a2 critical perspectives paper g325 amended

8/18/2019 a2 Critical Perspectives Paper g325 Amended

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A2CRITICAL

PERSPECTIVES PAPER

G325


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SECTION AREVISION

GUIDE


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THE EXAM

The A2 exam worth 25% of your nal A-level grade and is made

up of 2 separate sections

Section A: Theoretic! E"!#tion o$ %o#r Proction

• 2 compulsory uestions worth 25 mar!s each " 5# mar!s

in total

Section ': Conte()orr* Me&i I++#e+

• 1 uestion $uestion num&er 2' from a choice of 2 worth

5# mar!s


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SECTION A , THEORETICAL EVALUATION O-

PRODUCTIONS

.#e+tion /

A uestion that reuires students to descri&e and evaluate the

development of their s!ills over the course of their A)

*roduction wor! to their A2 *roduction wor!+

The uestion will as! students to focus their answer on ONE

OR T0O of the following issues,

• igital Technology• .reativity

• /esearch and *lanning

• *ost-*roduction

• 0sing conventions of real media texts

ou could also reference any other productions you have made

in this two year period outside of school+

n the following pages is a detailed &rea!down of things you

could discuss for each of the a&ove 5 topics+

The sections highlighted in green are the most important to

include if you get that uestion


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D i1it! Techno!o1* ho *o#r +4i!!+ h"e )ro1re++e&

n& ho the* he!)e& *o# in *o#r )roction+

Throughout your essay you should try and give several examples of real

occasions you used these technologies. For example “At AS we started to use

Blogger to keep a record of all our coursework. We had no real experience of

logging prior to this etc !! then at A" we developed our skills with logger

so instead of having group work logged# we were ale to take a more individual

approach. This gave us more autonomy over our own work and helped us take

more responsiility for all the research and planning$

Intro: igital technologies have a had a huge inuence on media

production over the last few years and since you started in ear 12 you

have learned a massive amount a&out how to use them and what the

&enets are of using them+ They in turn have had a signicant impact on

the uality of your nished products+

U+in1 (ore co()!e $et#re+ o$ iMo"ie or other e&itin1 )c41e+

4 ad 6ero experience at the &eginning and have now moved from &asic

editing to more complex editing7 e8ects7 transitions7 sound manipulation+

uic! to upload so something can &e lmed7 uploaded and edited in a

matter of minutes+ 4 9e specic 4 :hat specic techniues did your group

use and where;

Soci! Netor4in1 Site+ 4 Allows you to communicate with a far wider

networ! of people than other we&sites+ ou could have used this to

gather audience research7 upload your video and as! for feed&ac! etc++

9e specic 4 comments that people posted to help you improve

when it came to your A2 productions etc++ ?na&led you to post your own

video to a massive audience+ 9e specic 4


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Photo+ho) $you used to use :ord and *owerpoint etc' 4 *hotoshop

allows manipulation of images7 e8ects7 colours7 cropping7 layering images

and words+ 9e specic 4 :hat did 0/


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At A2 e #+e& -ce6oo4 in

&i


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Creti"it* , ho *o#r +4i!!+ h"e )ro1re++e& n& ho

the* he!)e& *o# in *o#r )roction+

Intro , 0ht IS Creti"it* 4 ?=D@? DT - Dt is Hthe ma!ing of new things

and the re-arranging of the old+I 4eg the a&ility to have your :@ ideasand not Cust copy other peoples+ The a&ility to do things that are unusual

and di8erent etc++

0here &i& *o#r ori1in! i&e+ co(e $ro(> 4 ow did you increase

your a&ility to come up with your own ideas; id you mind map; id you

share ideas; id you do creative types of research eg not Cust

uestionnaires with people you !new7 &ut using ou Tu&e to get comments

from people around the world7 etc+ low angles7 putting the

camera on the oor7 in the fridge7 using stop motion7 green screening etc++

9e specic giving real examples of creative camera shots you used and

explain how they made your production &etter

E&itin1 4 At rst you werenJt very creative+ ?diting was functional putting

shots next to shots to create some meaning for your A) opening

seuence++ owever you couldnJt do that at A2 as Cust having a narrative

wasnJt enough++ you needed to create energy and engage the audience

and edit to the ow of the music using e8ects etc +++ &e specic7 give real

examples of creative editing you tried and explain what impact they had

on your production

Genre ? Con"ention+ 4 ow have you developed your use of genre >

conventions from Cust copying conventions7 to instead7 &eing a&le to

challenge and su&vert conventions of genres+ :ere you creative &y

com&ining genres;

