Staging your production:
-Just as a stage production will need a set and props etc so must a studio production.
-Transforming it from a grey shell into whatever world we are creating.
'Creatives'- ets, props and costumes and CG.
-These are often freelancers employed for their expertise on a production.
-The production team will work alongside the freelancers.
Creatives- Who are they?
-Set designers
-Costume designers
-Prop Designers
-Graphic/ CG
-Music
-Promos (in our case in house!)
Briefing Designers
-The producer/ director responsible needs to have a clear idea of what they want their creatives to give them.
Spend time developing an outline of your needs and the overall style you wish to achieve in terms of colour, style and functionality- BRANDING.
-This will be framed by:
-Timescale
-Budget
-Genre/ style
-Content
-Number of artists/ contributors.
Commissioning Creatives:
-Who are they
-Our Promos Team and Rochester UCA- Design for Theatre, Film and Performance
-For music- need y find either a composer or copyright free music- WORD OF WARNING- START EARLY
Promos Team- Music Stings and Graphics (GFX):
-Similarly, the stings music and graphics used- from music to ambient sound and titles to stings and streamlines- should fit this style template
Consider:
-Colour Palette
-Tone
-Audience
Tuesday, 30 January 2018
Presentation: Research & Development: Finding and Organising
-Research and development- pre-production
-Production Meeting- setting and agreeing initial goals.
Research: Finding people
Typically you will need to find people to fulfil the following roles:
-Presenters/ actors
-Contributors
-Audience
-Artists/ guests
Research
Casting Talent
-These are our performers- presenters, reporters, contributors- anyone on screen we have cast.
-They may or may not be paid or have a contract.
Looking For?
-Relevant Skills/ experience
-Performance
-Charisma/ engaging character etc
-'Look' appropriate to brand/ style
-Representation and relevance to audience
Talent
-Own Contacts
Auditions
-Advertisements- calling for new talent to come forward in relevant press/ online
-Showreels- similarly can ask for shows reals to be seen in, or my request directly/ through agent.
Agents
-Often established or even new talent have agents managing their interests.
-Agents may represent 'experts'.
-Need to negotiate contract and payments with agent (take percentage).
-Scouting- visit talent performing elsewhere e.g. comedians or actors, check out other programming.
-Talent Websites/ journals.
Issues- Scouting
-You can look for new talent just about anywhere- theatres, pub performers, the internet etc.
-It will give you the opportunity to find new talent (may be cheaper- no agent!)
-Background research- get a few names and find out when you can see theme- ask around.
Finding Audiences:
As previously discussed, you need to decide what purpose your audience serves-
-Passive
-Active
-Representative.
Accuracy:
-Keep good records throughout pre-production process.
-Essential that all information accurate and correct.
-Production Meeting- setting and agreeing initial goals.
Research: Finding people
Typically you will need to find people to fulfil the following roles:
-Presenters/ actors
-Contributors
-Audience
-Artists/ guests
Research
Casting Talent
-These are our performers- presenters, reporters, contributors- anyone on screen we have cast.
-They may or may not be paid or have a contract.
Looking For?
-Relevant Skills/ experience
-Performance
-Charisma/ engaging character etc
-'Look' appropriate to brand/ style
-Representation and relevance to audience
Talent
-Own Contacts
Auditions
-Advertisements- calling for new talent to come forward in relevant press/ online
-Showreels- similarly can ask for shows reals to be seen in, or my request directly/ through agent.
Agents
-Often established or even new talent have agents managing their interests.
-Agents may represent 'experts'.
-Need to negotiate contract and payments with agent (take percentage).
-Scouting- visit talent performing elsewhere e.g. comedians or actors, check out other programming.
-Talent Websites/ journals.
Issues- Scouting
-You can look for new talent just about anywhere- theatres, pub performers, the internet etc.
-It will give you the opportunity to find new talent (may be cheaper- no agent!)
-Background research- get a few names and find out when you can see theme- ask around.
Finding Audiences:
As previously discussed, you need to decide what purpose your audience serves-
-Passive
-Active
-Representative.
Accuracy:
-Keep good records throughout pre-production process.
-Essential that all information accurate and correct.
Saturday, 27 January 2018
The Job Revealed
Our jobs have been revealed to us.
My job is:
Promos Camera Assistant and Sound/ Behind the Scenes Camera Assistant and Sound.
I'm very happy with this as it was my first choice that I'd applied for.
It was also noted during the announcement of my job that one of my sound duties would be referring to the producers on creating small pieces of music to use as 'stings' for the production which I will happily take on.
With the announcements of the jobs finished, we all started to discuss what should be researched individually. We were shown the same pitch that was chosen for the production 'Steal The Style' which gave an idea as to what form the show would take. I also personally took note of the music examples that were shown so I could take a further look into that.
My initial research will consist of:
-Looking at Fashion sites/ magazines/ video to gain greater knowledge of the subject matter.
-Look at the style, get a better idea as to what kind of music and sound is incorporated into these.
-Research further into the specifics of what my job entails.
My job is:
Promos Camera Assistant and Sound/ Behind the Scenes Camera Assistant and Sound.
I'm very happy with this as it was my first choice that I'd applied for.
It was also noted during the announcement of my job that one of my sound duties would be referring to the producers on creating small pieces of music to use as 'stings' for the production which I will happily take on.
With the announcements of the jobs finished, we all started to discuss what should be researched individually. We were shown the same pitch that was chosen for the production 'Steal The Style' which gave an idea as to what form the show would take. I also personally took note of the music examples that were shown so I could take a further look into that.
My initial research will consist of:
-Looking at Fashion sites/ magazines/ video to gain greater knowledge of the subject matter.
-Look at the style, get a better idea as to what kind of music and sound is incorporated into these.
-Research further into the specifics of what my job entails.
Friday, 26 January 2018
The 'Job Interview'
My job interview actually went a lot better than I had anticipated.
The primary focus was on my first choice for the job of Promos mare Assistant and Sound/ Behind The Scenes Camera Assistant and Sound. As soon as I went into the interview I was asked about my interests in the sound department and the interviewees were glad to hear that there was somebody taking interest in this particular aspect of production. I explained my previous experiences with sound during previous project both for uni and personal and they seemed to be happy with what I had to say.
A few questions were asked involving what I would do during situations such as monitoring sound and who I would refer to if I felt there was something wrong with my answers appearing to be met with positive remarks.
I was also asked about my skills with a camera and it was decided that I was competent enough to easily find my way around the equipment.
Hopefully this will land me with the job.
The primary focus was on my first choice for the job of Promos mare Assistant and Sound/ Behind The Scenes Camera Assistant and Sound. As soon as I went into the interview I was asked about my interests in the sound department and the interviewees were glad to hear that there was somebody taking interest in this particular aspect of production. I explained my previous experiences with sound during previous project both for uni and personal and they seemed to be happy with what I had to say.
A few questions were asked involving what I would do during situations such as monitoring sound and who I would refer to if I felt there was something wrong with my answers appearing to be met with positive remarks.
I was also asked about my skills with a camera and it was decided that I was competent enough to easily find my way around the equipment.
Hopefully this will land me with the job.
Tuesday, 23 January 2018
Chosen Idea: Steal The Style & Studio Jobs
The idea was finally revealed after a long wait. The chosen idea has been named as 'Steal The Style'. Judging from the name this idea will be very fashion orientated which is something I have not much expertise in but will be interesting to work on.
We don't really know too much about the overall idea or structure just yet but I imagine that this will be explained to us in further detail soon. I congratulate the students who gave this pitch as, from what I had seen, the idea had been very well developed, particularly as they had constructed a miniature set to give a more clear and physical representation of their ideas.
Soon after the different jobs were revealed that we could sign up for with a first and second choice:
1st Choice:
Promos Camera Asst & Sound/ Behind the Scenes Asst and Sound
2nd Choice:
Promos Camera/ Behind the Scenes Camera
I chose my first choice because of my interest in sound and my previous experiences with my various projects for both uni and personal projects. I also feel that I am competent with a camera and know my way around one, being easily able to use one and assist with ease.
Our 'job interviews' are scheduled for a couple of days from now so I must make sure I make a suitable portfolio and make sure that I am fully prepared.
We don't really know too much about the overall idea or structure just yet but I imagine that this will be explained to us in further detail soon. I congratulate the students who gave this pitch as, from what I had seen, the idea had been very well developed, particularly as they had constructed a miniature set to give a more clear and physical representation of their ideas.
Soon after the different jobs were revealed that we could sign up for with a first and second choice:
1st Choice:
Promos Camera Asst & Sound/ Behind the Scenes Asst and Sound
2nd Choice:
Promos Camera/ Behind the Scenes Camera
I chose my first choice because of my interest in sound and my previous experiences with my various projects for both uni and personal projects. I also feel that I am competent with a camera and know my way around one, being easily able to use one and assist with ease.
Our 'job interviews' are scheduled for a couple of days from now so I must make sure I make a suitable portfolio and make sure that I am fully prepared.
Pitch Meeting and Thoughts
Today we presented our idea pitch. unfortunately I feel that it didn't go as well as we had hoped due to a lack of confidence.
Firstly there were some technical problems involving the file which contained our presentation which wasn't't showing up due to issues with the formatting of hard-drives. This was probably instrumental in lowering our confidence as this had already wasted the time of those we were pitching to.
