Hustle Mock

Hustle mock

Gender binary opposites

New binary opposites

Signifying pictures

Dr Who - Gender clip

Gender Binary Opposites Mock

Gender Binary Opposites

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Group Drama Sequence

Original Storyboard

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Binary Opposites

Binary Opposites Mini Essay

The Global Film Initiative has picked up three films that screened at the recent Busan International Film Festival (BIFF) for North American distribution - 111 Girls, Beijing Flickers and Shyamal Uncle Turns Off The Lights. Iraqi-Kurdish drama 111 Girls, which screened in BIFF’s New Currents competition, is produced by acclaimed filmmaker Bahman Ghobadi and directed by newcomers Bijan Zmanpira and Nahid Ghobadi. Suman Ghosh’s Bengali-language Shyamal Uncle Turns Off The Lights [pictured] follows a senior citizen who campaigns to save electricity by getting the street lights turned off during the day time, while Zhang Yuan’s Beijing Flickers follows a group of young city dwellers who have been left behind by China’s economic miracle. Shyamal Uncle Turns Off The Lights and 111 Girls received their world premieres at BIFF, while Beijing Flickers previously screened at Toronto. All three film will be included in GFI’s forthcoming Global Lens 2013 film series, which will include seven other films and premiere January 2013 in New York. “These films are a shining example of what makes Global Lens, and BIFF, so unique,” said GFI director of programmes Santhosh Daniel. “Unusual and inspired filmmaking that draws you into the landscape of imagination, and a nation - we’re proud to include them in the tenth anniversary of our series.”

Rules

1. Write like a lawyer not like a detective - Don't write a confused essay.
2. Nothing you see or hear in a TV drama is there by accident.
3. Look for the binary opposites and conflict within the representation

Useful phrases from 'Monarch of the Glen' extract essay

1. Essentially presented.
2. Privileged throughout the clip.
3. Finally, the character of Paul makes for interesting analysis as it appears that he is the 'Mediator' between the two generations and within the clip bridges the age divide.
4. It is through this opposition that the audience is initially asked to emphasis with Amy.
5. Subverts.
6. ..is constantly seen in the clutches of other characters. She almost appears to visibly get younger on screen.
7. Signs.
8. ..insecurity demonstrated.
9. ..she is represented as a girl who perhaps stereo-typically needs saving from the perils of adulthood and facing up ones own responsibilities.
10. ..it is the only location which shows an absence of youth - indeed the only character who inhabit this space are Paul and the headteacher.
11. ..which arguably is reminiscent of a court room conforms.
12. ..witnessed between two adults (Paul and the Headteacher) whereby progress was clearly made.
13. ..demonstrates a sense of vivid colour.
14. ..innocence of youth and interestingly Amy is careful in the way she places the items.
15. ..she appears to hide her hands under her sleeves.
16. The initial high angle establishing shot of the workers and their tools represents the sense of community we feel when we consider the adults within the clip.
17. The over the shoulder shot remains focus on her as she admits to having something to explain.
18. ..cleverly edited to draw the audience in to Amy's particular story.
19. Perhaps this editing of the narrative also hints at he way young people may typically feel that they are not listened to.
20. Having received the key, about in rather clumsy and playful way (further highlighting the youth that Amy is representative of)
21. Vulnerable
22. ..unnatural way that Amy deals with the starting of the car
23. ..draws attention to the fact that this is not a natural experience for her
24. ..sterotypically venerable - it differs when used to show the relationship between Paul and the headteacher
25. ..the two characters are shot in low angles
26. ..figures of authority
27. ..headteacher is allowed to occupy shots purely on his own
28. ..a hierarchy of age - suggesting the older you are, the more power and respect you command
29. The use of both diegetic and non-diegetic sound us also key to understanding the representational issues.
30. ..ambulance soundtrack
31. ..rural environment
32. ..non digetic music shouts of a sympathetic tone and foreshadows the event of her leaving
33. ..shouts of aggression, yet his following line directed at Paul is delivered in a calm manner suggested that as a 'child' Amy does not command his respect
34. ..she need the adults to decide her fate
35. ..which motivated by the character of Amy deals with the representation of 'youth as something which is misunderstanding fragile and vulnerable 
36. ..privilege Amy's story
37. ..inhabiting a word which opposes that teenage and one which is represented by tradition, formality and reason, rather than (as the in the case of youth) emotion.

The British film industry should back more mainstream movies, a report is expected to recommend next week.

Ahead of a visit to Pinewood Studios on Wednesday, Prime Minister David Cameron said the film industry should support "commercially successful pictures". His comments come before the publication of Lord Smith's review into the government's film policy on Monday. The review was commissioned to find out how the industry could offer better support to UK film-making. Mr Cameron praised the UK film industry but said "we should aim even higher, building on the incredible success of recent years". He acknowledged the British film industry had made "a £4bn contribution to the UK economy and an incalculable contribution to our culture". Lord Smith, the former Labour culture secretary, is also expected to recommend developing an export strategy to increase the profits of British films. Speaking to the BBC, director Ken Loach said it was important to have a diverse film industry with a wide range of films to choose from. "If everyone knew what would be successful before it was made, there would be no problem," he said. "What you need to do is fund a lot of different, varied projects and then you'll get a really vibrant industry." Loach added he would encourage more independent cinemas, saying: "The market does not provide choice if you don't intervene."

