canal, 2011) that attempt to show a deeper more realistic portrayal of youth that challenges the stereotype of the threat or the
rebel. Representation of women has gone through similar changes over the years with common stereotyping of women as either, the virgin, the mother or the whore. Although British film, especially in the 1960s with the New
Wave have often treated women more through the prism of social realism Complex female characters in film have appeared in early British Film, however these were always seen as extraordinary. Women have largely
suffered in line with the current attitude towards women of the day with a gradual shift and awareness of an inequality towards women gaining ground from the 1980s onwards.

6) What does the Factsheet suggest might be the audience appeal of British film?


This is the first step towards targeting and appealing to a British audience as with any film made by a country for its own populace. The main characteristics that can be identified as appealing to a native British audience would include; the actors, British actors tend to be clearly identifiable as British and will often be associated with a particular genre of British film, for example Hugh Grant having an association with British romantic comedies. British locations tend to be a heavily used feature of the film, with London being the most popular, although we have seen a rise in popularity of northern towns and cities being used in many British films. However the overwhelming characteristics that will most appeal to a British audience is the social theme that provides the through line for many British film narratives. The British audience has a keen interest in British films that focus on class, social strife, education and more. Old and new British films are full of socially conscious narrative and characters, from the 1950s comedies that dealt with managing in the ravaged society 
of post-war Britain, the new wave social realism of the 1960s all the way through to the post-Thatcherite Britain of the 1990s with films like Brassed off (Miramax Films, 1996) and The Fully Monty (20th Century Fox Films, 1997). Even modern day films deal with current social and political concerns, issues such as hooliganism, hoody culture and radicalism. We also should include the many ‘look back’ films that tend to focus on stories from Britain’s past where, class warfare or social difficulties were at their peak with films such as This is England (Optimum Releasing, 2006) and the new film Pride (Calamity Films, 2014) that deals with sexual equality at the peak of the miners’ strike. Producers will often inject a healthy dose of humour into even the most rigorous of social realism films so as to appeal to the British sensibility of the stiff upper lip and it isn’t
bad all the time.

Factsheet #100: British film industry
To complete our introduction to the British film industry, we need a little more background to the industries context.

Find Media Factsheet #100 on the British film industry. Save it to USB or email it to yourself so you have access to the Factsheet for homework. Read the whole of the Factsheet and answer the following questions:

1) What is the 'cultural test' to see if a film counts as British?

If a film does not qualify as a co-production, it must pass the British Film Institute’s Cultural Test in order to be defined as British. The Cultural Test is divided into four sections and a film must score at least 16 out of a possible 31 points to be classified as British.

3) What is the main problem for the British film industry?

The British film industry has been production led rather than distribution led. This means that many UK films are made but, in order to get the film exhibited, the filmmakers have to sacrifice the distribution rights by selling the film to a distribution company. Once sold, all revenue from cinema screenings, DVD and Blu-ray sales, plus sales to television companies, are lost. For example, though based on a novel by an Indian writer and telling a tale set in the slums of Mumbai, Slumdog Millionaire (dir. Boyle, 2008) is classified as a British film since its production was financed by two British companies, Celador Films and Film 4 productions, along with Pathé Pictures International, a French production company and distributor. In addition, the film’s screenwriter, director and leading actor are all British. The film cost under £10 million to make but went on to take approximately £235 million at the worldwide box-office. However, though Pathé retained the film’s international distribution rights, North American distribution rights were purchased for $5 million by Warner Independent Pictures, who subsequently sold half the rights to Fox Searchlight Pictures, both American companies. This means that around £90 million in American box-office takings will benefit the US film industry rather than the UK film industry. This production led approach to filmmaking means the British film industry is often described as a ‘cottage industry’. This suggests it is small-scale and, whilst making unique and distinctive products, can never truly compete with the ‘factory industries’ of the Hollywood-based studios. 

4) What are three of the strengths of the British film industry?

outstanding creative skills of practitioners
• outstanding facilities
the Film Export Fund

5) What are the two options for the future of the British film industry?

Firstly, British filmmakers could choose to rely upon co-productions with American studios to keep the industry afloat. 

6) In your opinion, which of these two options would best safeguard the future of the British film industry?

The first one as as co-producing with american companies could help british films do better with american audiences and increase their box office revenue.