Our overall delivery wasn't particularly confident either, with myself constantly stuttering whenever I wasn't relying on the script and we were often not to clear and tended to mumble throughout our presentation.
However, we did get our points across and gave a clear idea of what we were proposing. We showed that we had thought about aspects such as possible casting, staging and lighting as well as already getting contacts that could feature in the show. Meaning, although our delivery wasn't particularly confident, our idea would have seemed otherwise.
The overall feedback to the pitch was that it felt more like it should be a documentary rather than a live show. I was inclined to agree as the idea of featuring how extraordinary people can overcome their disabilities does seem like a more serious subject which has more of a documentary feel about it and would not necessarily fit the more up-beat feel of a live show.
Another criticism was that the type of show we proposed, likening it to chat shows such as Graham Norton, did not properly suit the subject matter. Doing the presentation I briefly referenced Piers Morgan's Life Stories while explaining the moodier lighting that we had in mind for our show and it was felt that we should have built the show more in that style toggle it a more serious tone.
More development was also needed as well such as getting more contacts rather than just relying and hoping that the one we had acquired would definitely be able to do the show. There also needed to be more of physical representation of the show's structure which we had discussed during our development of our idea but failed to mention it properly during the presentation.
Overall, I feel that we did a good enough job with our development and we were able to competently produce and perform our pitch. However, I do doubt that our idea will be chosen due to a lack of development.
Our Pitch Presentation
Here are screenshots of the presentation that both Connor and I worked on for our pitch. There are some notes on the last slide after we were given some feedback from the tutor for things to think about in more detail.
Friday, 19 January 2018
Presentation: Critical Perspectives- Dissertations 1
Today’s Lecture Briefing:
Matching your professional interests with an academic topic and approach.
Outlining a selection of the most essential academic methods and theoretical frameworks in Film and TV Studies.
Giving an idea of the shape the Dissertation itself will take, and what the Proposal needs to do to prepare you in choosing a question and structuring an academic argument.
Today’s Seminar:
In groups discuss each of you potential choice for an academic topic, and the primary (film, TV) and secondary sources (authors) you wish to work with.
During the seminar I will go around and speak to your groups and/or individually to assess:
– what questions you are interested in addressing?
– How you would go about selecting authors and case studies for the chapters?
Deadlines Ahead
Draft Submission date:
Friday 23rd March 2018
Final Submission date:
Friday 11th May 2018
We will develop your topic chosen across the term by helping you:
• To explore your useful question, hypothesis and the ‘intellectual conflict’ you wish to focus on
• On how to argue a case and support it with key evidence
• Inves2gate and critically unpack the information you collect
You already have good experience with Film/TV/Media Studies courses on theory and/or art backgrounds so the proposals can build on a solid foundation of academic substance in more depth, which is excellent!
You’re driven to be creative filmmakers, producers, writers = a temptation to see theory or academic study as merely a threat to your hands-on practice but theory, analysis, critical thinking, writng arguments is not simply baggage or a burden, but all help to enhance your creativity: for producing storytelling, pleasurable or controversial artworks, kinds of cultural expression, etc.
Some of you will feel more confident than others – this is normal!
But we really need to get you thinking on the Dissertation Proposal now: from the planning to researching and what you need to be doing across them term!![]()
Matching Interests with Academia
Outlining a selection of the most essential academic methods and theoretical frameworks in Film and TV Studies.
Giving an idea of the shape the Dissertation itself will take, and what the Proposal needs to do to prepare you in choosing a question and structuring an academic argument.
Today’s Seminar:
In groups discuss each of you potential choice for an academic topic, and the primary (film, TV) and secondary sources (authors) you wish to work with.
During the seminar I will go around and speak to your groups and/or individually to assess:
– what questions you are interested in addressing?
– How you would go about selecting authors and case studies for the chapters?
Deadlines Ahead
Draft Submission date:
Friday 23rd March 2018
Final Submission date:
Friday 11th May 2018
We will develop your topic chosen across the term by helping you:
• To explore your useful question, hypothesis and the ‘intellectual conflict’ you wish to focus on
• On how to argue a case and support it with key evidence
• Inves2gate and critically unpack the information you collect
You already have good experience with Film/TV/Media Studies courses on theory and/or art backgrounds so the proposals can build on a solid foundation of academic substance in more depth, which is excellent!
You’re driven to be creative filmmakers, producers, writers = a temptation to see theory or academic study as merely a threat to your hands-on practice but theory, analysis, critical thinking, writng arguments is not simply baggage or a burden, but all help to enhance your creativity: for producing storytelling, pleasurable or controversial artworks, kinds of cultural expression, etc.
Some of you will feel more confident than others – this is normal!
But we really need to get you thinking on the Dissertation Proposal now: from the planning to researching and what you need to be doing across them term!
Matching Interests with Academia
Already familiar – in Television Studies:
journalism, literary/dramatic criticism and the social sciences.
• This is not meant to be a prescriptive list, but can be mixed and matched depending on your question and case studies, and also there is more not necessarily covered here that may be indirectly linked....
Matching Interests with Academia
• Writing
• Production
• Editing
• Set Design
• Costume
• Directing
• Acting
• Cinematography
• Documentary
• Visual effects
• Animation
• Criticism
• Sound
• Lighting
Formalism – the elements that make up and structure the films ‘form’
Style:
• Mise-en-scene (performance, colour, lighting, set design and props, costumes/make-up)
Editing:
• Continuity Editing (Axis of Action, shot-reverse-shot, Classical Hollywood – Alfred Hitchcock)
• Discontinuity Editing (Soviet Montage – Sergei Eisenstein)
• Art House Cinema (Jean Luc Goddard)
• Avant-Garde/Experimental (Stan Brakhage)
Cinematography
• Framing
• Composition
• Frame Rate
• Narration (and Narratology - Bordwell, David (1985): Narration in the Fiction Film):
• Story and Plot
• Characterisation
Sound - Michel Chion
• This is not meant to be a prescriptive list, but can be mixed and matched depending on your question and case studies, and also there is more not necessarily covered here that may be indirectly linked....
Matching Interests with Academia
• Writing
• Production
• Editing
• Set Design
• Costume
• Directing
• Acting
• Cinematography
• Documentary
• Visual effects
• Animation
• Criticism
• Sound
• Lighting
Formalism – the elements that make up and structure the films ‘form’
Style:
• Mise-en-scene (performance, colour, lighting, set design and props, costumes/make-up)
Editing:
• Continuity Editing (Axis of Action, shot-reverse-shot, Classical Hollywood – Alfred Hitchcock)
• Discontinuity Editing (Soviet Montage – Sergei Eisenstein)
• Art House Cinema (Jean Luc Goddard)
• Avant-Garde/Experimental (Stan Brakhage)
Cinematography
• Framing
• Composition
• Frame Rate
• Narration (and Narratology - Bordwell, David (1985): Narration in the Fiction Film):
• Story and Plot
• Characterisation
Sound - Michel Chion
Bordwell, David. Film Art: An Introduction
Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp. 37-47
Realism and Social Realism
• Documentary Modes (Poetic, Expository, Observational, Participatory, Reflexive, Performative).
• Poetic realism (e.g. deep-focus photography long takes in Citizen Kane)
• Neo-Realism (e.g. non-professional actors, documentary affects, handheld cameras, no editing, natural sets in Bicycle Thieves)
• British Realist (e.g. New Wave 1959-63)
• Social Realism (e.g. social problem films Ken Loach, Mike Leigh)
• Sociology of Urban Spaces, Class Systems, etc.
André Bazin, ‘Introduction’ and ‘The Ontology of the Photographic Image’ and ‘The Myth of Total Cinema’, in What is Cinema? Volume One (San Francisco, CA: University of California Press, 1967), pp.1-17.
Julia Hallam and Margaret Marshment, ‘Space, place and identity: re- viewing social realism’, in Realism and Popular Cinema (Manchester: Manchester University Press, 2000), pp.185- 219.
Auteurship
• Francois Truffaut (Auteur policy, 400 Blows)
• Andrew Sarris (Auteur Theory, three concentric circles of: technique, personal style and interior meaning versus meqeur-en-scene)
• Roland Barthes (Death of the Auteur - viewer as author)
• Auteur structuralism (Wollen – author as unconsciously channelling social conventions
• Post-Auteur – as a head of collaboration with actors, producers, screenwriter, branding, etc.)
Andrew Sarris. ‘Notes on the Auteur Theory in 1962’ in Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 561-4
Christen Ethrington-Wright and Ruth Doughty, ‘Auteur Theory’ in Understanding Film Theory (London: Palgrave MacMillan, 2011), pp. 3-20
Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp. 37-47
Realism and Social Realism
• Documentary Modes (Poetic, Expository, Observational, Participatory, Reflexive, Performative).
• Poetic realism (e.g. deep-focus photography long takes in Citizen Kane)
• Neo-Realism (e.g. non-professional actors, documentary affects, handheld cameras, no editing, natural sets in Bicycle Thieves)
• British Realist (e.g. New Wave 1959-63)
• Social Realism (e.g. social problem films Ken Loach, Mike Leigh)
• Sociology of Urban Spaces, Class Systems, etc.
