Wednesday, 17 December 2008

HL for Holidays

HL for holidays:

Set up a new blog:

stcm__mi.blogspot.com

research a band or artist of your choice and explain:
  • who they are
  • genre of music
  • target audience (a, s, l, i)
how they are marketed:
  • who the record label is
  • where you would find their music
  • their image

For Wed 7th January 2009.

Sunday, 14 December 2008

Notes for Students / HL feedback

Thanks Dave!

We should be able to indulge in TVD whilst eating sweeties on Wednesday.

Thanks

Wednesday, 10 December 2008

Lesson 10.12.08 and HL tasks

Absent: PF, SK

Today we:
  • Reviewed what representations are and their siginificance in TVDs
  • Focused on how representations of gender and lifestyle were presented in the previously posted 'Hollyoaks' clip

An extension for last week's HL task was given: by tomorrow (Thursday 11th Dec) morning on the blog please.

HL for Wed 17th December 2008:

1. Watch a Hospital TVD the WHOLE way through eg, Holby City, ER, etc

2. Answer, in detail, the questions provided on the handout ("The conventions of realism") - PF and SK need to collect these from me before Friday, or photocopy from another student.

Please note: no lesson on Monday 15th Dec as I am out. Use this time to update ALL of your Media blogs and sort out your notes. Also start researching the next topic: The Music Industry - find out about how a record label promotes an artist. Pick a band or artist of your choice.

Thursday, 4 December 2008

HL tasks to be completed for 10.12.08

Dear lovely 12 Media Studies student,

You missed last Wednesday’s lesson due to elf action, and I will be out on Monday 8th December. Therefore, you need to complete the following work for Wednesday 10th December:

1. Log on to my blog: www.stcmastvd.blogspot.com

2. Watch the Teen Drama / Hollyoaks clip that I have posted from 1.37- 4.06:



3. Take notes on the 4 areas (Camerawork, Editing, Sound and Mise en Scene) whilst watching the clip 4 or 5 times through

4. Using your textual analysis notes, write a critical deconstruction of the clip to address the following question:

“Discuss the ways in which the extract creates representations of gender and lifestyle.”


You are going for a quality, critical response – like the one on Jal (Skins) in the OCR book.

Either post your response on your blog, or submit a paper copy to me by Wednesday 10th Dec 2008.

This deadline is crucial. Do not fail me. Or else…

With happy smiles and best wishes,

Mr Shaikh

Tuesday, 2 December 2008

A quick intro to TVD and representation

TV Drama Introduction
View SlideShare presentation or Upload your own. (tags: tv drama)


Borrowed from the very kind people at Long Road Media College - Thanks!

Wednesday, 26 November 2008

26.11.08 Lesson and HL

Absent: DW, DB, RD

Today we:
  • Looked at what TV Drama actually consisted of in terms of representations (p.81-86 of OCR book)
  • Deconstructed the 'Skins' extract (Jal in Head's office)
  • Discussed possible representations being created and how the technical areas supported/reinforced these representations

HL for Monday 1st December:
1. Organise and sort your notes out in your folder
2. Read the analysis of the Skins extract on page 102-104 in the OCR book twice.
3. Bring in OCR books and all notes on Mon 1st Dec

Sunday, 23 November 2008

For lesson tomorrow: 241108

Please bring in your OCR books - you will need these for the lesson.

Thanks.

Wednesday, 19 November 2008

19.11.08 Lesson and HL

Absent: DB (handout in your register - please read and complete HL)
       EC (handout emailed to you - read it and work on HL)

Today we looked at:
1.  your "Space Above and Beyond" sound mixes and discussed how sound and music support the camera work and editing to create representations.
2. how mise-en-scene is important in reinforcing diegetic elements to create verisimilitude. This involved reading through detailed information with specific examples for reference.

HL for Monday 24th November: 

Choose an 'unfamiliar' TVD scene - i.e, one that you don't normally watch:
1.Work out a props and setting list for it using the grid provided
2.Take 1 screenshot / still and annotate regarding the connotations and denotations
3.Take 1 screenshot / still and annotate how the lighting works

Use your handout to help you.

Monday, 17 November 2008

FREE CHOCOLATE!


Wanted: Students for 6th Form Open Evening!

Reward: Chocolate! (and a reference for your CV / University application)



I am in need for some year 12 Media students to come in during the evening of Wed 19th November (any time between 6 and 8 pm), just to demonstrate the kind of exciting work that you do in A-level Media Studies.

