Tuesday, 25 May 2010
Task 3 - Todorov - Brief 4
Task 1 - Flossary - Brief 4
The Hollywood studios that emerged in the 1910s and the 1920s - Paramount, Fox, Warner Bros' etc. All complemented their factory-based production operations with common business practices that helped them to collectively take over the movie industry in the US and increasingly world wide as well. Most of the early studios still dominate the industry on a global scale. During Hollywood's so-called classical era, when the studio system was at it's peak, and when the studios' collective dominion era. Film studios in other countries have enjoyed great success for periods of time, and occasionally to the extent that the terms "Studio system" and "national cinema" apply to them as well. This success often coincided with the national and international popularity of a particular type of product or film style, as with Ufa and German Expressionism in the 1920s. or the remarkable run of Alfred Hitchcock-directed thrillers from Gaumont British Distributors Ltd.
Pre-planned camera positions and bulky equipment - little spontaneity and few extreme camera angles, or expressive camera movements. Light is necessary to create an image exposure on frame of film or on a digital target, the art of lighting for cinematography goes far beyond basic exposure, however into the spirit of visual storytelling. Lighting contributes considerably to the emotional response an audience has watching a motion picture. It reflects the mood on screen and helps the scenes atmosphere.
One aspect of cinematography that strongly separates it form still photography (aside from the moving imagery) is the ability to move the camera, which represents the audience's viewpoint or perspective, during the course of filming. This movement plays a considerable role in the emotional language of film images and the audience's emotional reaction to the action on the screen.
Task 2 - Propp - Brief 4
Vladimir Propp’s grew up in Germany and later in life he wrote Russian folk tales. He extended the Russian formalist approach around the narrative structure. By Propp breaking down these Russian folk tales into their smallest narrative units, or narratemes he was then able to arrive at a typology of narrative structures; some of which include
Absentation, Interdiction, Violation of Interdiction and so on…
Propps Ideas - He believed that in every film there was:
- The Hero - Seeks something
- The Villain - Opposes the hero
- The donor - Helps the hero by providing a 'magic' object
- The dispatcher - Sends the hero on it's way
- The false hero - Falsely assuming the role of the hero
- The helper - Gives support to the hero
- The princess - The reward for the hero, but also needs protection from the villain
- The father
Thursday, 1 April 2010
Advice Page
Advice Page (TARGETING 15 - 18 YR OLDS)
Give advice on what they can include to get a 15+ certificate and what they should not include to avoid getting an 18.
See ‘Classification Guidelines’ page of BBFC website for all the information you need.Thursday, 18 March 2010
About BARB
It is responsible for providing estimates of the number of people watching television. This includes which channels and programmes are being watch and when they are being watched. Also the type of people who are viewing at any one time. The viewing data is collected second–by–second and delivered on a minute-by-minute basis for channels received within the UK.
Glossary
Audience Profile - The audience profile shoes how the main audience category is divided into its subcategories (such as age, social grade, gender and so on) in percentage terms. For example, if any programme achieves an adult AB profile of at least 10%, this means that 10% of adult viewers were AB, while the other 90% were C1, C2, or DE Adults. An audience profile could be compared to an equivalent population profile to produce an index.
Reach (%Population) - The net number or percentage of people who have seen a particular piece of broadcast output for example a programme, daypart, channel, TV advertising campaign.
Programme or daypart reach assesses what percentage of the population saw a specified amount of again a programme or daypart, it is also used cumulatively to assess the total net percentage that saw a specified amount of a complete series/month of television etc. There are various ways of defining the amount of viewing an individual must have done in order to continue as having been ‘reached’. The BARB definition is for this to be at least three consecutive minutes.
For TV advertising campaigns, reach (the net percentage of the target audience to have at least one opportunity to see the campaign) if usually used in conjunction with occurrence (the average number of times the campaign was seen by those within the target audience who were reached) to create an overall measure of campaign exposure.
Share (%Viewers) - The percentage of total viewers watching over a certain period of time. This can apply to channels, programmes, time periods etc. For example, a share of 58% forCoronation Street would mean that, of all the viewing audience watching television whenCoronation Street was being transmitted, 58% were watching that particular programme at that time.
Social Grade - A classification of household social status based on the occupation of the main income earner. BARB reports the following social grades: AB - Higher (A) or intermediate (B) managerial, administrative or professional
C1 - Supervisory or clerical and junior managerial, administrative or professional
C2 - Skilled manual workers
D - Semi-skilled and unskilled workers
E - State pensioners, casual or lowest grade workers
Spot - An individual occurrence of a commercial.
Tuesday, 9 March 2010
Viewer Analysis
Channel 4
w/e 14 Feb 2010
000's | ||
---|---|---|
1 | EMBARRASSING BODIES (WED 2102) | 3,636 |
2 | ONE BORN EVERY MINUTE (TUE 2101) | 3,304 |
3 | RELOCATION RELOCATION (WED 1959) | 3,137 |
4 | SHAMELESS (TUE 2201) | 3,034 |
5 | COME DINE WITH ME (SAT 1800) | 3,005 |
6 | COME DINE WITH ME (SAT 1729) | 2,489 |
7 | DEAL OR NO DEAL (FRI 1612) | 2,367 |
8 | DEAL OR NO DEAL (WED 1612) | 2,345 |
9 | DEAL OR NO DEAL (TUE 1612) | 2,325 |
10 | COME DINE WITH ME (WED 1730) | 2,322 |
'Embarrassing bodies' was the number one most viewed on Channel 4 within the last week, with 3,636 views. The least viewed show was 'Come Dine With Me' with 2,322 views on Channel 4 within the last week.
Viewing Figures
Explain how commercial stations compare to BBC viewing figures (for example, XFM, Kiss FM, Magic). Include a ‘Glossary’ for the viewing figures such as the meanings of: Population, Avereage Hours Per Head, Average Hours per listener
TO DO:
About BARB (more detail)
Why advertisers are interested in ratings