André Bazin, ‘Introduction’ and ‘The Ontology of the Photographic Image’ and ‘The Myth of Total Cinema’, in What is Cinema? Volume One (San Francisco, CA: University of California Press, 1967), pp.1-17.
Julia Hallam and Margaret Marshment, ‘Space, place and identity: re- viewing social realism’, in Realism and Popular Cinema (Manchester: Manchester University Press, 2000), pp.185- 219.
Auteurship
• Francois Truffaut (Auteur policy, 400 Blows)
• Andrew Sarris (Auteur Theory, three concentric circles of: technique, personal style and interior meaning versus meqeur-en-scene)
• Roland Barthes (Death of the Auteur - viewer as author)
• Auteur structuralism (Wollen – author as unconsciously channelling social conventions
• Post-Auteur – as a head of collaboration with actors, producers, screenwriter, branding, etc.)
Andrew Sarris. ‘Notes on the Auteur Theory in 1962’ in Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 561-4
Christen Ethrington-Wright and Ruth Doughty, ‘Auteur Theory’ in Understanding Film Theory (London: Palgrave MacMillan, 2011), pp. 3-20
Genre Theory
• Formal elements:
• Formal elements:
• Iconography (costume, staging and starts)
• Tone (lighting, music, cinematography)
• Narrative elements
• Plot
• Themes
• Archetypes
• Rick Altman: Semantics (vocabulary or ‘ingredients’ and Syntax (Structure or grammar)
• Thomas Schatz: Social Order (Westerns, Ac2on) versus Social Integration (Musicals Romance)
• Steve Neal: Difference and Repe22on of Formulas, Familiarly and Innovation
• Categories (e.g. Hollywood: Westerns, Musicals, Gangster, Swashbucklers, Melodrama, Ac2on-Adventure)
• Subgenres and Hybridity
• Canon formation, Revisionism and Cycles
• Allegory and Metaphor
• Industry and Audience
Andrew Tudor, ‘Cri2cal Method: Genre’ in Joanne Hollows, Peter Hutchings and Mark Jancovich (eds.), The Film Studies Reader (London: Arnold, 2000), pp.95-98.
Steve Neal, Hollywood Genres
National Cinemas, Art Movements, Transnational Cinema
• British NewWave(1959-63–BillyLiar)
• French Impressionismand Surrealism(1918-1930–Un Chien Andalou)
• SovietMontage(1924-30–Battleship Potemkin)
• Italian Neorealism(1942-1951–BicycleThieves)
• GermanExpressionism(1919-1926–The Cabinet of Dr Cagliari)
• French New Wave 1959-1964-The 400 Blows)
• New German Cinema (1962-82-The Marriage of Maria Braun)
• New Mexican Cinema(1990s- present- AmoresPerros)
• New Hollywood and Independent American Cinema (1970s-1980s, Taxi Driver, ‘Indie Pictures’, Move Brats)
• HongKongCinema(1980s-1990s)
• IranianNewWave...
Transnational Cinema: where does the money hail from? The director? The Story?...
Andrew Higson, ‘The Concept of National Cinema’, Screen (1989) 30 (4), pp. 36-47
Stephen Cross, ‘Re-conceptualizing National Cinema/s’, Quarterly Review of Film and Video (1993) 14 (3), pp.49-67
Spectatorship
• Psychoanalysis
– Male Gaze in Vertigo (Alfred Hitchcock, 1958) - Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen (1975), pp. 6-18 (reprinted in
– Phallic symbolism in Slasher films (Carol Clover...
Barbara Creed, ‘Film and Psychoanalysis,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 77–91
Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 833-45)
• Cognitivism
– Recognition, Alignment and Allegiance of Characterisation in Mulholland Drive (David Lynch, 2001) – Murray Smith, Engaging Characters
Richard Rushton and Gary Bernson, ‘The cognitive turn: Narrative comprehension and character identification’ in What is Film Theory? (Maidenhead: Open UP/McGraw Hill: 2010) , pp. 156-176.
David Bordwell, ‘A Case for Cognitivism’, Iris, (1989). 9, pp. 11-40.
Feminism
• Male Gaze in Vertigo...
• Posteminist and Consumer ‘Choice’ of branding, beautification and neoliberal exploration in New Femininities: Post-feminism, Neoliberalism and Subjectivity.
• Androcentrism–Simonde Behaviour, Mary Ann Doane, Film and the masquerade
Patricia White, ‘Feminism and Film,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 117–35
Representation
• Class
• Sexuality
• Gender
• Masculinity
Post colonialism, Multiculturalism, Race and Ethnicity
• Orientalism – Edward Said
• Third Cinema versus Eurocentrism • Racial Gaze
• Posi2ve and Nega2ve Stereotypes
Robert Stam, Film Theory: An Introduc+on (Malden: Blackwell, 2000), pp. 267–80
Digital Cinema
• Manipulation of Spaces and Early Effects – Melies/Lumiere Bros.
• Perceptual Realism and Photorealism
• Persuasion Tactics and Para-texts
• Remediation
• Mo2on Capture and Performance
• Humanness and technology
• Codes and Contestable mapping
• Trans-mediality
• Participatory Culture and Ci2zen Journalism
• Convergence and Spreadable Media
Lev Manovich, ‘What is Digital Cinema?’, in The Visual Culture Reader, 2nd edn. (London; New York: Routledge, 1998), pp. 405–16
Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction Through the Senses (Abingdon and New York: Routledge, 2010), pp. 170-187
As your tutor I will supervise your dissertation, helping to:
• Guide your studies
• Advise on the intellectual context of your approach
• Clarify and organise your ideas
• Plan and structure your work
• Tone (lighting, music, cinematography)
• Narrative elements
• Plot
• Themes
• Archetypes
• Rick Altman: Semantics (vocabulary or ‘ingredients’ and Syntax (Structure or grammar)
• Thomas Schatz: Social Order (Westerns, Ac2on) versus Social Integration (Musicals Romance)
• Steve Neal: Difference and Repe22on of Formulas, Familiarly and Innovation
• Categories (e.g. Hollywood: Westerns, Musicals, Gangster, Swashbucklers, Melodrama, Ac2on-Adventure)
• Subgenres and Hybridity
• Canon formation, Revisionism and Cycles
• Allegory and Metaphor
• Industry and Audience
Andrew Tudor, ‘Cri2cal Method: Genre’ in Joanne Hollows, Peter Hutchings and Mark Jancovich (eds.), The Film Studies Reader (London: Arnold, 2000), pp.95-98.
Steve Neal, Hollywood Genres
National Cinemas, Art Movements, Transnational Cinema
• British NewWave(1959-63–BillyLiar)
• French Impressionismand Surrealism(1918-1930–Un Chien Andalou)
• SovietMontage(1924-30–Battleship Potemkin)
• Italian Neorealism(1942-1951–BicycleThieves)
• GermanExpressionism(1919-1926–The Cabinet of Dr Cagliari)
• French New Wave 1959-1964-The 400 Blows)
• New German Cinema (1962-82-The Marriage of Maria Braun)
• New Mexican Cinema(1990s- present- AmoresPerros)
• New Hollywood and Independent American Cinema (1970s-1980s, Taxi Driver, ‘Indie Pictures’, Move Brats)
• HongKongCinema(1980s-1990s)
• IranianNewWave...
Transnational Cinema: where does the money hail from? The director? The Story?...
Andrew Higson, ‘The Concept of National Cinema’, Screen (1989) 30 (4), pp. 36-47
Stephen Cross, ‘Re-conceptualizing National Cinema/s’, Quarterly Review of Film and Video (1993) 14 (3), pp.49-67
Spectatorship
• Psychoanalysis
– Male Gaze in Vertigo (Alfred Hitchcock, 1958) - Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen (1975), pp. 6-18 (reprinted in
– Phallic symbolism in Slasher films (Carol Clover...
Barbara Creed, ‘Film and Psychoanalysis,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 77–91
Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 833-45)
• Cognitivism
– Recognition, Alignment and Allegiance of Characterisation in Mulholland Drive (David Lynch, 2001) – Murray Smith, Engaging Characters
Richard Rushton and Gary Bernson, ‘The cognitive turn: Narrative comprehension and character identification’ in What is Film Theory? (Maidenhead: Open UP/McGraw Hill: 2010) , pp. 156-176.
David Bordwell, ‘A Case for Cognitivism’, Iris, (1989). 9, pp. 11-40.
Feminism
• Male Gaze in Vertigo...
• Posteminist and Consumer ‘Choice’ of branding, beautification and neoliberal exploration in New Femininities: Post-feminism, Neoliberalism and Subjectivity.
• Androcentrism–Simonde Behaviour, Mary Ann Doane, Film and the masquerade
Patricia White, ‘Feminism and Film,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 117–35
Representation
• Class
• Sexuality
• Gender
• Masculinity
Post colonialism, Multiculturalism, Race and Ethnicity
• Orientalism – Edward Said
• Third Cinema versus Eurocentrism • Racial Gaze
• Posi2ve and Nega2ve Stereotypes
Robert Stam, Film Theory: An Introduc+on (Malden: Blackwell, 2000), pp. 267–80
Digital Cinema
• Manipulation of Spaces and Early Effects – Melies/Lumiere Bros.
