EVAL Q IDEAS

Q1a: how you used or challenged CONVENTIONS

Q1b: REPRESENTATIONS of social groups/issues

HOW TO BE VIDEOS (sweding - tag on cw blog somewhere)

HONEST TRAILERS - opposing example (bridget jones?)

Q2a: how you engaged with AUDIENCES
Q2b: how might it achieve DISTRIBUTION

73 QUESTIONS VOGUE (present in style of, but maybe don't have all 73 qs, just have a art one, and maybe "continues after the ad break..." "sponsored by FCPX...' ALWAYS PROVIDE VISUAL ILLUSTRATION

Q3: DEVELOPMENT of production skills throughout the entire process

10 THINGS ... CANT LIVE WITHOUT(GQ) / WHATS IN MY BAG could do as practical skills, before and after, heres where we didn't apply that, planning? blog posts for illustration?

MOST SEARCHED QUESTIONS (ken loach? mike leigh? sean meadows?) would use illustrations

Q4: how you integrated TECHNOLOGIES (software, hardware, online) in the project

FCPX MASTERCLASS

EQUIPMENT REVIEW could use for q3, then do abridged version for q4 (summary) look at free sample videos of big tech company tutorials (link on teams) put yourself in final cut, quirky keyframing, grabby motions

10 THINGS ... CANT LIVE WITHOUT(GQ)

APPLE KEYNOTE maybe use btech group to cheer and clap, crowd, camera framing to fake crowd OTS

QUIZ SHOWS mastermind, family feud, who wants to be a millionaire

CHAT SHOW graham norton show? red chair? could have distributor form strand releasing explaining why they didnt give tyran a trailer, someone form baftas who didnt give olivia coleman a bafta

USES AND GRATIFICATION THEORY

HARRIET'S WORK

Uses and gratification theory suggests that an audience will actively seek out media they wish to consume, based on certain criteria – the audience is active, not passive​

What they wish to consume is based on 4 specific gratifications:​

• Escapism​
• Personal Identity​
• Personal relationships​
• Information​

Conglomerates aim for 4 quadrant audiences, so aim to fulfil as many of these as possible in their productions​

Indie productions on the other hand, do not always aim to gratify the audience as much, so only some of these will be fulfilled​

This isn't to say that the audience is not viewed as active, only that smaller audience will find appeal in indie productions​

​

Uses and Gratifications Applied - Jurassic World from harriet Barlow

Uses and Gratifications Applied - Tyrannosaur from harriet Barlow

...

MUSIC update

HARRIET'S WORK

A review of the second attempt at the packing scene showed us that we needed different music - the music we were using was very repetitive, but got the tone right.
Using the same chords, but a different finger picking pattern, I created this music to use in future cuts



...

4 QUADRANT THEORY

HARRIET'S WORK

Conglomerates

• The Big Six conglomerates of the film industry have managed to almost monopolize the market, as most of their films target a 4 quadrant audience​.

• In the last 8 years, almost every single highest grossing film of the year was produced by one of the Big Six, and didn't have a BBFCrating above 12​.

• Because they use the tentpole strategy (their films cost $100m+) there is a massive financial risk, as if only a few of their films are flops, their entire company fails​.

Conglomerates therefore tackle a 4 quadrant audience


Indies

• Indie films have less of a financial risk when making their films, as not only are budgets lower, so they do not have to make as much money to make profits, but they also receive government funding in the form of grants, which they do not have to pay back​

• Because they do not use the tentpole strategy, they can make films which appeal to niche, or smaller audiences​
• The most expensive Warp film was still only £8.1m ('71)​

• But, audiences still get missed out on because they do not have the budget to market their films​
• The BBFC plays a big role in this issue​

Indie films can therefore target niche audiences with their films, as they are not usually such big financial risks.
...

STUART HALL theory of readings

HARRIET'S WORK

Reception theory

It was suggested by Stuart Hall that a producer encodes specific meaning into a text, and the audience decodes it (preferably) in the way the creator intended. If the audience does not decode the text in the way intended, their reading is not inherently wrong - different audiences react differently based on who they are.

Some audiences may not be able to decode some texts based on things like cultural background, gender, age etc.

Different audiences pick up on different levels of reading:

• Preferred reading
• the audience is able to understand the text in the way the creator intended
• Negotiated reading
• the audience is able to understand some of the text, but not all of it
• Oppositional reading
• the audience rejects the intended meaning and creates their own, maybe because they disagree with the content, or they are not able to understand the text (it is not accessible to them)

If a text has multiple possible meanings, it is polysemic