More film posters

• Genre Conventions, you will be introduced to generic codes and conventions of film posters and annotate a given poster.
• Key words: Promotion, signifiers, iconography, title, tagline.

How To Analyse a Film Poster

When analysing any film poster you need to consider the following points:

Begin by identifying the film and date of its release.

• Types of poster: Identify which type of poster it is:

The Teaser poster -This poster contains basic information to whet your appetite. It often does not indicate much about the plot, but may have a picture of the stars, and the name of the film.

The main theatrical poster- This contains information about the production personnel, the stars, and the distributors.

Blu Ray/DVD release poster - This one comes out when the film is released on DVD/video and often has all of the above plus short, one line reviews from relevant publications.

Character Poster – this one features one of the main characters and some basic information. Remember that the posters could be a combination of two types.

Task 1: Write down the different types of poster in your Orange books.

There are a number of questions we must ask ourselves when we are discussing film posters. These are to do with the images, narrative, colours, layout and written text.

• Images of the key settings and the main characters. 

What is the title of the film? 

What can you say about the way in which the title graphics have been written? 

Who is starring in the film? 

Where are the stars’ names placed on the poster? Why? 

Describe the key images on your poster. Why have they been chosen? 

Write about the images used - stars, setting, colours, symbols, (mise-en-scene). What do they suggest/signify? 

What other pictures can you see? What is their purpose? 

What are the most important colours on your poster? Why do you think these were chosen? 

What do you think the film will be about? 

Who is the target audience?

• Narrative: What clues are there to the narrative? 

What can you tell about the genre of the film and the types of characters from their facial expression, body language, stance, appearance and position on the poster? What makes you say this? 

What impression do you get of the character/personalities from their expression, clothes, props. Is there an enigma being presented? 

Is the poster composed of a series of images (montage, lack of perspective) Is the key image a still from the film?

• Colours: What colours are used in the poster? 

Are they relevant to the genre e.g. horror posters generally use dark strong colours especially black and red to represent death and evil. Romance films tend to employ lighter pastel and warm colours such as pinks, purples and other warm shades. 

Are the colours on your poster important? Why? What clues do they give about the genre, and how do they attract the target audience?

• Layout: analyse how the images are laid out. 

Are they are blended in without any concern for real perspective or size relationships between people and setting? Why do you think they are laid out like that? 

Do you know what the plot, genre and/or theme of the film is? If so, how? 

Most posters are portrait or landscape in shape. What shape is yours? 

Describe and discuss the title, font, typeface and graphics on the poster. 

What style are they in and where are they positioned etc? 

Mention how improvements in technology have changed production values.

• Written Text: scan the poster's written text. 

What does film's title and its font look like and what does this connote? 

Is there a catch or tagline? What does it tell us about the action, genre and attitude within the film? 

Who do you think is the target audience for the film? How has the poster been made attractive to these people? Discuss the billing/credit block. What information does it include about credits and information? Do we get information about who is in the cast, who directed the film, which company distributes it and promotes it etc? 

Where is the certificate? 

What does it indicate about the target audience and the content of the film? 

All these elements combine to help the audience to Identify the Genre
For example, an action film will nearly always have images of guns/weapons, a Romance will always have the 2 lovers in very close physical proximity.

Task 2: 
Create a Power point presentation with an example of each poster type. Annotated and considering some of the questions posed above.

• Poster conventions in general 

General colour palette and codes throughout are essential for film posters. 

Pale blue backlighting and fluorescent greens here relate to sci-fi genre. Other conventions relate to thriller, action adventure.

Correct choice of font and arrangement of letters to engage the target audience.

Connotations of words used should relate to the genre. 

'Their Flesh is his Fantasy'

Coming soon or release date - at the bottom of this character poster:

• Icons of the film genre - Gun and Liam Neeson on a plane in this teaser poster:

• Film posters generally have a main focal picture to relate to.

• A large title like the Saul Bass' design shown here can be a big part of marketing:

• Age certification is a legal requirement.