C+tin1 4 At A) you werenJt very creative in your casting++ .hose people

who were friends etc++ Then you &ecame more creative at casting


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including sending out face&oo! messages7 holding auditions etc++ ow

were you creative in your casting; 9e specic+ :hat impact did this

have;

Photo+ho) - @ever used &efore+ :hen using :ord > *u&lisher your

creativity was stied &ecause you are limited in how much you can edit

the images+ *hotoshop allowed you to manipulate images etc++ 9e

specic7 give real examples of creative *hotoshop wor! you did

Conc!#+ion

.ertain /estraints on your creativity in place from exam &oard - you A

to ma!e a music video7 digipa!7 poster etc++ These rules do limit your

a&ility to &e creative to a certain extent

@ot easy to Cust &e creative+ ou actually needed to do practical thingsli!e research7 paperwor!7 story&oards etc to A: you to develop our

creativity+ :ithout solid research and planning7 &eing creative was

impossi&le+ ou needed a &alance of organised A@ creative people in a

group to &e successful+

ou canJt Cust 9? creative+ ften it is a learning process where you start

&y &eing told what to do7 then you try doing things on your own and then

you end up &eing condent and s!illed enough to experiment which leads

to creativity+ ou have to ma!e mista!es at rst to &e creative+

To 1et A 9 ' 1r&e+

To get the higher grades on this uestion7 you need to ensure you are not

Cust ?)./D9D@< how your creativity developed+ Dnstead you need to

focus on the ?EA0AT? part+ To ?EA0AT? you could comment on any of

the following throughout your wor!

•

: important creativity was

• : was creativity important

• :AT ?==?.T did creativity have on your nal wor!

• :hat */9?L) are there with &eing creative;

• :AT would you @T have &een a&le to do without creativity;

• : did creativity &enet you;


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Creti"it* Ho it he!)e& #+At AS e ere creti"e co(in1 #)

ith i&e+ 6*;

At A2 e ere (ore creti"e

co(in1 #) ith i&e+ 6*;

At AS e ere creti"e choo+in1

!oction+ 6*;==

At A2 e ere (ore creti"e

choo+in1 !oction+ 6*;

At AS e cho+e co+t#(e+ 6*

At A2 e ere (ore creti"e ith

o#r co+t#(e+ 6*

At AS e co)ie& con"ention+ o$the 1enre $or e()!e==


the con"ention+ $or e()!e==


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At AS e #+e& 6+ic e&itin1

techni@#e+ +#ch +==


o#r e&itin1 $or e()!e;


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Re+erch 9 P!nnin1 , ho *o#r +4i!!+ h"e )ro1re++e&

n& ho the* he!)e& *o# in *o#r )roction+

Intro: /esearch M *lanning have played a huge role in all of your

production wor! so far and hence your s!ills in /M* have developedmassively+ our research and planning have made your production wor!

develop in terms of uality+

A#&ience @#e+tionnire+ 4 allowed you to nd out who your target

audience was7 what they wanted7 what they li!ed etc++ 9e specic7 what

did you nd out from your uestionnaires; ow did you improve your use

of uestionnaires at A2; As!ed &etter people to complete them; :rote

&etter7 more focused uestions; ualitative and uantitative uestions

A#&ience $oc#+ 1ro#)+ 6oth 6e$ore n& $terB 4 same as a&ove7allowed you to personally interact with your target audience7 delve

deeper7 get them to clarify what they mean etc++ =ocus groups after

production helped you to see if youJd achieved your goals+ At the

&eginning many people didnJt !now how to do a focus group7 or what

uestions to as!+ @ow at A2 you are condent tal!ing directly to the

audience mem&ers7 as!ing the right uestions etc+ 9e specic with things

you as!ed your focus group or what they said

Loo4in1 t re! !( o)enin1 +e@#ence+ ?(#+ic "i&eo+ 4 At rst your

analysis was mainly descriptive7 as you simply watched the openingseuences on ou Tu&e > EJs and descri&ed what you saw++ &ut as your