This will basically involve using a Mac to work on iMOvie, Garageband, your blogs, photoshop or LOgic Pro. You could upload some of your preliminary task, or actually make a start on your main coursework piece. Some of you could come in and work on sound mixing.

Please reply / leave a comment / let me know if you can help out.

Thanks

Mr Shaikh

17.11.08 - Lesson task and HL

Absent: DW, EC, MP

This is what we did today:

1.Complete soundmix and dialogue recording
2.Upload buddy assessment comments onto your buddy's blog
3.Hand in all of your buddy assessment paperwork on Wednesday

Your HL is to complete all of the above by Wednesday 19th November.


On Wednesday, we're going to start looking at mise-en-scene.

Monday, 10 November 2008

10.11.08 Lesson and HL

Absent: PF - here's what we did today - you're buddied up with Rachel D. See notes below.

Lesson task
1.Create soundtrack for given clip. `You will need your soundplans.This lesson only.
2.Volume / sound mixing example

Home Learning:
Marking buddies -  Using your 3 area deconstruction from last week:

a. Watch their clip and take notes on it first.
b. Read their work
c. Using your notes, previous handouts and 'what the spec says', mark your buddy's work.
d. Make notes on their work – ticks for things they've identified, corrections (eg, using wrong term), and also things they have missed out that you spotted.

HL: marking of buddy work completed by Monday 17th November. Bring work in.

Buddies: 
Sam and Freya
Amy and Steff
Elissa and Nikki
Karl>Becky>Mareen(>Karl)
Rachel and Pip
Dan and Michelle
Dave and Katy

Thursday, 6 November 2008

TVD Survey

On the right, you will find a quick survey on the TVDs that you watch.

The first one says 'Heroes', just in case the formatting is weird on your screen.

Please fill in!

Monday, 3 November 2008

031108 - Lesson

Absent - RS, FS - Feedback on your blog.

Today we looked at sound and music for TVD. We planned out a soundmix and then began creating it on Garageband.

HL tasks:

1. Textbook notes from 221008 to be completed if not yet done - see posting below.

2. Watch the TVD clip from 201008. Make sure your soundmix plan is ready for Monday 10th November. You will only have this lesson to complete the task.

Tuesday, 28 October 2008

Watch This: Dead Set on E4!


Great new TVD for your viewing pleasure - it's called 'Dead Set' and is in E4 all this week at 10pm. This is a great case study for TVD and for your Practical Production coursework as it combines a range of filming and editing styles to create reality TV horror!


Link:

http://www.e4.com/deadset


PS - just been going through your framing guides, and I have to say that they are rather superb!

Bonus: First person back to tell me what the final words said in Thursday night's episode of 'Dead Set' wins something amazing!

Discussion: Please reply by leaving a comment to this question:
What do you think of 'Dead Set' so far?

Saturday, 18 October 2008

22.10.08 Lesson

I will be out this lesson.  Therefore I will not see you again until 31st October (after half term hols). You should use the lesson time to prepare the following, but unfortunately the Media Suite will not be available to you.

Lesson task: 
In your A-level Media Textbook, read, understand and take notes on:
P.76 - p.96 - Different types of TV drama and conventions of each. Your notes should be divided into headings, such as 'Teen Drama', 'Crime Drama' etc

Your HL: 
1. Select a 4  minute clip from a TV Drama of your choice - I suggest you record this at home or find an appropriate clip on youtube.
2. Watch the clip 4 times, taking notes on Camerawork, Editing and Sound/Music
3. Write up the analysis in essay form. Title : "Analysis of Camerawork, Editing and Sound/Music in ........".
4. Submit the essay to me either: 
a) on your blog with the chosen clip also posted
b) on paper with a video or DVD copy of the clip you have analysed

Please make sure that you work INDIVIDUALLY on this - no sharing of clips.

Deadline: Monday 31st October

Happy Holidays.

20.10.08 Lesson: Understanding Sound and Music


You will need to refer to your
sound and music notes to complete the following:

1. Watch this clip and take notes on ALL of the sound and music techniques that you expect to be used. List these - each sound or piece of music will form an individual layer.

2. Take notes of timing of cuts and when you expect sound / music to begin. Write these down.

3. Use your power of analysis and interpretation to work out what might be said in the dialogue.

4. In Garageband, create the sound and music for this clip. Then export this to iTunes/CD and import it to your iMovie file, underneath the visual extract.




Once you have done all of this, you will have learned about how sound and music are used in TV Dramas, with a strong focus on how to create and support representation and meaning-making.

