question 1 print work.pdf

7/24/2019 Question 1 Print Work.pdf

1/34

CODES AND CONVENTIONS

IN WHAT WAYS DOES

YOUR MEDIA PRODUCT

USE DEVELOP OR

CHALLENGE FORMS AND

CONVENTIONS OF REAL

MEDIA PRODUCTS?

F

O

R

M

S

N

D

C

O

N

V

E

N

T

I

O

N

S

O

F

F

I

L

M

M

G

Z

I

N

E

S

N

D

H

O

R

R

O

R

P

O

S

T

E

R

S

VE I EMPLOYED THEM?


2/34

PART 1: FILM MAGAZINES

In the first part of this special issue Iwill be exploring the forms and

conventions of film magazinesand comparing them to our

magazine Focus promoting our

film Wiccan. I will show how we

have employed theseconventions and the intendedimpact of them.


3/34


4/34

They take up the wholespace and is usually

positioned behind whoever ison the cover.

The masthead on mainstreamfilm magazines is

conventionally placed in thecentre of the upper third.

THE masthead


5/34

We have placed the masthead behind the subject onthe cover. This reflects their importance as the main

magazine story is about this actress and the film shestars in Wiccan.

The masthead on our magazine is shown in thelargest font. Because of this, its boldness and its

positioning on the page (whole upper third) it standsout against the rest of the text allowing audiences to

recognise the magazine.

OUR masthead


6/34

The text is usually large too so itstands out to the readers. The

font used often reflects the filmso audiences can understand

the films genre or tone by thefont.

Magazines often feature theame of a the film that the main

story will cover. Readers willknow what the issue is mostly

edicated to before buying andgives the film promotion.

THE TITLE OF FILM


7/34

It also takes up the wholewidth and is in a a large

font to stand out againstthe other story lines.

We have featured the title ofour film Wiccan on the

magazine. This was placedin the lower third which we

found to be a convention.

OUR title of film

The same font has been used in the trailer andposter to showing we have branded our

promotional scheme. Audiences will associate thismedieval font with witchcraft and identify it with

our film as it is very distinctive and memorable.


8/34

They are featured in asmaller font in

comparison to the titleof film and masthead

but certain cover storylines are larger than

others to suggest their

importance.

These are alsoincluded on the front

cover and tell the

reader about otherstories inside in just a

few words.

THE COVER STORY LINES


9/34

We also feature a cover storyline that is more important than

the others and therefore it isshown in a slightly larger font

and placed at the top.

We follow the conventions ofcover story lines by placing them

on the left and right of the cover.

Our COVER STORY LINES

The font andcolours are also

consistent with thestyle of the

magazine cover.


10/34

It is placed in a font andcolour to stand out and

grab the readers attention yellow is a common

colour as it will successfullygrab the attention of

whoever is reading.

The skyline is featured at thevery top of the cover and

give information aboutspecial offers or something to

entice the readers.

THE SKYLINE


11/34

It is also at the very top just above themasthead and stays consistent with the colour

scheme of black, white and red and the samefont has been used.

Our skyline relates Wiccan and witchcraft seen inthe film enticing audiences to purchase the

magazine.

Our skyline


12/34

This is still a convention onmagazines. It is usually

placed in the corner of

the cover or on the edgeas it shouldnt be drawn

attention to.

THE barcode


13/34

We have followed the convention of the barcodeplacement and have placed it on the edge of the

magazine as this wont draw attention to it but as it isstill necessary, this was the best place to insert it.

Our barcode


14/34

In this Premiere cover, thepink and white colour

scheme will appeal to afemale demographic which

would be their intention as itfeatures Jennifer Lawrence

a possible role model for

young girls.

Usually the colour schemeis linked to the film or the

actor who is on the cover.In this Total Film cover the

blue suggests isolation andcoldness linked to

Maleficent a famous

villain.

THE colour scheme


15/34

The colour schemeconsists of mainly red

and black. These colourscreates an impression of

horror suggesting to theaudience images of

blood and violence may

be seen in the film.

Our colour scheme follows conventions asit relates to the genre of horror and

therefore our film Wiccan.

Our colour scheme

This will be appealing to a younger audience wholove the thrill of horror films and can easily identify

the genre through various colours and styles.


16/34

The font conventionally linksto the main film being

promoted. The font for themasthead of this Empire

cover has been edited gold(usually red) connoting

success and luxury and

relates to the masculine

energy of James Bond.

A certain style usuallyshown on a cover to

appeal to a desiredaudience. This Premiere

cover adopts a veryfeminine style with Robert

Pattinson on the cover to

appeal to a femaleaudience.

STYLES AND FONTS


17/34

Our font for the magazineMarket Deco may be

associated with blockbuster

films because of its tallappearance and suggestspredominance and greatness

due to the Art Deco style of

the font.

For our magazine Focus, we have adopted avery professional and conventional style that will

be effective in enticing readers into buying theissue and reading the interview with the actress.

Our STYLES AND FONTS

As mentioned previously, the font for Wiccanhas been changed to reflect the films theme of

witchcraft and to be associated with a main propin the film the Book of Shadows. This is the same

font used in the trailer and the poster (brandingour products).


18/34

In these two issues fromTotal Film and Empire,

close up shots have beenutilised on Johnny Depp

and Daniel Radcliffeallowing the audiences to

recognise these huge

actors in film.

Mainstream film magazinesconventionally show very

famous actors and actresseson the cover to appeal to

mass audiences. Mid-closeups are common as the

allow the audience to

recognise the subject andthe films they have been in.