• Tagline
• A tagline must spark a reaction out of the audience without revealing too much of the documentary. It must make them know enough to want to see it but not too much that they feel they know enough already. 
• For example; 'Just When You Thought It Was Safe To Go Back In The Water'

• Awards 
• Producers want to entice the audience to pay to see the film, so having awards on the film poster which the film has won will help the audience to be convinced to go and see the film. They trust the organisations that give awards like the Academy or the BAFTAs.

• Quotes and Reviews
• Most posters have quotes from newspapers of film magazines which again entice the audience to go and see the thing being advertised. They trust the organisations who write reviews; film magazines or critics from newspapers.

• Directors Name 
• Often the name of the director is on the poster connoting their importance in the creation of this product. If the director is well kwon then prominence of his name will help to attract the audience.

Task 3: 

Analyse this poster for the feature film 'In Time'. You should annotate it and email your response to Mr Ealey.

Consider the following as you do; Images, narrative, layout and written text.

Film poster conventions

Learning objectives: To annotate a film poster considering key conventions.



Key terms:
Hyperbole - This is over exaggerated language used to enhance the attraction of the text and the experience.
Copy - This is the writing on the media text.
Mark of quality - This is usually the film logo, the director's name or references to other successful films made by the director. These are used to convince the audience that this new film is a quality product.



Conventions:

The images and copy on a film poster will usually give a clue to the genre of the film.

Iconography - this is another clue to the genre of the film being promoted. The objects, background, clothing and setting will establish the genre of the film.

-Film Noir iconography-

Promise of pleasure - these are the words and phrases that tell the audience what they will experience through watching the film. For example; fear, laughter etc

Star billing - the positioning of the images or the names of the stars on the poster.
Often, a hierarchy of importance will be evident.

Stars - the stars can also give a clue to the genre - Jennifer Aniston is associated with romantic comedies and Harrison Ford with action / adventure films.

The tag line - this is the memorable phrase or slogan that becomes associated with the film and appears on the marketing material.

The image - this will have been carefully constructed and may suggest the narrative of the film and the role of the key characters.

Language and mode of address - this will be persuasive and often makes use of hyperbole (I've told you a million times what hyperbole is!)

Expert critiscism - quotes from newspapers, film and magazines and reviews suggesting the quality of the film and making it a 'must see'.

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Task 1: Write out the key terms above in a new page in your orange books

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Task 2: Annotate the film poster below using the handout provided; Bridesmaids

Consider: Quotes, mode of address, expert witnesses, visual codes, technical codes, star rating.

Quotes - make comparisons with films that would attract a similar audience.

Mark of quality - refers to other successful films of a similar genre.

The film title - is a hook and, combined with the image, gives the audience an idea of what to expect.

The mode of address - is direct and challenging and subverts the connotations of the title.

Expert witnesses - are used in the quotes to suggest that the film is unmissable.

The body language - of the actors is provocative and challenges what the audience might expect of real bridesmaids.

Costume - gives the characters individual personalities that we assume will be explored as part of the film's narrative. The bride is clearly identified in a conventional dress but she appears unconventional and shares similar characteristics to the other characters.

Save the date - is a persuasive technique which suggests that everyone will be going to see the film and audience members should not get left out.

Star ratings - suggest the good quality of the film.

Colour codes - suggest a romantic comedy; however, we can tell through other codes such as facial expression that the film has other elements.

Task 3: Complete your annotation.

Task 4: Peer assessment

MS 2 Spider diagram ideas

You will be introduced to the criteria for MS2 and the abilities you will be required to demonstrate. 

You will deconstruct and discuss examples of previously submitted work

• Key words: research produce evaluate

Today you should MS2 Research exemplar work for your coursework and submit a proposal for discussion.

I will work 1 to 1 until we get things finalised.

Task 1: 

Create a detailed, hand drawn, spider diagram of what your ideas for MS2 are.
You should include ideas for Pre production, production and report.
In addition, consider how you will incorporate these aspects:

• Visual codes: Colour use. Iconography. 
• Mode of address, is it appropriate for the target audience?
• Language: Hyperbole, direct quotation, subject specific lexis, direct quotations.
• Technical ability: Photography skills, camera shots and angles, composition, rule of thirds for example. Lighting suitability.
• Layout and design: Font style. Masthead, cover lines.
• Conventions: Bar codes, social media links, price.

