Film guidance

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Understand & write about the process of film production, distribution, marketing and exchange as they relate to contemporary media institutions the issues raised by media ownership in contemporary media practice; What types of problems or matters do FILM COMPANIES have to deal with nowadays? the importance of cross media convergence and synergy in production, distribution and marketing How do companies work together, and use different parts of the company, in marketing and promoting films as well as getting them to the audience? the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange; How do companies use new equipment and digital media to make, promote, and show their films to the audience? the significance of proliferation in hardware and content for institutions and audiences; How important is it that there are loads of ways to see films for both media companies and those who watch films? the importance of technological convergence for institutions and audiences; How important is it that things like phones, computers, MP3/4 players, iPads etc can be used for lots of different things, especially for watching films on? the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions; What types of problems do massive film companies have in getting British , or people from other countries, to watch their films?

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Transcript of Film guidance

Page 1: Film  guidance

Understand & write about the process of film production, distribution, marketing and exchange as they relate to contemporary media institutions

• the issues raised by media ownership in contemporary media practice;

• What types of problems or matters do FILM COMPANIES have to deal with nowadays?

• the importance of cross media convergence and synergy in production, distribution and marketing

• How do companies work together, and use different parts of the company, in marketing and promoting films as well as getting them to the audience?

• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;

• How do companies use new equipment and digital media to make, promote, and show their films to the audience?

• the significance of proliferation in hardware and content for institutions and audiences;

• How important is it that there are loads of ways to see films for both media companies and those who watch films?

• the importance of technological convergence for institutions and audiences;

• How important is it that things like phones, computers, MP3/4 players, iPads etc can be used for lots of different things, especially for watching films on?

• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;

• What types of problems do massive film companies have in getting British , or people from other countries, to watch their films?

• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.

• What is it like for you when you go to the cinema, watch DVD’s, download films or watch films in another way?

Page 2: Film  guidance

Institutions & Audiences (Film)Paragraph 1 Be clear about what media industry you have studied and what case studies

you will discuss in relation to the question.

Paragraph 2 Link your response to the question:

‘It is true, to some extent, that media production is dominated by global institutions, such as Time Warner; who sell and distribute their services to national audiences through cross media convergence, both through horizontal and vertical integration. However it is imperative that a media audience is aware of more localised institutions such as Warp; often their products can resonate more effectively as contemporary cultural issues can be better explored by institutions that originate from the same culture that they are presenting to , as specific audience. In addition to this, it is often beneficial for a global audience to experience their true culture, in an 'honest' and informed light. You could argue that this can only be achieved through less reliance of global institutions.’

Paragraph 2 and 3 Debate & weigh up both sides of the argument:

e.g. ‘However’, ‘having said this’, ‘an exception to this is the film……..released in……..’

Paragraph 4 or 5 Conclusion and your own personal view as an audience member (in relation to

the question)

Page 3: Film  guidance

Key words for Film• Production• Distribution• Marketing• Exhibition• Exchange• Audience• Consumption• Institutions• Media Ownership• Conglomerate

• Cross media convergence• Technological convergence• Synergy• New technologies• Hardware• Content• Digital• Media Platforms• Proliferation• Box Office sale – opening

weekend

Page 4: Film  guidance

Case study: Case Study:

Case Study: Case Study:

Page 5: Film  guidance

TV Drama StructureQuestion – circle key wordsNotes – spilt into 4 sections C E M SNo IntroductionParagraph 1• Start to answer the question through C E M S• ‘From the low angle shot of the male character at the start of

the extract, it is clear that the connotations of male representation is…’

• 4 sections 4 paragraphs – Refer back to the question, how are representations constructed – give examples!

• Don’t describe what’s happening• EAA 20, EG 20, T 10

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Editing Sound

Mise-en-scene Camera shot, angle, composition, focus, movement