• Perceptual Realism and Photorealism
• Persuasion Tactics and Para-texts
• Remediation
• Mo2on Capture and Performance
• Humanness and technology
• Codes and Contestable mapping
• Trans-mediality
• Participatory Culture and Ci2zen Journalism
• Convergence and Spreadable Media
Lev Manovich, ‘What is Digital Cinema?’, in The Visual Culture Reader, 2nd edn. (London; New York: Routledge, 1998), pp. 405–16
Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction Through the Senses (Abingdon and New York: Routledge, 2010), pp. 170-187
As your tutor I will supervise your dissertation, helping to:
• Guide your studies
• Advise on the intellectual context of your approach
• Clarify and organise your ideas
• Plan and structure your work
Thursday, 18 January 2018
Pitching and Development: Workshop
Pitching:
-Pitching Ideas is an inevitable part of programme making.
-Whether it is a room full of colleagues on your production team, or direct to commissioning editors or channel commissioners, it provokes fear in the hearts of even the most experienced filmmakers.
Purpose
-Opportunity to deliver idea and sell it, flesh out so we can visualise.
-Find out what works and what needs improvement.
What to do before pitch?
Research:
-Strengths
-Weaknesses
-Opportunities
-Threats
-Help to develop a fully formed proposal which will stand up to questioning.
Preparations:
-Must have an OBJECTIVE.
-Write this into your proposal- present tense to create an 'active voice'. This is a written presentation of the visuals and your treatment (approach)
-It need only be one page in length (no less than a paragraph in length)
-Prepare alongside this an oral pitch which supports the written proposals (SEVERAL PAGES)
What happens last a pitching session?
-Have an allotted time to convey idea.
-Pitch to senior member of the programme/ channel.
Suggested Elements:
-Outline initial intentions/ ambitions.
-Working Title, Location
-Subject and Premise
-Idea is one sentence- encapsulate and crystallise your idea into its USP.
-Synopsis of Idea
-Target Audience and Channel
-Style and Tone- Central and Minor Characters/ Contributors/ Talent.
-How the format adds to the USP
-Why it should be commissioned
-Running Order
-VTs
-Basic Camera Plan/ Floor Plan
How should you present your Pitch?
-Use visual aids- Powerpoint/ Prezzie
-Show examples of clips/ similar existing content.
-Bring it to life. Engage and help to understand.
-Logically- take us through step by step.
-Check Viability of your idea.
Body language and Style
-Think about appearance and pace of your delivery.
-Prepare and rehearse to lessen nerves.
-Be enthusiastic.
-Emphasise its USP (Unique Selling Point).
Responding to Q and A's:
-Be prepared to expand when asked questions, have more detail available.
-Take your time
-Have facts and figures.
-Remain Positive
Pitching Dos and Don'ts:
Do:
-Be brave and surprise
-Be passionate and engaging
-Challenge conventions- new angles
-Pitching ideas in a paragraph
-Pitch the Top Line- Articulate it in a sentence
-Know existing output and spot opportunities
-Develop and dialogue with commissioners
-Pitch Ideas, not subject matters.
-Pitching Ideas is an inevitable part of programme making.
-Whether it is a room full of colleagues on your production team, or direct to commissioning editors or channel commissioners, it provokes fear in the hearts of even the most experienced filmmakers.
Purpose
-Opportunity to deliver idea and sell it, flesh out so we can visualise.
-Find out what works and what needs improvement.
What to do before pitch?
Research:
-Strengths
-Weaknesses
-Opportunities
-Threats
-Help to develop a fully formed proposal which will stand up to questioning.
Preparations:
-Must have an OBJECTIVE.
-Write this into your proposal- present tense to create an 'active voice'. This is a written presentation of the visuals and your treatment (approach)
-It need only be one page in length (no less than a paragraph in length)
-Prepare alongside this an oral pitch which supports the written proposals (SEVERAL PAGES)
What happens last a pitching session?
-Have an allotted time to convey idea.
-Pitch to senior member of the programme/ channel.
Suggested Elements:
-Outline initial intentions/ ambitions.
-Working Title, Location
-Subject and Premise
-Idea is one sentence- encapsulate and crystallise your idea into its USP.
-Synopsis of Idea
-Target Audience and Channel
-Style and Tone- Central and Minor Characters/ Contributors/ Talent.
-How the format adds to the USP
-Why it should be commissioned
-Running Order
-VTs
-Basic Camera Plan/ Floor Plan
How should you present your Pitch?
-Use visual aids- Powerpoint/ Prezzie
-Show examples of clips/ similar existing content.
-Bring it to life. Engage and help to understand.
-Logically- take us through step by step.
-Check Viability of your idea.
Body language and Style
-Think about appearance and pace of your delivery.
-Prepare and rehearse to lessen nerves.
-Be enthusiastic.
-Emphasise its USP (Unique Selling Point).
Responding to Q and A's:
-Be prepared to expand when asked questions, have more detail available.
-Take your time
-Have facts and figures.
-Remain Positive
Pitching Dos and Don'ts:
Do:
-Be brave and surprise
-Be passionate and engaging
-Challenge conventions- new angles
-Pitching ideas in a paragraph
-Pitch the Top Line- Articulate it in a sentence
-Know existing output and spot opportunities
-Develop and dialogue with commissioners
-Pitch Ideas, not subject matters.
Wednesday, 17 January 2018
Presentation: Live TV
Since the advent of video tape, first demonstrated on the BBC by Richard Dimbleby in 1958, truly ‘live’ TV has emerged as a genre rather than a necessity.
It has its own conventions and offers a particular sort of viewing experience which trades on its inherent ‘immediacy’.
Live On Location:
Technological advances in satellite technology have led to the advent of outside broadcasts (aka OB’s) such as:
-SPORTING EVENTS e.g. Olympics
-NATIONAL/INTERNATIONAL CELEBRATIONS e.g. Royal wedding
-Ceremonial occasions e.g. Coronations or other investitures
-SPORTING EVENTS e.g. Olympics
-NATIONAL/INTERNATIONAL CELEBRATIONS e.g. Royal wedding
-Ceremonial occasions e.g. Coronations or other investitures
Case Study: Live Aid
-3 July 1985 – Bob Geldof organised Live Aid
-Huge event staged simultaneously at Wembley Stadium in London and JFK Stadium in Philadelphia.
-BBC gave the schedules over to the event - unprecedented.
-16 hours of rock music.
-The event was also broadcast live in the UK on television and radio.
Also broadcasts from Australia (featuring INXS), Austria and, thanks to satellite technology, theSoviet Union.
The first time anyone in the West had ever seen an uncensored, live broadcast from the USSR.
-The Broadcasts were plagued by technical problems
-Satellite breakdowns and feedback noise. žBut it was groundbreaking –Phil Collins famously flew on Concorde so that he could play at both Wembley and Philadelphia on the same day), and so no-one had any expectations.
-It became the lead story around the world.
Other live content includes:
-ONE OFF SPECIALS e.g. Telethons or concerts ¡ Reality TV output e.g. Big Brother
-News programmes
-Magazine programmes
-Disasters are often a prompt for ‘round the clock’ live coverage - DISASTERS e.g. 9/11
-The advent of domestic handheld video cameras and phones has increased the amount of on the scene material available.
-During the 9/11 terrorist attacks a stream of on the scene material shot by people on the ground painted an intimate and personal POV of events.
-This material is readily available and often utilised by broadcasters.
Live And New Media:
-Programme makers increasingly appeal and cater for viewer/user created content.
-Huge event staged simultaneously at Wembley Stadium in London and JFK Stadium in Philadelphia.
-BBC gave the schedules over to the event - unprecedented.
-16 hours of rock music.
-The event was also broadcast live in the UK on television and radio.
Also broadcasts from Australia (featuring INXS), Austria and, thanks to satellite technology, theSoviet Union.
The first time anyone in the West had ever seen an uncensored, live broadcast from the USSR.
-The Broadcasts were plagued by technical problems
-Satellite breakdowns and feedback noise. žBut it was groundbreaking –Phil Collins famously flew on Concorde so that he could play at both Wembley and Philadelphia on the same day), and so no-one had any expectations.
-It became the lead story around the world.
Other live content includes:
-ONE OFF SPECIALS e.g. Telethons or concerts ¡ Reality TV output e.g. Big Brother
-News programmes
-Magazine programmes
-Disasters are often a prompt for ‘round the clock’ live coverage - DISASTERS e.g. 9/11
-The advent of domestic handheld video cameras and phones has increased the amount of on the scene material available.
-During the 9/11 terrorist attacks a stream of on the scene material shot by people on the ground painted an intimate and personal POV of events.
-This material is readily available and often utilised by broadcasters.
Live And New Media:
-Programme makers increasingly appeal and cater for viewer/user created content.
ž-What began as an additional source of content has now evolved into a major source of programme content.
-žBroadcasters now collaborate with their audience
-Eg Facebook Live – offering new opportunities for live broadcasts online.
Live- An Opportunity to Increase Audiences, Promotion & Re-Invent Formats:
-Whatever the platform, live broadcasts represent a unique opportunity to engage audiences and to promote content.
-It becomes a ‘gimmick’ to be exploited and the added tension of ‘what might go wrong’ can draw audiences in – increasingly being used to market brands.