analytical s!ills have developed at A2 your a&ility to use these as research

has developed too++ @ow you can deconstruct a piece of footage in tiny

detail7 commenting on colour7 camera angle7 shot si6e etc++ 9e specic

with what real texts you loo!ed at and what you learned from them+ ou

now watch a wider variety of texts $not Cust famous ones' and also

watched student made wor! which helped you see what was possi&le on

6ero &udget with school euipment+

Stor*6or&in1 ? Shot!i+t+ 4 @ever done story&oarding &efore A-evel++

=irst story&oards at A) tended to &e simple7 with mainly pictures7 and very

little shot description or editing information+ @ow as you have developed

your technical s!ills7 your a&ility to create detailed story&oards have

developed++ these are useful to give the crew a specic idea of what to

shoot $useful if someone is a&sent' and helps you to focus on getting

particular shots rather than Cust lming random stu8+ elped you get the

right amount and type of footage+

Loction recce+ 4 @ever did one at A)7 you Cust lmed in local places egschool++ At A2 you have learned to chec! for other aspects such as noise


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levels7 power points to plug in euipment7 health M safety7 availa&ility etc+

*lus you have sourced more interesting7 exciting locations+

C+tin1 4 At &eginning you tended to cast friends7 students etc++ uic!ly

learned that people were unrelia&le7 or didnJt loo! right for the part etc++

@ow you are a&le to cast the right people for the role7 hold auditions7 do

test shots7 try them out on camera to see if they can act etc++ &e specic

with real casting issues you had

Pre!i( 4 The prelim in ear 12 helped you to develop s!ills you didnJt

have &efore such as framing7 di8erent angles7 1G# degree rule etc++ =or

music videos you did a prelim tas! that involved shooting material for a

uic! song and then re-editing it for a slow song+ )ome of you also made

a trial seuence for a 9ritney )pears video+ ow did this help you

progress; 9e specic with real issues you had+ Df you hadnJt done theprelims7 what pro&lems might you have encountered;

Conc!#+ion, /esearch M planning s!ills have changed you from a

producer of &asic media texts7 into a producer of complex uality media

texts+ /M* s!ills are essential to ma!ing someone a &etter7 more creative

producer of media+

To 1et A 9 ' 1r&e+


Cust ?)./D9D@< how your research and planning developed+ Dnstead you

need to focus on the ?EA0AT? part+ To ?EA0AT? you could comment on

any of the following throughout your wor!

• : important research and planning was

• : was research and planning important

• :AT ?==?.T did research and planning have on your nal wor!

• :hat */9?L) are there with research and planning;

• :AT would you @T have &een a&le to do without research and

planning;

• : did research and planning &enet you;

Re+erch n& P!nnin1 Ho it he!)e& #+

At AS e #+e& @#e+tionnire+ to;


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At A2 e i()ro"e& o#r #+e o$

@#e+tionnire+ 6*;

At AS e #+e& $oc#+ 1ro#)+ to;


$oc#+ 1ro#)+ 6*;

At AS e e(ine& re! o)enin1

+e@#ence+ +#ch + ? in or&er to;

At A2 e i()ro"e& o#r re+erch ?

n!*+i+ o$ re! tet+ 6*;

At AS e #+e& +tor*6or&+ $or;


+tor*6or&+ 6*;

At AS e co()!ete& )re!i(

t+4+ to==


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At A2 e i()ro"e& the * e

#+e& the )re!i( t+4 6*;


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Po+t Proction - ho *o#r +4i!!+ h"e )ro1re++e& n&

ho the* he!)e& *o# in *o#r )roction+

Intro: ou have gone from !nowing virtually nothing a&out post

production to now &eing a&le to complete complex editing of video7 soundand graphics++

