Lesson 6 New Task 1, Deadline 13/03/14

Full Assignment here

The aim of this session is to give you the grounding to produce the evidence required to complete task 1.

We have rewritten task 1 please see below

Task 1 (LO1 AC 1.1) Understand the institutional context on Film Noir or another Film movement  and its influence on production

You need to demonstrate your understanding of the 4 headings applied to one of the film movements listed below, or of your own choice. 

Movements in cinema that you might look

• Film Noir
• French new wave
• British Cinema 60s
• British Cinema 80s
• 80s Hollywood
• 90s Hollywood
• Early Hollywood silent film including WW2 
• Soviet Cinema 
• Contemporary Hollywood Cinema

With your chosen movement you need to write about it using the following headings.

1. Sector industries: film; television; radio; publishing; audio recording, eg music, audio books, audio guides; interactive media; computer games; emerging industries, eg cross-platform
2. Control: corporate control; access to distribution; international distribution; sources of income; regulation; legal constraints; self-imposed controls
3. Distribution models: cinema (Hollywood, Bollywood, world cinema, mainstream, independent); multiplex and art house cinema; broadcast television (public service, network, free to air, subscription, analogue, digital); radio (national, regional, local, restricted service licence, closed environment, digital audio broadcast, analogue); print (national press, local press, magazines); music (major labels, independent labels, retail, download); new media (internet, mobile); computer games industry (gaming on demand (GoD), electronic software distribution (ESD), game publishing, retail); global and local distribution; language communities
4. Marketing: corporate and brand identity; single and cross-platform advertising; viral; sponsorship; product placement; impact assessment, eg sales figures, ratings, circulation figures, number of hits, consumer awareness 

 

Evidence

You will present the results of your research in any of the following formats, detailed notes, a video, presentation etc. These must contain academically referenced research using the Harvard Style Reference System 

Lesson 5 Saturday Double Indemnity and Film Noir Elements

10:00 - 12:30 Chris

The Aim of this session is to get you more familiar with the elements of Film Noir

You will
look at study guides and take notes prior to watching Double Indemnity

Discuss elements of Double Indemnity (DI) using correct terminology
Write your own noted analysis of the  DI using the terminology covered in this and last few sessions.

10:00 -10:45
Notes and Guides to Double Indemnity
http://www.bookrags.com/studyguide-double-indemnity/


 http://blog.cinemaautopsy.com/2008/10/09/notes-on-film-double-indemnity/

10:45 - 12:30
Film Noir Elements Bingo (to be used while watching DI)
https://docs.google.com/document/d/1yhyCwML_Woe_zia_f5pJOGxddBludJNyXhmDE2-LCM8/edit?usp=sharing

Lesson 5 Saturday 25th January - Karen

1.00 - 4.00
After watching Double Indemnity, (Billy Wilder, 1944), we will examine the construction and role of the femme fatale, and carry out a mise-en-scene analysis of some key scenes. We'll try to link all of this to the production context of Film Noir. Oh, and we'll all sing Happy Birthday to Ellianne...

These are some of the images we'll look at. Think, in particular about The Production Code here.

Lesson 4 Film Terms, HUAC and The Production Code

6-7

http://www.filmnoirstudies.com/

• Glossary Opening of the Killers: Discuss Chiaroscuro Lighting, Narrative, Non liner structure
• Opening of Out of the Past: General sense of unease
• Opening of Murder my Sweet:
• Opening of Touch of Evil 

Context

• Cross Fire: HUAC Edward Dmytryk

  

•  Out of the Past: Production Code

Week 2 Thursday Part 1

Karen's Lesson - Week 2

Tonight we'll re-cap the institutional context of noir, and investigate the impact of the studios and 'B' pictures, HUAC and the Hays Code on the production of films including Laura, (Otto Preminger, 1944), The Maltese Falcon, (John Huston, 1941) and A Touch of Evil, (Orson Welles, 1958). We'll tie all of this together with Task 1 of your assignment.

Watch this before Sat 25th Jan http://youtu.be/p9CvTTyBW9M

Lesson 2 Saturday 11 January - Karen

In my session, we'll re-cap some of Film Noir's origin points that we introduced in Thursday's session and look at these in relation to Film Noir's production context. We'll look at the impact of:

• the Hays Code of Production
• the Studio System and 'B' movie production
• HUAC

 We'll also examine narrative approaches to Film Noir, and examine the appeal to contemporary film-makers with a look at The Usual Suspects, (Bryan Singer, 1995) and The Last Seduction, (John Dahl, 1994).

Lesson 2 Saturday Chris

The aim of this session is to look at the elements of film noir and discuss the roles that these elements have in the structure of a typical film noir.

We will

Discuss and look at classic narrative structure models over non liner 

Detail and find examples key elements 

Explore Regulation and Studio system 

Look at and discuss neo noir examples

10:40 - 11:00 Narrative Structure

See telling a story Propp and Todarov applied to the film "Let The Right One In"

11:00 - 12:00

Detail and find examples key elements.
Look at examples of Film Noirs (list here) from the 40's and 50's and take screen shots of elements discussed in Thursday's Lecture. These screenshots can go onto your blogs with an explanation of the element it is illustrating.

See this Website or this one or Karen's Power Point from Thursday

12:00 Break

12:15 - 12:45

Neo Noir Examples


12:45 Break

13:00 - 16:00

Regulation and Studio
Look at and discuss Neo Noir examples Last seduction and usual suspects

• Controls on media production:

Such as: corporate control, access to distribution and sources of income; 

regulation; legal constraints; self-imposed controls 

• Understanding of distribution models. 

Such as: cinema (Hollywood, Bollywood, world cinema, mainstream, 

independent); multiplex and art house cinema; 

• Marketing and branding

Lesson 1 Film Noir

18:00 Unit intro Chris 

18:15 to 19:15 Film Noir Karen and Chris


KEY HEADINGS APPLIED TO FILM 

• Controls on media production:

Such as: corporate control, access to distribution and sources of income; 

regulation; legal constraints; self-imposed controls 

• Understanding of distribution models. 

Such as: cinema (Hollywood, Bollywood, world cinema, mainstream, 

independent); multiplex and art house cinema; 

• Marketing and branding

19:15 Break

19:30 Blog Set up and photojournalism 

20:30 END

Lesson 1: Unit Introduction

Unit 1: Contextual Studies for Creative Media Production 

Aim 
This unit aims to develop your understanding of theoretical approaches to media production 
in order to inform your own practice and set it within a wider context. 

Unit abstract 
This unit provides an opportunity for you to undertake a study of the creative media in a 
chosen context. The unit will develop an appreciation of industry, products and audiences and the theoretical approaches used to analyse them. 

The unit requires the application of academic research and referencing methods which are 
appropriate for Level 4 and 5. 

On completing this unit you should have gained an understanding of general media theory which can then be applied and expanded upon in the specialist area of study or transferred to the wider context of the work environment to inform your own production work. 

Learning outcomes 
On successful completion of this unit you will: 

1 Understand the institutional context of creative media production and its influence on production 

• 1.1 critically review the institutional context of the creative media and evaluate its influence on production 

2 Understand creative media products in the context of their reception 

• 2.1 analyse the reception of creative media products 

3 Be able to present research on the production and reception of creative media products following relevant conventions. 

• 3.1 present research on the production and reception of creative media products clearly 
• 3.2 correctly follow relevant conventions for presenting research outcomes.