Here is an example of a spidergram. This is what yours should look like.

Orange books.

Complete this task as homework and submit on Friday.

MS 2 Marking Criteria

Learning Objectives:

To familiarize with the criteria for MS2.
To decide on approach to coursework.

• Key words: research produce evaluate

MS2: MEDIA PRODUCTION PROCESSES

Introduction:
This unit is designed to enable candidates to demonstrate knowledge, understanding and skills in media production processes through research, planning, production and evaluation.

Content:
Candidates will be required to produce three pieces of linked work. 
These will comprise:

• a pre-production reflecting research and demonstrating planning techniques [20 marks]
• a production which has developed out of the pre-production [40 marks]
• a report of 1200 - 1600 words [40 marks]

It is anticipated that one brief will be set outlining pre-production and production tasks. Although there must be a link between pre-production and production, there is some flexibility in the nature of the tasks which can be set for pre-production and production.

Examples of linked pre-production and production tasks include:

• A storyboard of the trailer for a new BBC television crime drama (pre-production) and the trailer for that drama (production)
• A script or shooting script for the opening sequence of a teen horror film (pre-production) and a marketing campaign for a new teen horror film, to include at least the dvd cover and one poster (production)
• Draft designs for two magazine front covers (pre-production) and a double page spread for one of those magazines (production)
• Prototype design for a new website (pre-production) and the completed website consisting of a home page and at least two associated web pages (production).
• Unless you strongly feel that an Audio-Visual piece is for you then I would advise you to produce print based coursework. 

• Consider combining: 
• Magazines; Covers and 2-Page spreads with images and interviews.
• DVD covers, 
• CD sleeves,  CD inserts.
• Film posters, 
• Marketing posters.

The production tasks must enable candidates to demonstrate competent technical skills. It is essential they have access to appropriate technical equipment and that they have been taught how to use it prior to undertaking their productions.

(a) Pre-production

Pre-production tasks must be undertaken individually but may be set on a whole class basis. 
Pre-production work will focus on the research and planning skills needed to create media productions. 
Pre-productions may for example, involve research into comparable products, key aspects of the

appropriate industry relevant to the pre-production as well as research into the target audience.

(b) Production

The production must develop out of the pre-production planning.

Audio-visual productions can be produced individually or by a group (maximum of four). 
For group tasks the candidates will need to select one of their pre-productions to develop into a production. There must be appropriate opportunities for a significant and definable contribution to be made by each

candidate. Audio-visual productions should be up to 3 minutes in length, depending on the nature of the production and the number of candidates.

Interactive media (other than audio-visual productions) and print-based productions must be produced individually and must contain at least two pages of original material. The majority of the images within the production should be originated by the candidate.

(c) Report

The pre-production and production must be accompanied by a report of 1200 – 1600 words. 
This report must be completed individually and will include:

• a discussion of the most significant research findings which informed the pre-production
• a brief justification of the target audience for the production
• an evaluation of the production which highlights its strengths and weaknesses through, for example, a comparison with existing media products.

The report may be submitted in one of the following formats:

• an illustrated report
• an essay
• a suitably edited blog.

Marking criteria:

Pre-production AO3

Marking criteria:

Production AO3

Marking criteria:

Report AO3

MS-2 Requirements

MS2 requirements

MS2: Media Production Processes. You are required to submit:

Three components: one pre-production (20); 
one production which develops from the pre-production (40); 
and one report on the production process (40)

(Group work permitted for audio-visual productions only.)

Submission of Ideas: 15.1.16

Submission of Pre Production: 22.1.16

Submission of Production: 12.2.16

Submission of Evaluation: 26.2.16

A look at some audio visual exemplar work.

A look at Print based exemplar work:

For MS2 which is the coursework submission part of your AS qualification, you have the option to produce print based artefacts. This includes the creation of for example:

• A storyboard of the trailer for a new BBC1 television crime drama (pre- production) and the trailer for that drama (production)
• A script or shooting script for the opening sequence of a teen horror film (pre- production) and a marketing campaign for a new teen horror film, to include at least the dvd cover and one poster (production)
• Draft designs for two magazine front covers (pre-production) and a double page spread for one of those magazines (production) 

In order to enhance awareness of the standard of work expected you are to award grades to the following exemplar work using WJEC marking criteria.