-Traditional broadcasters using lives continue to garner massive audiences
-Special editions of Eastenders, e.g. 2010 marking its 25th anniversary, gained an audience of 16.6m
-Coronation Street’s 50th anniversary live special in 2010 was watched by 14m.
-žBroadcasters now collaborate with their audience
-Eg Facebook Live – offering new opportunities for live broadcasts online.
Live- An Opportunity to Increase Audiences, Promotion & Re-Invent Formats:
-Whatever the platform, live broadcasts represent a unique opportunity to engage audiences and to promote content.
-It becomes a ‘gimmick’ to be exploited and the added tension of ‘what might go wrong’ can draw audiences in – increasingly being used to market brands.
-Traditional broadcasters using lives continue to garner massive audiences
-Special editions of Eastenders, e.g. 2010 marking its 25th anniversary, gained an audience of 16.6m
-Coronation Street’s 50th anniversary live special in 2010 was watched by 14m.
How Live is 'Live'
-It is important to realise that much of what we perceive as 'live' content is not exclusively so and actually relies heavily on pre-prepared VT inserts.
-E.g. News or magazine programmes using pre-shot material.
-WHY?
-Because it expands the possibilities of content and allows producers to vary locations.
The Trouble With Live:
-Totally live programmes are fraught with challenges, not least of all planning at potential technical problems.
-Lives rely upon meticulous planning-
-Scripting
-Timing
-Casting
-Safety
-Cabling
-Running Order Planning
-Legal wrangling
-OB lives even more so as there is the potential for infamous loss of the satellite link.
-Strategies are generally evolved to cope with theses potential pitfall.
These include:
-Studio based content- handling back to the studio in times of trouble
-VT- pre-shot material to be moved up and down the running oder as necessary.
Back-up material/ stand by VT.
Anything That Can Go Wrong Will Go Wrong!
-However the very possibility of mistakes live on air adds vitality and tension to programme formats.
-The studio team and audience are perceptibly charged by the very notion of being live and this feeling is translated to the audience at home.
-Some truly classic moments of TV have happened live.
-However well prepared problems are always possible- you have to work to minimise the [potential problems but sometimes things happen beyond your control.
Tuesday, 16 January 2018
Presentation: 'As-Live'?
What is As-Live?
- As loves are recorded programmes with a 'live' feel.
-Usually recorded I'm a studio location
-Require a full gallery with associated roles in vision mixing/ multi camera direction/ PA etc, as per live programme.
Why choose As Live? Advantages:
-Less left to chance a la true live- more controllable- more polished.
-The opportunity to re-record elements of the programme and to make improvements to the intro and closing shots.
-Importantly they do not require the technical paraphernalia of live transmissions- satellite trucks etc- less chance of loss of transmission.
-Therefore cost reduced manpower/ equipment.
Disadvantages.
-Trying to 'manufacture' a feeling of a true live programme- lose 'edge'-
-Truly live programmes are less polished and thus feel less manufactured.
-Tension of a live programme hard to recreate.
-Post production may compound this problem- feel 'manufactured' and 'clinical'.
-Over shooting an easy temptation.
-Audience at home can feel cheated.
As Live Formats:
-Panel Shows
-Quiz Shows
-Chat Shows
Common Themes in As Live:
-Audience
-Usually recorded in studio- require full studio floor crew.
Audiences:
-Why have an audience? What do they add to the viewing experience? Do we need them?
-Can take a number of roles:
-Passive- quietly watching.
-Participatory/ active- actually taking part in some way.
-Appreciative- responding through laughter, clapping etc.
-Supportive- there to offer support to a particular contributor.
-Wat role they play depends on the type of format you are producing- value judgements must be made as to their role.
As Live Content:
-Theoretically, anything can be presented in an as-live format.
It is only limited by considerations such as:
-Time
-Location
-Budget
-Logistics.
It is absolutely essential that as lives consider timings- when discussing potential content this is a huge factor. Just like a live programme, as lives are carefully timed so that each segment fits a prescribed duration.
Analyse:
-CONTENT
-STYLE
-LOCATION
-PRESENTATION
-CONTRIBUTORS
-FORMAT
- As loves are recorded programmes with a 'live' feel.
-Usually recorded I'm a studio location
-Require a full gallery with associated roles in vision mixing/ multi camera direction/ PA etc, as per live programme.
Why choose As Live? Advantages:
-Less left to chance a la true live- more controllable- more polished.
-The opportunity to re-record elements of the programme and to make improvements to the intro and closing shots.
-Importantly they do not require the technical paraphernalia of live transmissions- satellite trucks etc- less chance of loss of transmission.
-Therefore cost reduced manpower/ equipment.
Disadvantages.
-Trying to 'manufacture' a feeling of a true live programme- lose 'edge'-
-Truly live programmes are less polished and thus feel less manufactured.
-Tension of a live programme hard to recreate.
-Post production may compound this problem- feel 'manufactured' and 'clinical'.
-Over shooting an easy temptation.
-Audience at home can feel cheated.
As Live Formats:
-Panel Shows
-Quiz Shows
-Chat Shows
Common Themes in As Live:
-Audience
-Usually recorded in studio- require full studio floor crew.
Audiences:
-Why have an audience? What do they add to the viewing experience? Do we need them?
-Can take a number of roles:
-Passive- quietly watching.
-Participatory/ active- actually taking part in some way.
-Appreciative- responding through laughter, clapping etc.
-Supportive- there to offer support to a particular contributor.
-Wat role they play depends on the type of format you are producing- value judgements must be made as to their role.
As Live Content:
-Theoretically, anything can be presented in an as-live format.
It is only limited by considerations such as:
-Time
-Location
-Budget
-Logistics.
It is absolutely essential that as lives consider timings- when discussing potential content this is a huge factor. Just like a live programme, as lives are carefully timed so that each segment fits a prescribed duration.
Analyse:
-CONTENT
-STYLE
-LOCATION
-PRESENTATION
-CONTRIBUTORS
-FORMAT
Friday, 12 January 2018
Development After Joe Session
Straight After our session with Joe, Connor and I were able to discuss and decide on a few points hat were given to us as feedback.
Here are a few notes taken while we were discussing.
Development:
Demographic- All Ages
Channel Broadcast- ITV 1/2/3
Audience- Minimal Participation
Presenter- Preferably disabled, charismatic.
VTs- Family/ Friends included, possible footage of accomplishments (depending on Copyright).
We also created a running order which we shall work with for the mean time before we ineviatbly make some changes. We even made sure to see how much time would be reserved for speaking with each guest after the amount of time taken up by the other parts of the show.
Running Order
-1:00/ 1:30 - Intro VT- Introduces themselves and show.
-0:15/ 0:20 - first guest is introduced.
-First Guest speaking
-1:30 - VT of first guest’s accomplishments
-First Guest continues speaking.
-0:15/ 0:20 - Second Guest introduced
-Second Guest Speaking
-1:30 - VT of second guest’s accomplishment
-Second Guest continues speaking
-0:15/ 0:20- Third guest is introduced
-Third guest speaking
-1:30 - VT of Third guests accomplishments
-Third Guest continues speaking
-0:45 - Summary/ conclusion
-0:45 - Credits
-Total for VTs - 8:30, With Break (2:30/ 3:00)- 11:00/ 11:30 minutes
At the moment, 6:10 talking time for each guest.
At the moment, 6:10 talking time for each guest.
Other developments were finding certain websites where we might be able to source some people for the show from, consisting of certain schools that cater to special needs.
We also looked at who we might get to host the show. We looked at various casting sites such as MandyActors.com (previously Casting Call Pro) and other sites specific to casting people with disabilities. It was decided that we could cast someone who has a disability so that both the audience and the interviewees can connect to them due to them being in a similar type of situation.
Connor did suggest trying to get Warwick Davis to present. I did feel this might be jumping the gun a bit and would be hard to get hold of, never mind the expense, but Connor did acknowledge that. If that would be possible, however, then that would be a great opportunity for us and be just the type of person we could be looking for.
Feedback From Joe Session
We had our small session with Joe where we suggested our idea of merging our two ideas to create a chat show featuring people with extraordinary stories of overcoming their disabilities.
Her feedback was as follows:
Decide On a Name?
Her feedback was as follows:
Decide On a Name?
Demographic?- All Ages
Channel to be Broadcast On?
ITV?
Pitch:
Research into disability, Paralympics- create context
-Enable statistics
Get in contact for potential interviewees, talents, presenters.
Concentrate on who the people featured are going to be.
ITV Commisioning Website
Texvex
Guidelines
Energy levels in the audience- More passive?/ Less involved?
Get running Order Started.
Channel to be Broadcast On?
ITV?
Pitch:
Research into disability, Paralympics- create context
-Enable statistics
Get in contact for potential interviewees, talents, presenters.
Concentrate on who the people featured are going to be.
ITV Commisioning Website
Texvex
Guidelines
Energy levels in the audience- More passive?/ Less involved?
Get running Order Started.
We shall work to answer these pieces of feedback immediately.
Thursday, 11 January 2018
Quick Studio Set-Up Diagram
Upon further discussion on our merging of ideas, Connor and I started making suggestions of what the layout of the studio should be. It was decided that the set-up shouldresmebl that of which is used in the Graham Norton show with the host (from the audience perspective) sat to the left and the interviewees sat to the right with a television set up between them to show extra information on the interviewees. There would also be a space in front of them if there are to be any performances.