-in! C#t Pro ? E)re++ in co()ri+on to I Mo"ie etc 4 ad 6ero

experience at the &eginning and have now moved from &asic editing to

more complex editing7 e8ects7 transitions7 sound manipulation+ uic! to

upload so something can &e lmed7 uploaded and edited in a matter of

minutes+ .an also export your movie to uic! Time to allow you to upload

it online etc 4 ow did this change the footage that you had; 4 &e specic

with real tools and e8ects you used and how it helped eg chroma !eying7

green screen7 stop motion animation etc

Li"e T*)e 4 used to use the =inal .ut text7 now ive Type+ :hatJs the

di8erence; Dt has more functions and potential to create moving text+

:hy was this useful;

Photo+ho) $you used to use :ord and *owerpoint etc' 4 At A2

*hotoshop allows manipulation of images7 e8ects7 colours7 cropping7

layering images and words - 4 ow did this change the footage that you

had; 4 9e specic with real e8ects you tried on *hotoshop

%o# T#6e ? Re&r$tin1 ? Peer A++e++(ent 4 At A)7 you Cust uploaded

your nal version to ou Tu&e and left it there+ At A27 after editing you

uploaded your opening seuences you used the feed&ac! > comments that

people posted to help you improve it further and ma!e multiple

improvements++ 4 &e specic with real comments you got and how this

helped your post production

After ?8ects 4 had 6ero experience+ )ome of you then learned how to use

this in your own time7 practised e8ects etc++ discuss how this helped ma!e

your wor! &etter

Conc!#+ion, our post production s!ills have developed hugely and has

ena&led you to ta!e a simple piece of footage and turn it into something

complex and creative+

To 1et A 9 ' 1r&e+


Cust ?)./D9D@< how your post production s!ills developed+ Dnstead you


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need to focus on the ?EA0AT? part+ To ?EA0AT? you could comment on

any of the following throughout your wor!

• : important post production s!ills were

• : were post production s!ills important

• :AT ?==?.T did post production s!ills have on your nal wor!

• :hat */9?L) are there with your post production s!ills;

• :AT would you @T have &een a&le to do without post production

s!ills;

• : did post production s!ills &enet you;

Po+t )roction Ho it he!)e& #+At AS e #+e& iMo"ie to;

At A2 e i()ro"e& o#r e&itin1

+4i!!+ on -in! C#t 6*;

At AS e #+e& the 6+ic tet

cretor too! on iMo"ie to==

At A2 e i()ro"e& o#r #+e tet

6*;

At AS e 4ne thi+ 6o#t

Photo+ho);

At A2 e i()ro"e& o#r

#n&er+tn&in1 o$ Photo+ho) 6*;


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At AS e 1ot $ee&6c4 $ter the

)roction 6*==

At A2 e i()ro"e& )o+t

)roction $ee&6c4 6*;

U+e o$ Re! (e&i Con"ention+

.onventions are the Hcommon featuresI of a particular type of media or a

particular genre+

Introction 4 ver the two year course you have learned a lot a&out7

not Cust what the conventions of particular forms and genres are7 &ut how

to use them in creative ways in your own wor!

Min:

Pre!i( t+4 4 you included di8erent types of camera shot7 and editing

techniues+ 9ut did you ma!e the HgenreI clear of what you were doing;

id you colour grade it; id you change the sound levels or add sound >

editing e8ects; *ro&a&ly not++ )o your use of conventions was very

limited+ Although you could pro&a&ly name a few conventions of horror >

action etc you didnJt actually !now how to use them in your wor! yet+ At

A2 you were more condent with your technical a&ilities which meant you

could use the prelim tas! to experiment with conventions of the genre 4

give example

%o#r 1enre - At A)7 how did you identify what the conventions were of

your lm genre; :hat videos did you watch and what were the

conventions you found; ow easy was it to identify the conventions;

Then show development &y discussing A2 4 :hat did you do di8erently to

identify the conventions of the genre; id you loo! at videos A@ theory

$Andrew aura Lulvey'; This was li!ely to &e a lot harder as

music videos often &elong to 2 or more genres and many genres of music

have very few HsemanticI elements $eg visual conventions'+ iscuss

some videos you watched and identify what you thought the main


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conventions of your genre were+ ow did using media theory to identify

conventions help you at A2;

C(er 4 At A)7 what camera shots > movements did you use that are

conventional of horror lms; =or A27 give an example of how you used

conventional camera wor! for music videos in your video+ At A27 your

camera wor! may have &een more a&out &eing creative+ ?xplain how you

Hpushed the &oundariesI with your camera wor! at A2; :hat did you do

di8erently;