You will have actually contributed to the diegisis to ensure that the verisimilitude remains intact.

Wednesday, 15 October 2008

15.10.08 - Lesson and HL task

Absent: RD, EC - Your feedback is on your blog. Please also catch up with notes from the lesson from one of your fellow pupils and complete the following:


Today we looked at the definitions of the sound and music terms (see 'What the Spec says' section).
We then watched 4 minutes of 'Reaper' to identify when and why these techniques were being used.

HL task:

1. Identify how sound and music techniques are used in the 'Hollyoaks' clip posted on this blog below (13.10.08)
2. Read the rest of the 'Editing' handout, understanding the use of special effects.

All work needs to be completed for Monday 20th October - paper copy or blogged.

Monday, 13 October 2008

13.10.08 - Intro to Music and Sound

Today, we briefly looked at this clip from Hollyoaks to determine how soundscapes are created in TV Dramas to support the meaning, representation, characters, themes and action of a particular scene.



Please see 'What the Spec Says' on this blog for a list of sound and music terms that you will need to know.

Saturday, 11 October 2008

15.10.08 Lesson on Sound - Pre-reading

It would be extremely useful for you to read the information on the following page about how sound editing works. Each section also has a link to a video clip example of how the sound editing technique has been applied:

http://classes.yale.edu/film-analysis/htmfiles/sound.htm

Wednesday, 8 October 2008

Editing notes - great site to look at

Check out this site for more examples and definitions of editing techniques:

http://classes.yale.edu/film-analysis/htmfiles/editing.htm

08/10/08 Lesson : Editing and Camerawork


Today we looked at Shameless, Series 1, Episode 5: 37-41 minutes.





This clip had plenty on camerawork and editing.

Your HL task for Monday 13th October:

"Explain how (to what effect) camerawork and editing are used in this excerpt."

Please post your responses on your blog, or provide me with a paper copy if this is not possible.

Monday, 29 September 2008

01/10/08 Lesson task: Heroes clip

This is the clip that I will be using for Wednesday's lesson:



See if you can identify the various camera shots/angles/movement/composition in this one.

Here's what we looked at in lesson relating to the clip:

In this sequence, the camerawork shows the change between what appears to be a typical teen drama to a horror film sequence.
The opening shot uses a focus pull shot to move between a mysterious figure looking at photos in a trophy cabinet to a shallow focus of his clenched fist. This establishes that the mystery figure is there for a sinister purpose and that the sequence is set in a high school.

The locker room scene uses medium shots to establish the cheerleaders in conversation. These also reveal their uniform identity through their clothing. The scene also uses typical over the shoulder shots for the main 2 characters, both cheerleaders. In this case the over the shoulder shots achieve a sense of conflict and argument in their conversation as the camera cuts back and forth between the two.

Camera movement in the whole sequence is effectively used to show the change in pace and atmosphere. For example, most of the shots in the first part are static or slow moving. We see this when Jacqui enters the locker room. However, the pace changes when in the scene the lights go out. The camera then uses a crash zoom from longshot to close up, with a low angle shot on Claire's face to mark this change. Her distress and panic is also marked by the use of this shot, which is typical of the horror genre. It presents her as a potential victim.

Note that this is just an example of how to link techniques to their effects, being specific about the content. You don't have to write about the sequence in order. Instead, try grouping the main examples of camera work (shots, angles, movement,composition and framing) and consider how they create meaning over the sequence.

Lesson Tasks and Independent Learning - Monday 29th Sept


Absent: Dan, Becky

What we did today:
1. The Camera 'Toxic' dance
2. Feedback on Shameless camerawork essays
3. Camera framing, shots, angles and movement guide on the Macs




HL task:
1. Use my blog to locate the 'What the Spec Says: Camerawork" section
2. Create your own camera framing guide using screenshots / screenprints of TV Dramas from the internet and youtube. You must cover all of the techniques as listed in the spec. 

Deadline: Monday 6th October

Media Suite available this week: Wed break and lunch, Fri lunch.

PS: Steff gets the chocolate prize. Freya owes me a tin of beans for her ridiculous response.

Sunday, 28 September 2008

So, who is using this site?

Just to see who is using this page.....

First one to see me and say 'Sylar likes mushy peas' will get some choc.

Last one to see me and say 'Sylar likes mushy peas' will have a forfeit.

Happy viewings.

PS - New series of 'Heroes' on from this Wed on BBC2 - watch it!