Here is a crude drawing I quickly made in photoshop to represent what we are thinking of. I shall also present this to Jo who we will consulting with our ideas if she wishes to see any visual indication of what we are talking about.
Here is a crude drawing I quickly made in photoshop to represent what we are thinking of. I shall also present this to Jo who we will consulting with our ideas if she wishes to see any visual indication of what we are talking about.
Another Development: Idea Merging
After hitting a wall with both of my primary ideas I asked for some assistance from Connor, whom I have been paired with for this portion of the project.
His main idea was to have a chat show in the style of the 'Ellen Show' which showcases people with extraordinary stories where they had managed to overcome some large difficulty in their lives such as a certain major event or a disability. However, he seemed to be having trouble getting anywhere with this as well.
Upon some advice from another fellow student, it was decided that it may be a good idea to merge our two ideas (mine being about a talent show for the disabled) and create a sort of chat show which showcases extraordinary people who have managed to overcome a disability and would be given the chance to demonstrate a special talent if they wish to.
I feel that this idea has the potential to develop into something great but the idea is a bit thin at the moment. We will need to take some time to develop this merging of ideas more to see where it leads.
His main idea was to have a chat show in the style of the 'Ellen Show' which showcases people with extraordinary stories where they had managed to overcome some large difficulty in their lives such as a certain major event or a disability. However, he seemed to be having trouble getting anywhere with this as well.
Upon some advice from another fellow student, it was decided that it may be a good idea to merge our two ideas (mine being about a talent show for the disabled) and create a sort of chat show which showcases extraordinary people who have managed to overcome a disability and would be given the chance to demonstrate a special talent if they wish to.
I feel that this idea has the potential to develop into something great but the idea is a bit thin at the moment. We will need to take some time to develop this merging of ideas more to see where it leads.
Wednesday, 10 January 2018
Development of Studio Production Idea
Here are some short notes that I made while trying to develop my initial idea. As well as developing my initial idea for a 'Disabled Person's Talent Show', looking for places to source the talent, I had decided that I should also try and develop a different idea to the one I had originally intended due to hitting a mental block. As you'll be able to see here, however, the same happened for this idea as well. Therefore I had only finished developing the first round before noticing problems with the structure of the show.
Talent Show for the Disabled: (All Ages)
Aim to show the great things that people with disabilities can do.
Source talent from: Local schools with special needs units/ special needs schools.
Abbey Court School
Hoo St Werburgh Primary School Mulborugh Centre, Rochester
Hundred Of Hoo School, Rochester
Trinity School, Rochester
DaneCourt School, Gillingham
Musical Extravaganza
Music from TV and Film
Take the form of a Quiz Show
Three Rounds
Talent Show for the Disabled: (All Ages)
Aim to show the great things that people with disabilities can do.
Source talent from: Local schools with special needs units/ special needs schools.
Abbey Court School
Hoo St Werburgh Primary School Mulborugh Centre, Rochester
Hundred Of Hoo School, Rochester
Trinity School, Rochester
DaneCourt School, Gillingham
...
Musical Extravaganza
Music from TV and Film
Take the form of a Quiz Show
Three Rounds
Four Contestants
The one with the lowest score in each round gets knocked out.
Round 1:
‘Guess the Song’
Contestants would listen to two seconds from either the start or the middle of a song/theme from a Film or TV show.
The one with the lowest score in each round gets knocked out.
Round 1:
‘Guess the Song’
Contestants would listen to two seconds from either the start or the middle of a song/theme from a Film or TV show.
They must then try and guess the song
Contestants would answer by buzzing in
Contestants would answer by buzzing in
...
Tuesday, 9 January 2018
Presentation: 'As Live' Production Unit Brief & Intro (Continued)
WHAT IS POSSIBLE IN A STUDIO?
STUDIO PRODUCTIONS - CONTENT
- Studios provide a tailor made, controlled environment for productions.
- A look through the schedules and you’ll find a wide range of genres produced in a studio:
FACTUAL eg discussion, current affairs, news etc —
DRAMA
ENTERTAINMENT
MUSIC
COMEDY
—CHILDREN’S
STUDIO ADVANTAGES
- What advantages do you think there are in terms of sound recording in a studio?
- Sound –
Usually studio is specially sound proofed so that the quality produced is without any echo or intrusive noises.
Microphones can be plotted and rigged in advance and adjustments made (at any time during the recording if pre-recorded).
Sound can be monitored from the sound room and adjustments made as necessary.
STUDIO ADVANTAGES
- What advantages does shooting in a studio provide in terms of picture quality and opportunities?
- Pictures –
Lighting again plotted, rigged and set in advance in controlled environment – no changes in light conditions as on location.
Material instantly viewed and reviewed in gallery so quality assured.
Multi camera shoots - Camera positioning carefully plotted and rehearsed to give full coverage.
Single-camera shoots – continuity monitored more easily.
STUDIO CHALLENGES
- What are the sound challenges? ¢ Sound –
re-creating ‘reality’ requires the use of either pre-recorded SFX, atmos/wildtrack or foley sounds played in during or after the recording.
Music & effects – again either played in during recording or in post.
- What are the picture challenges?
- Pictures –
Again in re-creating reality need to carefully plot lighting.
For studio productions which do not need to re-create reality can plan lighting in advance but needs qualified, experienced staff to ensure lighting plan meets all needs of the production.
IMPORTANT CONSIDERATIONS :
STUDIO SAFETY
- All staff should be properly trained for the studio environment and appropriate risk assessments made.
- Prior to our record you will be fully briefed regarding safety here at the studio, however the usual hazards are :
Trip hazards – e.g. Cabling
Electricity/Lighting
—Fire hazards/keeping exits clear — Confined spaces
—Audiences/public
—Manual handling/lifting
—Scaffolding/heights
- A full risk assessment must be made prior to recording in order to ensure you have taken all reasonable precautions – you will be responsible for undertaking full risk assessment which will be passed to me before forwarding to Emma.
SAFETY CONT...
- Ultimately the production team is liable for the safety of everyone employed and invited to the production. All productions have insurance in place to cover any potential liabilities.
- Only appropriately qualified technicians to install or operate equipment which is potentially hazardous e.g. electricians/lighting technicians
- Consultants employed as necessary for specialist skills e.g. Pyrotechnics.
- EVERYONE in the studio needs to consider their part in ensuring safe practice.
STUDIO PRODUCTIONS - CONTENT
- Studios provide a tailor made, controlled environment for productions.
- A look through the schedules and you’ll find a wide range of genres produced in a studio:
FACTUAL eg discussion, current affairs, news etc —
DRAMA
ENTERTAINMENT
MUSIC
COMEDY
—CHILDREN’S
STUDIO ADVANTAGES
- What advantages do you think there are in terms of sound recording in a studio?
- Sound –
Usually studio is specially sound proofed so that the quality produced is without any echo or intrusive noises.
Microphones can be plotted and rigged in advance and adjustments made (at any time during the recording if pre-recorded).
Sound can be monitored from the sound room and adjustments made as necessary.
STUDIO ADVANTAGES
- What advantages does shooting in a studio provide in terms of picture quality and opportunities?
- Pictures –
Lighting again plotted, rigged and set in advance in controlled environment – no changes in light conditions as on location.
Material instantly viewed and reviewed in gallery so quality assured.
Multi camera shoots - Camera positioning carefully plotted and rehearsed to give full coverage.
Single-camera shoots – continuity monitored more easily.
STUDIO CHALLENGES
- What are the sound challenges? ¢ Sound –
re-creating ‘reality’ requires the use of either pre-recorded SFX, atmos/wildtrack or foley sounds played in during or after the recording.
Music & effects – again either played in during recording or in post.
- What are the picture challenges?
- Pictures –
Again in re-creating reality need to carefully plot lighting.
For studio productions which do not need to re-create reality can plan lighting in advance but needs qualified, experienced staff to ensure lighting plan meets all needs of the production.
IMPORTANT CONSIDERATIONS :
STUDIO SAFETY
- All staff should be properly trained for the studio environment and appropriate risk assessments made.
- Prior to our record you will be fully briefed regarding safety here at the studio, however the usual hazards are :
Trip hazards – e.g. Cabling
Electricity/Lighting
—Fire hazards/keeping exits clear — Confined spaces
—Audiences/public
—Manual handling/lifting
—Scaffolding/heights
- A full risk assessment must be made prior to recording in order to ensure you have taken all reasonable precautions – you will be responsible for undertaking full risk assessment which will be passed to me before forwarding to Emma.
SAFETY CONT...
- Ultimately the production team is liable for the safety of everyone employed and invited to the production. All productions have insurance in place to cover any potential liabilities.
- Only appropriately qualified technicians to install or operate equipment which is potentially hazardous e.g. electricians/lighting technicians
- Consultants employed as necessary for specialist skills e.g. Pyrotechnics.
- EVERYONE in the studio needs to consider their part in ensuring safe practice.
INTRODUCTION TO THE GALLERY
- This is the central control room for the studio. ¢ Your work with Del will introduce you to the various roles in the gallery.
- This is the central control room for the studio. ¢ Your work with Del will introduce you to the various roles in the gallery.
- RESEARCH - key roles within the gallery:EG - Director – viewing:
START WORK!
