1.
In what ways does your media product use, develop or
challenge forms and conventions of real media products?
Low-budget film-making & auteurs:
Meadows; Monsters + digital film-making. Hybridity + intertextuality. British
social realist tradition? Link to Hammer tradition or LHotL? Explicitness of
Saw or subtlety of Ring? Blog posts:
Also consider lessons from Monsters.
2.
How does your media product represent particular social
groups?
Gender, class, age,
regional/national: TisEng v WT rom-coms (Wild Child) v MBL. Link to aud but
also either international crossover appeal or sticking within UK social relaist
tradition
3.
What kind of media institution might distribute your media
product and why?
WT v Warp distribution. Avatar
distribution. Costs + implications of digitisation. Optimum Releasing’s link to
NBC-Universal as subsidiary of Studio-Canal. UKFC closure + its distribution
funds. Also DVD/stream/download + piracy
issue. Difficulty of getting ANY distribution – film festivals (Co-Op!) +
funding. USA distribution? Look at TisEng figures … but also The Full
Monty, Slumdog, even Kings Speech.
4.
Who would be the audience for your media product?
Comparing box office for UK + US
horrors; WT/WT2 + Warp films. The case of Mickybo + Me. How BJD + Avatar
attracted broad auds. BBFC
How did WT2 films seek to attract
male and female, and perhaps a secondary 25-34+ as well as primary 12/15-24?
5.
How did you attract/address your audience?
AliGIndahouse use of UK-specific
cultural references (but wrapped in a recognisable US genre framework). TisEng
+ social realism; slang + nostalgia (Reynolds book). Rarity of active female
chars. Hybridity. Marketing. BBFC
There is an overlap with Q3:
consider what, if any, specific British (and break down further: English,
N.Eng, Yorkshire, Ilkley; youth culture) references you’ve included (may be
landmarks or mise-en-scene [eg clothing labels/references] as well as dialogue)
6.
What have you learnt about technologies from the process of
constructing this product?
Digitisation, editing, SFX;
social media (Hot Fuzz pacman, WT website, Avatar). Has digitisation enabled
YOU to compete? Colin + LeDonk etc. See links to blog posts for Q1. Also
consider lessons from Monsters.
7.
Looking back at your preliminary task, what do you feel you
have learnt in the progression from it to the full product?
Genre knowledge. Role of aud feedback:
BJD + jumper; preview trailers etc online + fanboys (own Twitter? Facebook?
Company blog?). Reshoots. Practice at filming. Using FCE. Soundtracking.
Level 1 0–7 marks
Level 2 8–11 marks
Level 3 12–15 marks
Level 4 16–20 marks
Excellent understanding of
issues around audience, institution, technology, representation, forms and
conventions in relation to production.
Excellent ability to refer
to the choices made and outcomes.
Excellent understanding of
their development from preliminary to full task.
Excellent ability to
communicate.
Excellent skill in the use
of digital technology or ICT in the evaluation
Candidates should be prepared
to understand and discuss the processes of production, distribution, marketing
and exchange as they relate to contemporary media institutions, as well as the
nature of audience consumption and the relationships between audiences and
institutions. In addition, candidates should be familiar with:
the
issues raised by media ownership in contemporary media practice;
the
importance of cross media convergence and synergy in production, distribution
and marketing;
the
technologies that have been introduced in recent years at the levels of
production, distribution, marketing and exchange;
the
significance of proliferation in hardware and content for institutions and
audiences;
the
importance of technological convergence for institutions and audiences;
the
issues raised in the targeting of national and local audiences (specifically,
British) by international or global institutions;
the
ways in which the candidates’ own experiences of media consumption illustrate
wider patterns and trends of audience behaviour.
This unit should be
approached through contemporary examples in the form of case studies
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