Mi+e,En,Scene 4 At A)7 what mise-en-scene did you use that was

conventional of horror lms; $costumes7 locations7 colours etc' and what

e8ect might these have had on the audience; At A27 give some examples

of mise-en-scene you chose that was conventional of your genre+ ou

could discuss how at A2 your mise-en-scene was li!ely to &e more creative&ecause of how you have developed your sense of how elements can

communicate meaning to an audience+ :here as A) was a&out what was

convenient and easy7 at A27 you deli&erately chose locations and

costumes that were more planned to signify a meaning7 more creative etc+

dialogue on7 then give an

example of where you did this and why+ Df you did7 you could explain how

actually7 not &eing a&le to manipulate or cut the sound made the process

more diNcult as you had to ensure all the miming of the lyrics complete

matched7 at the right pace etc+


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Conc!#+ion 4 At A)7 you were still learning a&out the concept of genre7

and felt as though conventions were very much easily identia&le and set

in stone+ Lany of you ensured that you followed lots of your genreJs

conventions in your A) wor!+ owever &y the time you reached A27 you

learned that genre is much more of a HuidI concept7 less easy to dene7especially within music7 and this led to you &eing condent enough to

&oth follow and challenge conventions of your genre7 pushing the

&oundaries throughout which impacted your creativity+


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.UESTION 2

This uestion will reuire students to select EITHER their A)

production OR their A2 production $whichever ma!es more

sense for the uestion' and evaluate it in terms of one of the

following media concepts+

•


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GENRE

To 1et C9D Gr&e+

Intro: :hat was your genre; :hat are the conventions of the genre $eg

horror > roc! etc' and how did you nd these out; music videos you watched to nd this out

Min, ow have you signied the genre using,

• .olour

• .amera shots > angles > movements

• ?diting techniues

• )ound > dialogue > music

• Lise-en-scene such as .ostumes > props > ocations

Conc!#+ion

o you thin! you made the genre of your piece clear to an audience;

ow do you !now this;

Ho to 1et A9' Gr&e+

To gain an A or a 9 grade you really need to try and incorporate theories

into the a&ove points+ Try and use some of the theories &elow

$incorporating them throughout rather than having a whole separate

sections for them+' :hat do theorists say a&out the genre; ?xplain how

your video either conforms to the theorists ideas / challenges them and

why

-ILM GENRE THEORIES GENERAL GENRE THEORIES

)teve @eale thin!s that lm

genres are constantly

changing and evolving and are

not set in stone+ e thin!s

there are 5 main stages in lm

genres+ :hich stage does

your lm t into; ?xplain why+

• The form nding itself $*sycho'

• The classic $alloween'

• )tretching the &oundaries of

/o&ert )tam 4 suggests genre is

hard to dene7 doesnJt really

exist and is Cust a concept made

up &y theorists and critics+ o

you agree;


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the genre $@ightmare on ?lm)treet'

• *arody $)cary Lovie'

• omage $)cream'

/ic! Altman says that the way we

dene a genre is &y two main

things,

• )emantic ?lements $eg signs

such as !nives7 &lood7 dar!colours7 eerie music'+ e

thin!s these elements are

easier for audiences to

recognise and identify

• )yntactic elements $includes

T?L?) such as fear7

revenge7 rage as well as plots

such as *T) such as group

go on trip7 one &y one theydie7 last girl survives and !ills

!iller' e thin!s these

elements are more su&tle and

harder to recognise+

Ddentify semantic and syntactic

elements in your video that

might help audiences identify

the genre of your lm > music

video

aura Lulvey - )uggests that

women in all media are

o&Cectied+ )he is a feminist

who &elieves that women are

often shown through the ideas

of men $male ga6e' and are

seen in voyeuristic ways+ )he

also thin!s that women are seen

in one of either two ways the

HvirginI character or a HwhoreI

character+ This is the Hvirgin >

whore dichotomyI


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AUDIENCE

To 1et C?D 1r&e

Intro: :hy is it important > essential for a media product li!e a lm or a

music video to appeal to an audience;

:ho was your target audience for your production;


