MEST2: Preliminary Exercise

The first aspect of your MEST2 coursework is a preliminary exercise that introduces the basics of narrative filmmaking.

This is a brilliant opportunity to get to know our DSLR cameras, the 50mm lens that produces exceptional cinematography - and most importantly develop a working relationship with the group you plan to work with for the actual coursework.

Preliminary exercise: Continuity task

Your preliminary exercise involves filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. 

This task should demonstrate match on action, shot/reverse shot and the 180-degree rule. 

Time allowed: two weeks

You are advised to work in the group that you will work in for your MEST2 coursework project.

Key skills

The following clips and links should help you with the key skills you need to demonstrate in your preliminary exercise.

Match on action


Match on action (or cutting on action) is an editing technique for continuity editing in which one shot cuts to another shot showing the same action of the subject in the first shot.


This creates the impression of continuity - the action creates a 'visual bridge' which is easy for the audience to follow.

Look at this YouTube clip for match on action - the cuts you want to look at in particular are at 2 seconds, then again at 18 seconds:

Note: if video does not embed, click on this link to open in YouTube.

Shot/reverse shot

Shot/reverse shot uses over-the-shoulder shots to show a conversation between two characters. Look at this example from the Hunger Games movie - specifically between 0.50 and 1.30.

Note: if video does not embed, click on this link to open in YouTube.

With shot/reverse shot, you need to observe the 180 degree rule. 

180 degree rule

The 180-degree rule of shooting and editing keeps the camera on one side of the action. This keeps characters grounded compositionally on a particular side of the screen or frame, and keeps them looking at one another when only one character is seen onscreen at a time. 


It is referred to as a rule because the camera, when shooting two actors, must not cross over the axis of action; if it does, it risks giving the impression that the actors' positions in the scene have been reversed. [source: Columbia Film Language Glossary]

In other words, draw an imaginary line between the two characters facing each other and then make sure the camera never crosses that line during the filming of that scene. This video is a brilliant explanation of the rule:

Note: if video does not embed, click on this link to open in YouTube.


Task list: planning

1. Sort out your group (if you haven’t done so already). An absolute maximum of FOUR in each group is set by the exam board AQA.
2. Discuss what your preliminary exercise will involve – location, sequence of events, who will act etc.
3. Write a short script for the preliminary exercise. Remember, scripts outline movement and shots as well as dialogue. The BBC Writer's Room is a brilliant resource for tips and examples of TV scriptwriting. Here's a genuine TV script example from Luther to check you are formatting your script correctly.
4. Write a shot list of every possible shot (and a few extra) you will need for this preliminary exercise. An example shot list is here.
5. Draw a complete storyboard for the sequence you plan to shoot - every shot should be in there. Storyboard sheets are available on the top of the filing cabinet in the corner of DF07.
6. Upload your completed planning to your blog then let your teacher know. You can then book out a camera and start shooting.

You can start shooting from next week but will not be able to borrow a camera without showing you have completed your planning.

Introduction to Media: Genre

Genre is a crucial key concept and underpins our understanding of all media texts. 

If you missed the lesson on genre the key notes are here:

Genre: notes

Genres may be identified by the following:

Narrative structures
Plot
Typical situations, characters and relationships

Visual iconography
Mise-en-scene: props, costumes, locations etc.
Cinematography

Ideology and themes
Representations, values and ideologies

Daniel Chandler suggests definitions of genre tend to be based on the notion that they constitute particular conventions of content (such as themes or settings - iconography) and/or form (including structure and style) which are shared by the texts which are regarded as belonging to them.


Genre: institution and audience

Tolson (1996) suggests that genre “mediates between industry and audience”.

Abercrombie suggests that “television producers set out to exploit genre conventions... It... makes sound economic sense.” 


Abercromie adds: “Genres permit the creation and maintenance of a loyal audience which becomes used to seeing programmes within a genre.”

Neale: “Repetition and difference”

Steve Neale declares that “genres are instances of repetition and difference” (Neale 1980). He adds:  “Difference is absolutely essential to the economy of genre” - mere repetition would not attract an audience.


Buckingham (1993) agrees, suggesting contemporary theory sees genre as dynamic: “Genre is not... simply "given" by the culture: rather, it is in a constant process of negotiation and change”.

Schatz develops this idea that genres are dynamic and suggests they go through a cycle:

Innovation: genre codes are established
Classical: conventions are repeated
Parody: codes become clichéd and are mocked
Deconstruction: the genre is experimented with to establish new or different conventions

Genre: blog tasks

Complete the following tasks using the Media Factsheets available on the Media Shared drive. 