Sunday, 21 September 2008

What the Exam Spec says (You NEED to know this)

Section A: Textual Analysis and Representation

Candidates should be prepared to analyse and discuss the following: technical aspects of the
language and conventions of the moving image medium, in relation to the unseen moving image
extract, as appropriate to the genre and extract specified, in order to discuss the sequence’s
representation of individuals, groups, events or places:

Camera Shots, Angle, Movement and Composition
• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial
shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.

Editing
Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting,
parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow
motion, ellipsis and expansion of time, post-production, visual effects.

Sound
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound
motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound
perspective.
• Soundtrack: score, incidental music, themes and stings, ambient sound.

Mise-en-Scène
• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design.


It is acknowledged that not every one of the above technical areas will feature in equal measure in
any given extract. Therefore examiners are instructed to bear this in mind when marking the
candidates’ answers and will not expect each aspect will be covered in the same degree of detail,
but as appropriate to the extract provided and to the discussion of representation.

Candidates should be prepared to discuss, in response to the question, how these technical
elements create specific representations of individuals, groups, events or places and help to
articulate specific messages and values that have social significance. Particular areas of
representation that may be chosen are:

• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity


TV Drama websites - valuable resources

In order to get your preparation for this examunit started, have a look at some of the links below:

www.bbc.co.uk/drama
www.bbc.co.uk/casualty
www.bbc.co.uk/holbycit
bbc.co.uk/doctorwho
bbc.co.uk/spooks
bbc.co.uk/iplayer
hannel4.com/entertainment/drama
channel4.com/4od
itv.com/drama
dubplatedrama.tv

Intro to TV Drama Unit


Unit G322: Key Media Concepts (TV Drama)











Textual Analysis And Representation

Introduction To TV Drama


Aims/Objectives

1.Introduce students to the concepts of TV drama.
2.Explain the exam format.
3.Introduce methods of working through blogging

What We Will Be Studying

The purpose of Section A of the Unit G322: Key Media Concepts paper is to assess your media textual analysis skills and your understanding of the concept of representation using a short unseen moving image extract (AO1, AO2).

The examination is two hours (including 30 minutes for viewing and making notes on the moving image extract) and you are required to answer two compulsory questions. The unit is marked out of a total of 100, with each question marked out of 50.

There are two sections to this paper but in these lessons we will be focusing on Section A. The two sections of the paper are:

Section A: Textual Analysis and Representation (50 marks)
Section B: Institutions and Audiences (50 marks)

Section A: Textual Analysis and Representation

In the exam you will watch an extract from an unseen TV Drama, which will be approximately four to five minutes long. The extract will be taken from a contemporary British one-off or series or serial drama programme. You will then need to demonstrate textual analysis of all of the following technical areas of moving image language and conventions in relation to the unseen extract:

Camera Angle, Shot, Movement and Composition
Mise-en-Scène
Editing
Sound

The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focusing on the creation of representations of specific social types, groups, events or places within the extract.

Genre
Genre is a French word for ‘Type’. ‘Genre’ is a critical tool that helps us study media texts, producers, and audience responses to texts by dividing them into categories based on common elements.

Generic Characteristics
The aim of genre is to classify media texts based on shared characteristics. These characteristics, which are known as generic characteristics or generic elements, are the ingredients that make up a particular genre. These elements fall into the following categories:
1.Typical Mise-en-scène/Visual style (iconography, props, set design, lighting, temporal and geographic location, costume, shot types, camera angles, special effects).
2.Typical types of Narrative (story, plots, historical setting, set pieces).
3.Themes (the underlying messages, ideas, concepts the story deals with).
4.Generic Types/Stock Characters, i.e. typical character types (do typical male/female roles exist, archetypes?).

TV Drama Sub-genres
A ‘sub-genre’ is where genres are subdivided into even more specific categories. TV Drama sub-genres include:
Teen Dramas: These depend entirely on the target audience empathising with a range of authentic characters and age-specific situations and anxieties, e.g. Skins.
Soap Operas: These never end, convey a sense of real time and depend entirely on audiences accepting them as ’socially realist’, e.g. Coronation Street.
Costume Dramas: these are often intertexually linked to ‘classic’ novels or plays and offer a set of pleasers that are very different to dramas set in our own world contexts and times, e.g. Sharpe.
Medical/Hospital Dramas: These interplay our vicarious pleasure at witnessing trauma and suffering on the part of patients and relatives with a set of staff narratives that deploy sop opera conventions, e.g. Holby City.
Police/Crime Dramas: These work in the same way as medical/hospital dramas but we can substitute the health context for representation of criminals and victims, e.g. The Bill.
Docu-dramas: these are set apart from the other by their attempts to dramatise significant real events, which usually have human interest, celebrity focus or political significance, e.g. Hamburg Cell.