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2B

'!#(!er 9 t7 4 Thin! that audiences

want media products that gratifyparticular needs $0ses M gratications'

eg escape7 entertainment etc

-rn4$#rt Schoo! 4 ypodermic

needle theory+ Thin! audiences might

&e directly inuenced &y media

products

St#rt H!! 4 ?ncoding and ecodingtests A@ *referred7 negotiated and

oppositional readings+ Thin!s

audiences will react in di8erent ways to

media products+

P!#r!i+t+ 4 thin! that the media

operates on a supply and demand &asis

and so the media must give theaudience what it wants in order to

survive and &e successful+

T$e! 9 T#rner 4 intergroup

discrimination theory+ Thin! that

audiences enCoy watching texts where

they can feel superior to the characters

in terms of money7 class7 success etc++

L#r M#!"e* 4 &elieves the media

texts often encourage the audience to

o&Cectify women and loo! at them with

a Hmale ga6eI


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2G

REPRESENTATION

epending on who the main characters were in your A) M A2 productions7

choose 1 or more of the following categories of people7 and discuss how

your video represents them

Intro: ?xplain what media product of yours you will &e analysing and

which social group>s you will &e analysing the representation ofP

Min:

A


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?diting,

)ound,

To 1et A9' 1r&e+

To gain an A or a 9 grade you really need to try and incorporate theoriesinto the a&ove points+ Try and use some of the theories &elow

$incorporating them throughout rather than having a whole separate

sections for them+'

Theori+t Theor* 0ht to rite 6o#t

evi )trauss said that media texts often represent characters in

terms of &inary opposites such as good vs evil7 wea!

vs strong+ id you do this; Df so how and why;

:hat e8ects might it have on the story7 the audienceetc++

aura Lulvey 9elieves that women are often o&Cectied in the

media+ )he says they are loo!ed at with a Hmale

ga6eI and are seen as sex o&Cects+

)he also &elieves that there are all too often only two

roles for women in the media+ ?ither the HvirginI

character or the HwhoreI character+ This is called the

Hvirgin > whore dichotomyI+

.an their theories &e applied to your video; id you

conform to their ideas of representation or challenge

them; :hy;

Eladimir *ropp *roppJs theory of narrative suggests that texts often

represent characters as particular types in order to

ma!e them easily identia&le to an audience and

help them !now how to react to them+


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3#

• ero

• Eillain

• *rincess

• onor > elper

• ispatcher

Df you included any of these characters7 how did you

represent someone as the HheroI or HvillainI+ :hy

does it engage an audience if they either !now

who they are or @JT !now who they are;

Angela Lc/o&&ie http,>>www+angelamcro&&ie+com>

Angela Lc/o&&ie says that men and women are oftenrepresented through stereotypes in the media and

are often shown in traditional gender roles+ =or

example women are often shown as wea!er7 victims7

mothers7 carers etc+ Len are often shown as

aggressive7 strong7 managers7 leaders etc+

.an their theories &e applied to your video; id you

conform to their ideas of representation or challenge

them; :hy;

)tanley .ohen 9elieves that particular groups in society are

HdemonisedI and HmarginalisedI through negative

representations which may have the e8ect of causing

a moral panic where the maCority of society fears that

social group+ ave you demonised a particular group

eg &lac! people; oung people; :hy;

http://www.angelamcrobbie.com/http://www.angelamcrobbie.com/


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NARRATIVE

To 1et C 1r&e

Intro: :hat is the traditional type of narrative for your genre > type of

product; ow did you nd this out; :hat other real texts did you loo! at

that helped you wor! this out;

ave you used a inear > @on inear @arrative7 where and why;

Min: ow have you used the following to signify > communicate the

narrative of your lm;

• .amera 4 give several examples of real shots > movements you used

•?diting - give several examples of real transitions > e8ects you used

• )ound - give several examples of real sounds7 music7 dialogue you

used

• Lise-en-scene 4 give several examples of real costumes7 locations7

props7 you used

@arrative ?nigma 4 where have you included this in your opening

seuence and why is it important;

Conc!#+ion: ?xplain what audiences thought of your narrative+ :as it

clear; .ould it have &een &etter; ow;