You'll find them in our Media Factsheet archive: M:\Resources\A Level\Media Factsheets

Read Media Factsheet 03 - Genre: Categorising texts and answer the following questions:

1) What example is provided of why visual iconographies are so important?

2) What examples are provided of the importance of narrative in identifying genre?

3) What is the difference between character representation in action movies and disaster movies?

4) What are the different ways films can be categorised according to Bordwell? 

5) List three ways genre is used by audiences.

6) List three ways genre is used by institutions or producers.

7) What film genre is used as an example of how genres evolve? What films and conventions are mentioned?


Read Media Factsheet 126 - Superheroes: A Genre Case Study and answer the following questions:

1) List five films the factsheet discusses with regards to the Superhero genre.

2) What examples are provided of how the Superhero genre has reflected the changing values, ideologies and world events of the last 70 years?

3) How can Schatz's theory of genre cycles be applied to the Superhero genre?


Finally, carry out your own genre analysis using the model provided by media theorist Daniel Chandler. Choose a film or TV text and answer the following questions:

General
1) Why did you choose the text you are analysing?
2) In what context did you encounter it?
3) What influence do you think this context might have had on your interpretation of the text?
4) To what genre did you initially assign the text?
5) What is your experience of this genre?
6) What subject matter and basic themes is the text concerned with?
7) How typical of the genre is this text in terms of content?
8) What expectations do you have about texts in this genre?
9) Have you found any formal generic labels for this particular text (where)?
10) What generic labels have others given the same text?
11) Which conventions of the genre do you recognize in the text?
12) To what extent does this text stretch the conventions of its genre?
13) Where and why does the text depart from the conventions of the genre?
14) Which conventions seem more like those of a different genre (and which genre(s))?
15) What familiar motifs or images are used?

Mode of address
1) What sort of audience did you feel that the text was aimed at (and how typical was this of the genre)?
2) How does the text address you?
3) What sort of person does it assume you are?
4) What assumptions seem to be made about your class, age, gender and ethnicity?
5) What interests does it assume you have?

Relationship to other texts
1) What intertextual references are there in the text you are analysing (and to what other texts)?
2) Generically, which other texts does the text you are analysing resemble most closely?
3) What key features are shared by these texts?
4) What major differences do you notice between them?


This is a lot of work - but you will have some lesson time to complete it. Anything you don't finish in the lesson complete for homework - due next week.

Film Language: Editing

Editing is the last aspect of our Film Language unit - we'll be starting coursework after half-term. 

Two things to work on first:

Homework: important!

You will have a Film Language test in the first week after half-term. 

Your homework, therefore, is to revise EVERYTHING you've learned in your first half term with both your teachers - Film Language and the MIGRAIN key concepts. Links to lesson PowerPoints and further details can be found in this blog post.

Editing notes

Key terminology for editing:

• Transitions
• Continuity editing
• Montage
• Pace
• Juxtaposition

Transitions

• A straight cut is the most common method and the audience are so accustomed to seeing these that we rarely notice them when they occur.
• A fade out – the screen fades to black.
• A dissolve - one image blurs into the next.
• A wipe – one part of the screen wipes across the other.
• A jump cut – an unexpected edit where the audience’s attention is forced to focus on something very suddenly.  

Continuity editing

Most editing of narrative film is continuity editing.  This is when shots are placed logically so that one event follows on from the next.  We, as the audience, automatically try to make sense of one shot joining the next one.  For example, if we see an exterior shot of a school and the following shot is a classroom, we assume that the classroom is inside the school building we saw in the previous shot.  

Montage

A montage sequence involves shots being placed next to each other that do not necessarily convey a linear narrative.  Instead, the shots tend to convey a message, provide an overall impression or shorten a story that takes place over a much longer period time.  For example, a sequence that included consecutive shots of a school building, classrooms, students playing football and teachers in the staffroom may be aiming to give an overall impression of school life.    

Pace

The speed at which the film cuts from one shot to the next makes a huge difference to the experience for the audience.

Generally, slow cuts build tension while fast cuts suggest action and excitement.

Juxtaposition
The word juxtaposition literally means ‘the act of placing together side by side’.

In film, two shots may be placed together to create meaning for the audience. E.g. A shot of the hero may be followed by a shot of his love interest to link these in the audience’s mind. This may also take the form of an eyeline match where a character looks in a certain direction and the next shot cuts to whatever they are looking at.