The picture


19/34

Using Adobe Photoshop, we have placed her in front ofthe masthead to show her importance in this issue. Her

facial expression is very sinister and serious suggesting thetone of Wiccan and the role she plays which is further

backed up by the mise-en-scene of her black costumewhich we can see because of the mid-close up.

We have used a mid-close up in our picture for ourcover. This is to allow the readers to acknowledge

the actress and to remember her and thereforerecognise her in other media.

Our picture


20/34

PART 2: HORROR FILM

POSTERS

In the second part of the issue I willbe exploring the forms and

conventions of horror film postersand comparing them to our

magazine Focus promoting our

film Wiccan. I will show how we

have employed theseconventions and the intendedimpact of them.


21/34


22/34

In both these posters for

Scream and Saw VI, thetitle is in the largest andboldest font and stands

out against the othertext. The title of the film

catches the eye straight

away which is whatposters aim to do.

The title of the film isconventionally placed in

the centre of the lowerthird of the poster and

positioned just above thebilling block.

THE TITLE OF FILM


23/34

The title of film is in the largest font and is shown in adeep red colour so audiences can associate the

poster with horror straight away (the lighting is a bigfactor that helps them to do so too).

Following conventions, the title of our film Wiccan isplaced in the lower third and covers the whole

width of the poster.

OUR TITLE OF FILM


24/34

They are usually placed

in centre right at the topof the poster, however

they are sometimes

placed just above thetitle of film as the tagline

always relates to the title.

Taglines are often featuredwith the title of the film. This

usually allows the audienceto gain a simple

understanding of the film andthe tone of it.

THE tagline


25/34

We wanted the audiences to make the link betweenthe book reference and the Book of Shadows seen in

the trailer as one of the main props. If this book was

left unopened, Violets life would never have beenturned upside down.

We placed our tagline in the upper third of ourposter to make it stand out as this is an obvious

(and conventional) place to put it.

OUR TAGLINE


26/34

Sometimes the releaseinformation is featured which is

also normally at the verybottom below the billing

block. This creates a buzz forthe release.

If featured, the billing block isconventionally placed at the very

bottom of the poster and isdisplayed in a very small font. This

features cast and crew members

that are involved in the film,crediting them for their talent and

input.

THE BILLING BLOCK AND

RELEASE INFORMATION


27/34

As well as these conventions, we featured #Wiccanencouraging consumers to tweet about the buzz of

the film leading up to its release as social networking

sites like Twitter are becoming a great way to promoteany product, especially through word of mouth.

We placed our billing block below the title in theconventional tall font used in many posters. Below

this was the release information to create a buzz.

Our BILLING BLOCK AND

RELEASE INFORMATION


28/34

Another typical colour used in(paranormal) horror posters is

blue. This creates a sense ofisolation and is a colour that is

used time and time again forparanormal posters as it links

to the coldness of ancient,

evil spirits and the deadcoming back to haunt

innocent people.

Especially for slasher horrorfilms, red is a typical colour

scheme along with black.

Consumers will automaticallythink of horror and associatethese colours with blood,

violence and fear.

THE COLOUR SCHEME


29/34

Although blue is conventionally used in supernaturalposters, we sightly subvert this convention by having a

colour scheme that slasher posters would normallyadopt. This was due to the level of violence, blood

and gore seen in the film and we thought having redand black in the poster would give audiences a good

idea what they are in for when viewing the film.

Our colour scheme consists of red and black, againcolours that consumers will straight away think of

death, violence and fear all things that a horror filmconveys.

OUR colour scheme


30/34

Typical horror fonts are alsoused in posters, typical of the

genre. This is more of aconvention for slasher posters

they look like they havebeen written in blood

suggesting fear and violence

for the consumers this allowsthem to associate the poster

with the horror genre.

Many horror films use seriffonts perhaps indicating true

events the film is based on;this is a formal decision if the

film is done in accordance

with convention. Formal fontslike these suggest true and

serious matters. In this posterthe D has been flipped to

suggest not everything is as it

seems fear of the unknown.

The FONTS


31/34

For the title, we have adopted a medieval font thataudiences will associate with the medieval time

period and witchcraft (links to the Book of Shadows

seen in the trailer. This is in a deep red colour tosuggest violence and fear for the costumers.

We have also adopted a serif font, followingconventions of paranormal horror film posters. We

wanted this to link to the ancient, evil spirit thatpossesses the protagonist due to the formal and old

appearance of serif fonts.

OUR fonts


32/34

The poster for Annabelle was our maininspiration. Both this and the alternate

Poltergeist poster features close upshots of the objects an ancient demo

attaches itself to. Surrounded bydarkness, the objects give off a sense

of fear of the unknown and unease.

Many supernatural posters feature a significantcharacter in the film through a close up shot. The

lighting projected onto their faces leavesshadows around them suggesting the darkness is

within them it is surrounded by them.

The PICTURE


33/34

The positioning of the camera is not central tosuggest to the consumers not everything is as it

should be Violet, the protagonist who we shouldside with is in fact possessed and therefore becoming

evil, turning into something the audiences would notwant to side with.

We have included a close up shot of our mainprotagonist, Violet. We positioned the lighting to

have half of her face in complete darknessindicating to the consumers she has two sides to her

good and evil. She is surrounded by this darknessto suggest the darkness is within her.

OUR PICTURE


34/34

conclusion

In conclusion, I believe we havefollowed many forms and

conventions with film magazinesand horror film posters with similar

intentions for the audience to

existing products. Our primary

audience will be mainstreamerswho seek security and prefer forconventions to stay consistent and

not change from film to film so

they are familiar with them andrecognise them in various

products.

question 1 print work.pdf

Documents