Long shot

The long shot is used to allow the audience to see what the character is wearing. This gives the audience an idea of what they might be like.In this case, Megan is sat down but she could be standing, that would give us an even better view. The angle of the camera in this case is that is eye level as the I took this picture as I was also sat down. Taking this picture at eye level highlighted the fact we are equal to each other as we are both students, therefore have the same authority within our school. Seeing Megan's facial expression which is happy, doesn't reflect on her clothing as she is wearing very dark, earthly colours. If we didn't see the long shot of this image, we might get the idea that Megan is doing something different than sitting down in a hall.

Long Shot

The birds eye angle of this image demonstrates to the audience that they need to take in what the people in the image are wearing. In this case, Matt is wearing brighter colours than I am, this could tell a lot of different of different stories to the audience. Also, this shot has got other things in it, such as chairs and other people. This sort of picture encourages the audience to try and judge us as characters, and figure out what sort of place we are from. In this case, we are in a school hall which obviously shows we are students. 

Mid Shot

The mid shot picture is at eye level. This sort of shot would typically be used for a news reader for example. It allows the audience to clearly see facial expressions that the person on screen has.This often tells a mood of a story. Mid shots are used to put across a message that is highlighted. The eye level angle of the camera can make it feel like you - as the audience, are more involved within the scene as it feels more direct when they are speaking. 

Long Shot

This long shot of Matt is at a high angle and is using a birds eye view. When taking this picture I zoomed in towards him a bit more, as the surroundings of Matt werent relevant to the picture I was taking. The fact that this picture was taken on a higher level to which Matt was at at, highlights the fact that I might be at a higher authority than him. E.g.: if I was a teacher taking a picture of Matt, it would be a good example of who has more power. 

Establishing Shot

This establishing shot of the hall is important as it shows the full surroundings and is introducing you to what is the scene you will watching or viewing. Showing everything which is in the middle of the shot shows the audience that everything in the scene is perfectly in proportion. We are at eye level in this picture to what the person is in the picture. This makes the audience feel more involved in what is going on as well as being able to see everything surrounding them.

UK film industry worth £4.6bn in 2011, report suggests Harry Potter and the Deathly Hallows Part 2 was the biggest film of 2011 at the UK box office Continue reading the main story Related Stories Q&A: What is GDP? DVD sales 'boosting UK's films' UK box office takes £1bn in 2011 The UK film industry contributed more than £4.6bn towards the UK GDP (Gross Domestic Product) in 2011, according to an independent report. It said the industry has "grown significantly" in the last 20 years. The number of UK films has grown from an average of 43 in the 1980s to 136 in the 2000s, according to report author Oxford Economics, a global forecaster. The economy was worth about £1.5 trillion in 2011, with UK film accounting for 0.3% of GDP last year. The GDP is a measure of the value of goods and services produced in the economy. The report said UK box office receipts hit a record high last year of £410m, boosted by films including Harry Potter and the Deathly Hallows: Part 2 and Sherlock Holmes: A Game of Shadows, plus independent films such as The King's Speech and The Inbetweeners Movie. 'Long-term growth' The most recent previous report on the film industry, also by Oxford Economics found that, in 2009, the core UK film industry contributed £4.5bn to UK GDP. The 2012 report suggested the 2011 figures demonstrated that "despite the on-going recession the UK film industry is thriving". It also stated the number of jobs the industry sustains has risen from 100,000 in 2009 to 117,400, while tourism generated by films depicting the UK was estimated to have contributed about £1bn to UK GDP. "With a significant upward trajectory over the last 20 years, the overall picture for the UK film industry is of continued long-term growth," said the report, adding: "Growth outstrips the UK economy as a whole; there is significant and continued investment in infrastructure." By comparison, another major contributor to the UK's creative industries is the music industry, which last year made £3.8bn, according to PRS For Music, which represents songwriters, composers and publishers. Creative Industries minister Ed Vaizey said the film industry report "clearly highlights the huge contribution that the UK film industry makes to long-term economic growth". "The UK's successes at the Bafta and Academy Awards celebrate the wonderful creative talents and accomplishments of UK film, but this report reminds us of the crucial role the industry plays in job creation, tourism, inward investment and the promotion of all that is great about Britain," he added. The report, which is updated every two years, explored the following aspect of the British film industry: Jobs and skills Exports Tourism Inward investment Promoting British culture Merchandising New technologies It also estimated that production would be 71% smaller without Film Tax Relief, which is suggested to cost HM Treasury about £114m per year, generating about £12 for every £1 invested. Films that qualify for the relief are British films intended for commercial release in UK cinemas and of whose total production costs, at least 25% relate to activities in the UK. "Without it [tax relief], national GDP would be reduced by approximately £1.4bn a year and Exchequer revenues by £430 million a year," the report stated. Adrian Wootton, chief executive of Film London and the British Film Commission said: "The UK film industry has proved itself to be vital to the economy and that is something which should be celebrated, and of which we should be very proud." The report was commissioned by the British Film Institute and Pinewood Shepperton plc, with support from the British Film Commission and Creative England.

Siobhan Arnold