- THE IDEA:
- Ideas meeting today – initial group discussion
and brainstorm
- Will hold tutorials THURSDAY to see how you are doing - need to have at least 2 or 3 firm ideas we can discuss
WORKSHOP:
- BRAINSTORM FOR IDEAS – In your pairs/groups brainstorm your ideas
Try working on the idea as a 20-30 word logline & pitch and provide critique and give feedback.
Work out what research and development you need to do next and start planning! There are only TWO FULL WEEKS until the pitch day!
Remember – be original and think about : ¢ Viability – time frame, location, access, cost
- Channel/broadcaster
- Potential promotion/marketing
HOMEWORK - BLOG RESEARCH
—Factual – Victoria Derbyshire - http://www.bbc.co.uk/programmes/b05qqk5c
Magazine programmes – eg This Morning/One Show
Game Shows – variety throughout the schedules, e.g.
START WORK!
- THE IDEA:
- Ideas meeting today – initial group discussion
and brainstorm
- Will hold tutorials THURSDAY to see how you are doing - need to have at least 2 or 3 firm ideas we can discuss
WORKSHOP:
- BRAINSTORM FOR IDEAS – In your pairs/groups brainstorm your ideas
Try working on the idea as a 20-30 word logline & pitch and provide critique and give feedback.
Work out what research and development you need to do next and start planning! There are only TWO FULL WEEKS until the pitch day!
Remember – be original and think about : ¢ Viability – time frame, location, access, cost
- Channel/broadcaster
- Potential promotion/marketing
HOMEWORK - BLOG RESEARCH
—Factual – Victoria Derbyshire - http://www.bbc.co.uk/programmes/b05qqk5c
Magazine programmes – eg This Morning/One Show
Game Shows – variety throughout the schedules, e.g.
Pointless/Tipping Point etc.
Entertainment –e.g.
- “Wedding Day Winners” http://www.bbc.co.uk/programmes/b09mk03w
- “The Voice” - http://www.itv.com/thevoice
Entertainment –e.g.
- “Wedding Day Winners” http://www.bbc.co.uk/programmes/b09mk03w
- “The Voice” - http://www.itv.com/thevoice
Comedy
- eg Mrs Brown’s Boys http://www.bbc.co.uk/programmes/b00x98tn
Soap Opera - Drama
- Eastenders/Coronation Street
Music
- Jools Holland - http://www.bbc.co.uk/programmes/b006ml0l
Or Sounds like Friday Night : http://www.bbc.co.uk/programmes/b09cnb5g
Children’s TV - https://www.bbc.co.uk/cbbc/shows/sam-and- marks-big-friday-wind-up
CONSIDER:
- What are the advantages/drawbacks to productions located in studios?
- What common themes/elements were there in the content and format of the studio productions you watched?
- What makes an original studio idea?
- What limitations/opportunities are there in a studio environment?
- What is missing from our schedules now that could make a good studio production? Where – what platform/channel?
- eg Mrs Brown’s Boys http://www.bbc.co.uk/programmes/b00x98tn
Soap Opera - Drama
- Eastenders/Coronation Street
Music
- Jools Holland - http://www.bbc.co.uk/programmes/b006ml0l
Or Sounds like Friday Night : http://www.bbc.co.uk/programmes/b09cnb5g
Children’s TV - https://www.bbc.co.uk/cbbc/shows/sam-and- marks-big-friday-wind-up
CONSIDER:
- What are the advantages/drawbacks to productions located in studios?
- What common themes/elements were there in the content and format of the studio productions you watched?
- What makes an original studio idea?
- What limitations/opportunities are there in a studio environment?
- What is missing from our schedules now that could make a good studio production? Where – what platform/channel?
'As Live' Production Unit Brief & Intro
Post Mortem Term 1:
Three important lessons I have learnt from the first term:
- Time Management- I focused too much on one particular aspect of the edit during the last unit, however, this lead me to leave very little time for another aspect and this aspect ended up being rushed and not high quality.
- Team Work- I was not able to work particularly well with my group, need to make sure I work with the right people.
- Written Work- I need to improve on my essay writing, including successful use of research.
23rd January- Pitching Session
25th January- Job Interviews
STUDIO PRODUCTION - UNIT INTRO
-UNIT AIMS:
- A1 to promote knowledge and critical understanding of As Live studio productions
- A2 to enable development of a creative methodology for the production of As Live studio productions including research and critical analysis
- A3 to enable development of the creative, technical and collaborative skills necessary in the realisation of As Live studio productions.
INITIAL DEADLINES :
- 23rd JAN - pitching session
Prepare for a pitching panel which will ask you questions about your idea and decisions you have made, use whichever presentation method you prefer. PLEASE NOTE : YOUR PITCH WILL FORM PART OF THE ASSESSMENT PROCESS SO ENSURE IT IS WORTHY OF SUBMISSION!!
ASSESSMENT
- 30% Production Role Critical Analysis (2000 words) that demonstrates knowledge and critical understanding of As Live studio productions, appropriate creative methodology and critical analysis of As Live studio production
- 70% Project output: Pilot video supported THROUGHOUT by Online Research Journal. While the production is a group project, each students’ involvement will be assessed individually – use your journal to demonstrate that you meet the learning outcomes.
CRITICAL ANALYSIS: WRITING ANALYTICALLY & SYNTHESISING THEORY
- Alongside the practical project you will be required to write a 2000 word project analysis
- Think of this as a piece of writing which teaches the reader about your role and uses the experience of this production as anecdotal evidence to illustrate typical tasks, issues and skills.
- Show the reader that you can critically evaluate your own work and that you understand PROFESSIONAL APPROACHES & CONTEXT through a focus on ACADEMIC REFERENCING THROUGHOUT.
- IT IS WORTH 30% of the mark so make sure it is a piece of research and analysis not a descriptive diary...
CRITICAL ANALYSIS CONT...
- RESEARCH, RESEARCH, RESEARCH ! –
- Crucially it should include research into studio production and the specific professional role you have undertaken, and how that research informed your actual role and the production.
- conduct thorough research into studio production through relevant text books and by critical analysis on your journal of as live/studio content
- Use references to demonstrate your research into the wider context of as live/studio production as well as your own role.
- ONLY USE WHAT HAPPENED AS ANECDOTES TO SUPPORT WHAT YOU REFERENCE.
- FOR THIS REASON IT SHOULD NOT WAIT UNTILTHE PRODUCTION IS COMPLETED TO BE WRITTEN – it is as much about informing yourself during the production about your methodology and approach as it is a piece of critical writing.
SUBMISSION :
20th APRIL – FINAL SUMMATIVE SUBMISSION (1100 – 1200 hr)
- SUBMIT:
- Studio production final version uploaded to course hard drive (see Fergus for assistance) – DO NOT SUBMIT A COMPRESSED VERSION – Use highest quality to save please e.g. Pro Res 422.
- Production role critical analysis printed & on Turnitin with 1.5 line spacing, page numbered and front cover including title, your name and unit details.
- Online research journal that records, develops and critically reflects on all stages of the production. Ensure your blog demonstrates the learning outcomes listed on unit descriptor!
- Must be fully updated by the deadline with printed copy of screen shot (as PDF file) of blog home page which shows final entry at the time of submission.
THE PROJECT BRIEF:
- In pairs develop a detailed pitch for a 30 min Pilot show to be recorded LIVE in the studios.
- The best pitch will be given the greenlight to go into production and the whole course team will work together to produce the 30 min programme.
- What we are looking for
- We would like something really different, which can push the boundaries and challenge the group.
- HOWEVER - ENSURE YOUR IDEA IS ACHIEVABLE WITHIN A STUDIO ENVIRONMENT, OUR TIME FRAME AND RESOURCES – also think SAFETY. I.e. complex challenge/game shows/sports would not be achievable.
THE IDEA IMPORTANT!!
- It can take whatever form you want but you must be original!!
Three important lessons I have learnt from the first term:
- Time Management- I focused too much on one particular aspect of the edit during the last unit, however, this lead me to leave very little time for another aspect and this aspect ended up being rushed and not high quality.
- Team Work- I was not able to work particularly well with my group, need to make sure I work with the right people.
- Written Work- I need to improve on my essay writing, including successful use of research.
23rd January- Pitching Session
25th January- Job Interviews
STUDIO PRODUCTION - UNIT INTRO
-UNIT AIMS:
- A1 to promote knowledge and critical understanding of As Live studio productions
- A2 to enable development of a creative methodology for the production of As Live studio productions including research and critical analysis
- A3 to enable development of the creative, technical and collaborative skills necessary in the realisation of As Live studio productions.
- A4 to widen students’ oral presentation and pitching skills within a commissioning panel context
UNIT OUTCOMES:
- On satisfactory completion of the unit you will be able to:
- LO1 demonstrate critical and creative knowledge and understanding of As Live studio production
- LO2 develop innovative concepts and a creative methodology for a studio production format
- LO3 implement a range of practical, creative and collaborative skills required for studio production
- LO4 develop, prepare and present a detailed pitch to a commissioning panel
HOW THE UNIT WILL WORK:
- I will be leading this unit and will be mainly concerned with facilitating and mentoring the content side of the production, Del and Fergus will work with you on the technical & studio production side.
- 140 HRS – SCHEDULED
- 160 – INDEPENDENT ACTIVITY.