Techni@#e+ I #+e& 0ht it +i1nie& 6o#t the nrrti"e

o$ (* tet.amera,

Lise-?n-)cene,

?diting,

)ound,


32/35

32

To 1et A9' Gr&e+

Theori+t Theor* ht to rite 6o#t

Todorov thin!s there are several main stages to a complete narrative7

recognisa&le in any story

• ?uili&rium

• isruption

• /esolution

• ?uili&rium

?xplain whether you included these stages and where+ id you

have them in the same order; Df not7 why not; :hat was the

&enet of starting with the disruption for example;

evi )trauss 4 says that 9inary opposites are important in narratives such as

good vs evil7 women vs men7 crime vs Custice+ ?xplain any &inaryopposites identia&le in your text and explain why you thin! they

might &e important to include

0n!nown

theorist

According to an un!nown theorist7 there are two types of narrative

• 0nrestricted narration 4 where information is given out in as

much detail as possi&le with very little restrictions so the

HnarrativeI is clear+ Audiences often !now more than the

characters so we !now who the !iller is7 or where he is+ Df

you used this techniue7 explain where and why is itengaging for an audience;

• /estricted narration 4 where the narrative is !ept minimal7

with parts unclear eg a thriller lm+ Audiences are often in

the dar! a&out many parts of the narrative+ Df you used this

techniue7 explain where and why this is engaging for an

audience

Eladimir *ropp *roppJs theory of narrative suggests that texts @?? particular

characters to develop the narrative


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33

• ero

• Eillain

• *rincess

• onor > elper

• ispatcher

Df you included any of these characters7 how did you ma!e it clear

who was the hero > villain etc; :hy does it engage an audience if

they either !now who they are or @JT !now who they are;

e also thin!s there are particular parts of a narrative that always

happen eg hero gets a uest7 someone is hurt7 hero &attles the

villain etc+ Df you included any of these things7 why do you thin!

audiences enCoy seeing them;

Allan .ameron thin!s there are several di8erent types of more unusual narrative+

Df you included any of these7 explain where7 and then explain why

you included them+

• Anachronic @arrative 4 includes regular ash&ac! and

ashforwards7 with all di8erent narrative parts &eing Cust as

important+ )uch as *ulp =iction7 Lemento

• =or!ing *ath narrative 4 shows two di8erent outcomes that

are di8erent only as a result of a small change or decision

such as


34/35

3(

MEDIA LANGUAGE , IMPORTANT TO NOTE THAT MEDIA

LANGUAGEF RE-ERS TO THE MAIN TECHNICAL

ELEMENTS

Tac!le this one in much the same way as you tac!led the TE rama examat A)+ ou should &e A@A)D@< your wor! $not descri&ing'7 discussing

how you created meaning for the audience on particular issues such as

genre7 representation7 narrative7 audience7 atmosphere etc++ 9asically

: you chose particular shots7 sounds7 transitions etc

Intro: ?xplain what text you are analysing

Min: Dnclude all ( of the following !ey areas

• .amera 4 shot si6e7 framing7 high M low angles7 su&Cective M

o&Cective lming7 hand held7 tilts7 pans7 6ooms etc7 green screen

• )ound 4 diegetic and non-diegetic7 sound e8ects7 am&ient sound7

dialogue7 music7 voice over

• ?diting 4 fades7 cuts7 wipes7 dissolves7 slow motion7 fast motion7

colour e8ects li!e &lac! M white7 &ad tv7 stop motion animation7

green screening and chroma !ey wor!

• Lise ?n )cene 4 costume7 lighting7 location7 &ody language7 acting7

ma!e up7 props etc

Conc!#+ion, ow well do you thin! you used media language to

communicate meaning to an audience;

Techni@#e+ I #+e& 0ht it +i1nie& to n #&ience.amera,

Lise-?n-)cene

?diting,


35/35

)ound,

To 1et A9' Gr&e+

=or this uestion you could choose to include A@ of the theories we have

loo!ed at+ *articularly good ones might &e,

Theori+t Theor* ht to rite 6o#t

9lumler M Qat6 >

/ichard yer

0ses M 0topian )olutions 4 explaining

how your use of L?DA A@

a2 critical perspectives paper g325 amended

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