Editing task

There are some truly fantastic clips for the Editing part of the Film Language unit but we won't watch them all in one lesson. 

Your blog task is to find a film clip on YouTube that you feel has been edited in a distinctive way and write a 750 word analysis of the clip.

Use as much media language as you can - and remember to highlight it. Try and use the key words we've learned for editing and any other aspects of film language you can apply.

If you're not sure what clip to pick, you will find plenty of lists online if you search for 'great film editing sequences' or similar. One example that comes up when you do this is something like the shootout scene from Michael Mann's Heat (3mins - 6mins particularly, but it's all brilliant):

This Editing work is due after half-term - exact day confirmed by your Film Language teacher. Don't forget you need to be revising everything for your Film Language assessment too!

Film Language: half-term homework

Your half-term homework is to revise everything we've learned for both Film Language and the MIGRAIN introduction to Media.

You'll find the Film Language PowerPoint here.

The MIGRAIN introduction to Media work is here.

Your Film Language assessment will be in your MEST2 double lesson in the first week back.

Good luck!

Introduction to Media: Narrative

Narrative is a vital key concept for A Level Media.

There are three key narrative theories we need to learn as part of our introduction to AS Media. The notes as a reminder:

Narrative patterns

Linear Pattern: progresses forward towards a resolution - Beginning, Middle and End.

Multi-strand Narrative: popular in broadcast TV (e.g. soaps) and film. Involves more than one narrative running parallel involving different characters and locations.

Documentary narrative: this may revolve round a central theme (e.g. troublesome neighbours) or group of people.

Long-running TV series such as Breaking Bad or The Wire have one major narrative and lots of mini-narratives. The major narrative runs over the series, the mini narrative may be resolved within an episode.

Narrative theories

When studying narrative in Media, we need to be able to identify what the story is and how it is being told. There are three key theories we need to learn and apply:

Enigma and Action Codes - Roland Barthes

Barthes suggested that stories have certain codes that audiences understand and respond to.

ENIGMA codes: control how much we know and help hold our interest. It creates mystery during the narrative.

ACTION codes: events or actions in the story that are important in developing the narrative, e.g. a gun being cocked signifies that a violent scene will follow.

Todorov: equilibrium

Tzvetan Todorov proposed a theory of equilibrium:

Equilibrium: An existing state of harmony

Disequilibrium: Equilibrium is disrupted by an unfortunate event or evil character which leads to a chain of events involving conflict

New Equilibrium: The evil forces are defeated, the conflict is resolved and harmony exists once more

Character theory: Propp

Vladimir Propp came up with a list of stock characters in narratives by examining Russian fairytales. He called them the seven spheres of action:

The Villain: Creates a complication in the narrative

The Donor: Gives the hero something that will help in the resolution

The Helper: Helps the hero in restoring the resolution

The Princess: Has to be saved by the hero

The Dispatcher: Sends the hero on a task

The Hero: Central protagonist, saves the day and restores equilibrium

The False Hero: Rare character that appears to be good but is revealed to have been bad all along

Narrative blog task

1) Choose three clips from YouTube and embed them in your blog - one from film, one from TV and one of your choice.

2) For EACH clip, apply the three narrative theories: Barthes' action and enigma codes; Todorov's equilibrium; Propp's stock characters. Make specific reference to aspects of the clip (as you would in a film language analysis). Remember to highlight media language.

Institution: Is the golden age of TV coming to an end?

In our introduction to Media unit, we have just finished learning about institution and will be moving on to narrative and genre.

On the Guardian website this weekend there was an article suggesting the golden age of TV may be coming to an end - a perfect link to our work on institution and also a good lead in to the key concepts of narrative and genre.

You can find the article here - read the whole thing and also have a look at the comments below. What is YOUR opinion? Is TV in trouble? Are you willing to pay for high quality TV?

Film Language: Cinematography

We have watched some superb clips for cinematography, learning the importance of camera shots, angle and movement.

Being able to confidently analyse camera shots and movement is essential for media textual analysis and may well be required in the MEST1 exam.

Your cinematography homework is as follows:

1) Find the opening sequence to a film of your choice on YouTube. 

2) Embed the video in a blogpost and write an analysis of the cinematography. 

3) Highlight your use of Media language and try to cover camera shots, angles and movement using the terminology we have learned in lessons.

This must be a minimum of 250 words but you may wish to write more than this.

Due: next week (day specified by your Film Language teacher)