- The originator/s of the idea commissioned will become the Producer/s.
- Everyone else will apply from the roles as advertised (details nearer the time)
UNIT OUTCOMES:
- On satisfactory completion of the unit you will be able to:
- LO1 demonstrate critical and creative knowledge and understanding of As Live studio production
- LO2 develop innovative concepts and a creative methodology for a studio production format
- LO3 implement a range of practical, creative and collaborative skills required for studio production
- LO4 develop, prepare and present a detailed pitch to a commissioning panel
HOW THE UNIT WILL WORK:
- I will be leading this unit and will be mainly concerned with facilitating and mentoring the content side of the production, Del and Fergus will work with you on the technical & studio production side.
- 140 HRS – SCHEDULED
- 160 – INDEPENDENT ACTIVITY.
- The originator/s of the idea commissioned will become the Producer/s.
- Everyone else will apply from the roles as advertised (details nearer the time)
INITIAL DEADLINES :
- 23rd JAN - pitching session
Prepare for a pitching panel which will ask you questions about your idea and decisions you have made, use whichever presentation method you prefer. PLEASE NOTE : YOUR PITCH WILL FORM PART OF THE ASSESSMENT PROCESS SO ENSURE IT IS WORTHY OF SUBMISSION!!
- JAN 25th – JOB INTERVIEWS
This is where you will be able to apply and pitch for a particular role on the production (other than Producer – who will already have been chosen).
You need to prepare, with CV and pitch, as if this was a job interview.
You should have a 1st and 2nd choice role you are interested in.
STUDIO CONTENT & PRODUCTION TEAMS
-All content for the commissioned programme will be discussed within the group through meetings Helen/Jo will chair under the direction of the producer/s.
This is where you will be able to apply and pitch for a particular role on the production (other than Producer – who will already have been chosen).
You need to prepare, with CV and pitch, as if this was a job interview.
You should have a 1st and 2nd choice role you are interested in.
STUDIO CONTENT & PRODUCTION TEAMS
-All content for the commissioned programme will be discussed within the group through meetings Helen/Jo will chair under the direction of the producer/s.
UNIT DELIVERY - WORKSHOPS & LECTURES:
- These will be tailored to the different disciplines within the production. YOU ARE ADVISED TO ATTEND ALL !
- i.e. –
— Scripting for studio
— Production management & planning, collaboration – sets/design — Directing for VTs/Promos – talent
— VT camera operation & sound operation
— Post production & graphics/text
— Promos/titles
Through Del Brown workshops – ¢ Directing for studio
- Floor managing
- Production Assisting in gallery
- Vision mixing
- VT Operation
- GFX Operation
- Studio camera
- Studio sound (“Grams”)
- Helen – week 1 – 8 & production meeting supervision 9 - 12
- Del – week 5 – 12
- Fergus – project support throughout
- These will be tailored to the different disciplines within the production. YOU ARE ADVISED TO ATTEND ALL !
- i.e. –
— Scripting for studio
— Production management & planning, collaboration – sets/design — Directing for VTs/Promos – talent
— VT camera operation & sound operation
— Post production & graphics/text
— Promos/titles
Through Del Brown workshops – ¢ Directing for studio
- Floor managing
- Production Assisting in gallery
- Vision mixing
- VT Operation
- GFX Operation
- Studio camera
- Studio sound (“Grams”)
- Helen – week 1 – 8 & production meeting supervision 9 - 12
- Del – week 5 – 12
- Fergus – project support throughout
ASSESSMENT
- 30% Production Role Critical Analysis (2000 words) that demonstrates knowledge and critical understanding of As Live studio productions, appropriate creative methodology and critical analysis of As Live studio production
- 70% Project output: Pilot video supported THROUGHOUT by Online Research Journal. While the production is a group project, each students’ involvement will be assessed individually – use your journal to demonstrate that you meet the learning outcomes.
CRITICAL ANALYSIS: WRITING ANALYTICALLY & SYNTHESISING THEORY
- Alongside the practical project you will be required to write a 2000 word project analysis
- Think of this as a piece of writing which teaches the reader about your role and uses the experience of this production as anecdotal evidence to illustrate typical tasks, issues and skills.
- Show the reader that you can critically evaluate your own work and that you understand PROFESSIONAL APPROACHES & CONTEXT through a focus on ACADEMIC REFERENCING THROUGHOUT.
- IT IS WORTH 30% of the mark so make sure it is a piece of research and analysis not a descriptive diary...
CRITICAL ANALYSIS CONT...
- RESEARCH, RESEARCH, RESEARCH ! –
- Crucially it should include research into studio production and the specific professional role you have undertaken, and how that research informed your actual role and the production.
- conduct thorough research into studio production through relevant text books and by critical analysis on your journal of as live/studio content
- Use references to demonstrate your research into the wider context of as live/studio production as well as your own role.
- ONLY USE WHAT HAPPENED AS ANECDOTES TO SUPPORT WHAT YOU REFERENCE.
- FOR THIS REASON IT SHOULD NOT WAIT UNTILTHE PRODUCTION IS COMPLETED TO BE WRITTEN – it is as much about informing yourself during the production about your methodology and approach as it is a piece of critical writing.
SUBMISSION :
20th APRIL – FINAL SUMMATIVE SUBMISSION (1100 – 1200 hr)
- SUBMIT:
- Studio production final version uploaded to course hard drive (see Fergus for assistance) – DO NOT SUBMIT A COMPRESSED VERSION – Use highest quality to save please e.g. Pro Res 422.
- Production role critical analysis printed & on Turnitin with 1.5 line spacing, page numbered and front cover including title, your name and unit details.
- Online research journal that records, develops and critically reflects on all stages of the production. Ensure your blog demonstrates the learning outcomes listed on unit descriptor!
- Must be fully updated by the deadline with printed copy of screen shot (as PDF file) of blog home page which shows final entry at the time of submission.
THE PROJECT BRIEF:
- In pairs develop a detailed pitch for a 30 min Pilot show to be recorded LIVE in the studios.
- The best pitch will be given the greenlight to go into production and the whole course team will work together to produce the 30 min programme.
- What we are looking for
- We would like something really different, which can push the boundaries and challenge the group.
- HOWEVER - ENSURE YOUR IDEA IS ACHIEVABLE WITHIN A STUDIO ENVIRONMENT, OUR TIME FRAME AND RESOURCES – also think SAFETY. I.e. complex challenge/game shows/sports would not be achievable.
THE IDEA IMPORTANT!!
- It can take whatever form you want but you must be original!!
- Your idea should allow for: 4 x VT inserts (these are segments that are pre- recorded and edited before the programme and then slotted in).
-a set, costumes and props. (These elements will be made by Creative Arts for Film & Theatre students at UCA Rochester)
-viral marketing in order to reach your intended audience. Also online content to support the project.
-a title sequence and credits to be produced – the titles will be specially shot
-a studio audience
- The final programme will be uploaded to our YouTube channel and we are exploring live streaming too.
PITCHING SESSION:
- Panel including Helen, Simon, Del, Josh Jones and Jo.
- You will each have 20 mins to pitch
- Make sure you prepare your idea and use whatever props and presentation aids you feel necessary.
- Be prepared to answer questions about it – the purpose of the pitching Q&A is to find out more about the idea so you need to justify your choices and demonstrate that this is a REALISABLE idea!
- You are assessed on this process REGARDLESS of whether it is commissioned!
- If more than one idea is considered worth commissioning by the panel you will all vote in a secret ballot to determine the commission.
-a set, costumes and props. (These elements will be made by Creative Arts for Film & Theatre students at UCA Rochester)
-viral marketing in order to reach your intended audience. Also online content to support the project.
-a title sequence and credits to be produced – the titles will be specially shot
-a studio audience
- The final programme will be uploaded to our YouTube channel and we are exploring live streaming too.
PITCHING SESSION:
- Panel including Helen, Simon, Del, Josh Jones and Jo.
- You will each have 20 mins to pitch
- Make sure you prepare your idea and use whatever props and presentation aids you feel necessary.
- Be prepared to answer questions about it – the purpose of the pitching Q&A is to find out more about the idea so you need to justify your choices and demonstrate that this is a REALISABLE idea!
- You are assessed on this process REGARDLESS of whether it is commissioned!
- If more than one idea is considered worth commissioning by the panel you will all vote in a secret ballot to determine the commission.
Monday, 8 January 2018
Studio Production Ideas:
Here are some of my basic ideas for the Studio Production unit:
-Political Debate:
Questions and Answers to and from local council/ MPs
-Musical Extravaganza:
Using local talent
Example: Songs and Music form the Movies/ TV Shows
-Fashion Show:
Using students from UCA Rochester
-Talent Show for disabled and special needs to take part in, from local schools and groups.
-Indoor Soap Box Race
Using remote control homemade vehicles.
Make course consisting of ramps, slopes, twists and turns.
-Political Debate:
Questions and Answers to and from local council/ MPs
-Musical Extravaganza:
Using local talent
Example: Songs and Music form the Movies/ TV Shows
-Fashion Show:
Using students from UCA Rochester
-Talent Show for disabled and special needs to take part in, from local schools and groups.
-Indoor Soap Box Race
Using remote control homemade vehicles.
Make course consisting of ramps, slopes, twists and turns.
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