Narrative Structure
The term ‘Narrative‘ refers to both a text’s story line and the techniques used to tell the story.

Enigma
The word ‘Enigma’ means ‘a problem to be solved’ and dramas are all about solving problems.

According to Cook (1985), the standard narrative structure of a drama should have “Linearity of cause and effect within an overall trajectory of enigma resolution”.

This sounds very complicated but basically it means that stories should have a beginning, a middle and an end (linearity), in which something happens (cause and effect), causing a series of problems (enigmas) which to be solved (resolution).

Tzvetan Todorov
In ‘The Grammar of Narrative’, Tzvetan Todorov1► developed a theory of narrative structure, which explains how stories work; basically they have a beginning, middle and end (usually, but not necessarily in that order).

1.Equilibrium
2.Disruption
3.Disequalibrium
4.Resolution
5.New Equilibrium

Stage 1: Equilibrium
Equilibrium means balance, so the first part of a story establishes what is normal for the world the story takes place in. It introduces the audience to the main characters, creates a believable sense of a time and place for the story to take place in and sets up the story.

Stage 2: Disruption
In order to create drama, this equilibrium needs to be disrupted by an outside force, often creating an enigma. This disruption has to be fought against in order to return to a state of normality (equilibrium).

Stage 3: Disequilbirim
The protagonist(s) recognise that a disruption has occurred and must work to overcome the disruption, solve the enigma and return to a state of normality. Goals are set in order to achieve a return to equilibrium.

Stage 4: Resolution
It is only possible to re-create equilibrium through action directed against the disruption so obstacles are overcome in order to achieve a return to equilibrium. The disruption is resolved, the damage is repaired, the enigma is solved or the enemy is defeated.

Stage 5: Establishment Of A New Equilibrium
Everything cannot return to normal however. In the process of working to overcome the disruption the protagonist(s) has/have changed, grown and developed as a character(s). A new state of normality is established but things can never be quite the way they were. Often the change is for the better.

Stock Character Types
Different genres all have specific stock character types but all narratives feature standard character types that are needed to tell a story.

Vladimir Propp
Vladimir Propp► in his 1928 book The Morphology Of The Folktale2 studied the narrative structure of Russian Folk Tales. Propp concluded that regardless of the individual differences in terms of plot, characters and settings, such narratives would share common structural features. These features included the functions of particular character types and these character types can be adapted to study any narrative, not just those of fairy tales. Propp’s key character types are:
1.The Villain: the hero’s antagonist who causes a disruption.
2.The Donor: Someone who provides the hero with an essential object.
3.The Helper: Someone who helps the hero.
4.The Princess: The prize for the hero (not necessarily a person and may be an object).
5.Her Father: The person who rewards the hero.
6.The Dispatcher: May set the hero a task.
7.The Hero: the protagonist who fights against the disruption.
8.The False Hero: a deceptive character.

Verisimilitude And Diegesis
TV Dramas need to create a sense of taking place is a believable, realistic world. The sense of the fictional place and time the narrative takes place in is referred to as the narrative’s diegesis.

The diegetic world the narrative takes place in also needs to appear realistic or believable. The believability of the diegesis is referred to as its verisimilitude (literally – the quality of appearing to be true or real). For a story to engage us it must appear real to us as we watch it (the diegetic effect).

The story must therefore have verisimilitude – following the rules of continuity, temporal (time) and spatial (space) coherence etc.

Creating a believable environment in which the action can take place, is especially important in historical dramas, such as the ◄BBC/HBO Co-production Rome (2005), or science fiction dramas such as Dr. Who where a believable world must be created entirely from scratch.

Action Codes
According to Tilley (1991) ‘Action Codes’ are a short hand way of advancing a narrative. Action codes are part of the ‘Continuity Editing System’ and are used to signal to the audience that something is about to happen, helping the audience to predict what is going to happen next. According to Tilley, for example, the packing of a suitcase ‘signals’ confrontation, panic or escape in a Thriller.

Action Codes are, therefore, a device by which a resolution is produced through the action – fight scene, gun battle, car chase etc. You can see what is going to happen (the resolution) by visual codes presented. Narratives can be shown and developed through the action (often on the part of the protagonist).