The marking criteria is below 

Use the above guidelines to grade the submitted work seen below. Write in your books awarding a level and justifying your award with a sentence or two which corresponds to the marking criteria.

Pre-Production 1 (two covers)

Production 1 (dps)

Evaluation 1

_________________________________________________________

Additional exemplar work can be found in the student share drive.

Student share>Media>Year 12 Mr Ealey>AS MS Exemplar

Audience positioning

Learning objectives:
To consider how audiences have been positioned in the trailer for the feature film American Sniper.


Key terms: 
Active audience. This describes an audience who responds to and interprets the media texts in different ways and who actively engages with the messages in the ways suggested here.
Passive audiences. This describes an audience that does not engage actively with the text. They are more likely to accept the preferred meaning of the text without challenge.  this also suggests that passive audiences are more likely to be directly affected by the messages contained within the text.

• Encode
• Decode

Audience positioning

Media texts are constructed in order to place audiences in a particular position in relation to that text. Audience positioning concerns the relationship between the text and responses an audience may have to that text.
The producers of the texts encode the text with signs and messages and the audiences decode these messages.
Different audiences will decode the same text in different ways and will therefore have a different response.

The Encoders are those who produce the texts - in the case of a magazine this would involve:

• Editors
• Journalists
• Photographers
• Designers

In question 2C or 3 of the MS1 exam you may be asked to discuss how media texts position audiences.
You must support your points with specific examples.

How do media texts position audiences?

Through the technical codes employed by the text. In a moving image text. the camera shots and angles used place the audience in a particular position.
For example, the use of a close up shot at an emotional time in the narrative may encourage the audience to be sympathetic to that character.
A point of view shot positions the audience as a character and allows them to experience events from that perspective.
This may enhance audience pleasure in the text. However, the positioning may be an uncomfortable one.

For example, the use of an extreme close up shot of a character's face during a tense moment in the narrative may make the audience feel uncomfortable. The camera may take the audience where they do not want to go, for example in a horror film.

Task 1: 
List how you think technical codes used in the trailer for the film American Sniper may position the audience.

Camera angles and framing

• You will consider how the meaning of a sign changes according to where it is shown.

Key words: Signifier, signified, encoding, decoding.

http://www.bbc.co.uk/learningzone/clips/genre-analysis-drama/11108.html

Camera Angles

Describing Shots

When describing camera angles, or creating them yourself, you have to think about three important factors

— The FRAMING or the LENGTH of shot

— The ANGLE of the shot

— If there is any MOVEMENT involved

When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots is called a CUT.

Framing or Shot Length

1 . Extreme long shot

This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie. There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.

The extreme long shot on the left is taken from a distance, but denotes a precise location - it might even connote all of the entertainment industry if used as the opening shot in a news story

2. Long Shot

This is the most difficult to categorise precisely, but is generally one which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall). This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. While the focus is on characters, plenty of background detail still emerges: we can tell the coffins on the right are in a Western-style setting, for instance.

3. Medium Shot

Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.

4. Close-Up

This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.

5. Extreme Close-Up

As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.

Camera Angles

The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.

1. The Bird's-Eye view

This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.

2. High Angle

Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.

3. Eye Level

A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.

4. Low Angle

These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

5. Oblique/Canted Angle

Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see — a hand held camera is often used for this.

Camera Movement

A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods:

1. Pans

A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Tilts

A movement which scans a scene vertically, otherwise similar to a pan.

3. Dolly Shots

Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

4. Hand-held shots

The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup Arriflexes and Eyemos into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organised smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. No "walk and talk" sequence would be complete without one. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.

5. Crane Shots

Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

6. Zoom Lenses

A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod!

7. The Aerial Shot

An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration — so long as you don't need to get too close to your actors or use location sound with the shots.

Task 1:

Identify 10 shots from this clip and say why they are in place. Use the handouts provided.