Planning: Storyboard

I want to begin my sequence by establishing the setting of London and put emphasis on the business of the area. I will go at a time when shoppers and tourists are at a peak (mid-day-5pm) in order to capture the consumerism that will later be contrasted with the poverty of a homeless man. Many documentaries contain an overview of the setting within the first half of the sequence, e.g. 'The Little Things'; this is done so that the audience feels a sense of familiarity throughout the film- I want to create a similar effect within my own product.

I will then insert a low angle clip of the bottom half of the public; this will zoom in on the feet and rapid movement of the shoppers as well as diverting attention to the high label brands seen on the bags of shoppers. 

This will be followed by a pan shot of nearby stores, brands and areas of consumer marketing in order to emphasise the superficiality of modern day society. Relating back to my AS research into iconography, signifiers such as London are often associated with things such as upper-class retail, tourism, buses etc, therefore creating the signified stereotype. I want to embrace such a stereotype in order to later knock it down with the reality of life 'beneath the cracks'.

The continuous tracking shots of London Buses will reinforce this sense of stereotype as they are often deemed to be iconic to the city of London; not only this, but I will attempt to do so in such a way that I can also capture footage of the passengers as the bus passes- this will allude to people watching and make the product appear more relatable. 

The use of the rewind will act as my technical volta throughout the sequence; this means that it will imply a change in tone or narrative. The rewind will be significant of the disequilibrium that is about to be introduced; as well as this, it will also increase the pace of the sequence, therefore building feelings of suspense from the audience.

Finally, my last clips will include footage of the homeless, therefore having a direct impact on the audience as they are emotionally aroused to feel sympathetic towards those less fortunate. I am unsure as to whether or not I am going to use a script or use a more natural interview technique, however I have decided that it is essential to have majority of this screen time focusing on just the one character. Out of all the short-films I looked at not one consisted of more than 3 characters, instead they tried to follow the story of one role central to the narrative (which is what I hope to do also). This may be because having multiple characters is distracting to the story line and would therefore divert the audience's attention away from the meaning behind my product; I do not want my audience to feel disengaged due to having to keep up with multiple personas.

Locations

I have chosen to film my project in the more populated shopping areas of London. I have chosen to do so because I felt it would be effective in order to present a direct comparison into the lives of the middle class shoppers in contrast to those who don't have a home nor a safe place to sleep. The crowding and the heavily populated streets of London will help me to convey the idea that people are subconsciously consumed by their own lives and often forget to sympathise with those less fortunate.

As well as this, the consumerist atmosphere created by the variety of high street stores will allow me to present the juxtaposing lifestyles. I will go between shots of homelessness on the streets of London to clips of people hurrying past with bags of retail shopping. I am hoping to get shots of people walking past the homeless and refusing to donate spare change towards food/shelter, however, able to buy themselves something that is unnecessary such as the latest fashion/trends.

Planning: Mood Board

Textual Analysis: Film Conclusion

Through my research and my textual analysis of short films and documentaries, I have learnt many things about the expected codes and conventions present, both through the visual and technical aspects of film.

1. All of the short films and documentary style films that I looked at consisted of no more than 1-3 characters that were central to the nature of the plot. This may be due to the lack of screen time, as there is not enough time to introduce more than 3 characters who each have relevance to the storyline without it becoming confusing for the audience. The less characters there are, the easier it is for the audience to engage in following their individual story/influence. I plan to follow this convention within my own work, however this may be jeaopordised if I choose to go through with the interview idea; if so, I will develop upon this convention and include the use of a voice over to read facts throughout- this way the audience is following the voice of one person through audio even though they may be following the stories of multiple people visually. 
2. Subtitles appear to be very common within the documentary genre, as seen in 'Right to Education'; many documentaries focus on the stories of real-life people and their experiences, therefore it is essential that this can be followed and understood by the audience. If the audio appears difficult to interpret, this must be clarified via the use of on screen text. As well as assisting the audience's understanding of the narrative, this also causes audience's to engage with the product more actively, as they would be reading the information for themselves rather than being handed the information passively. I am hoping that my own audio will consist of a certain level of clarity to which subtitles are not needed, however I may wish to include them regardless to ensure the active engagement of the audience.
3. Establishing shots are very common within the short film industry, most likely because there is not enoough time to introduce and develop upon the setting over time. The setting is therefore emphasised near the beginning of the sequence in order to create a sense of familiarity between the audience and their on screen surroundings. Due to my own product being featured around the streets of London, I feel it to be essential that I highlight the importance of my setting through multiple establishing shots.

Textual Analysis: Film 7

*Right to Education*

The documentary style short film 'Right to Education' begins with a countdown to open the sequence; this is featured on a blank screen rather than on top of the action footage. It also features the title, director, D.O.P and stills, and editing and music credits. This is most likely done on a blank screen in order to make sure that the audience is not distracted by ongoing background footage, encouraging them to read the acknowledgements without having their attention diverted. This is also done later on when introducing the title sequence.

The audio is introduced first, with no footage or interlinking action to assist the audience's understanding; this soon becomes diegetic sound as we are introduced to the first few clips, allowing the audience to view the source of the audio.

There is a consistent use of close-ups and extreme close-ups throughout in order to emphasise aspects of the narrative, e.g. zoomed in clips of text books and children learning. Many shots are also filmed using a hand-held device as they appear shakey and unstable; I found this technique to be very effective in creating a sense of realism and plan to do so within my own work.

The use of subtitles is also of great significance within this style of film, as the scripted speech is sometimes hard to hear and/or understand. Due to the deeper meaning behind the documentary, it is essential that the audience can follow the narrative in order to achieve the desired response (in this case, sympathy and enlightenment). It can also be said that due to this issue being of great controversy worldwide, the language barriers must also be excluded in order for various audiences to engage with the text (e.g. different cultures, ethnicities and countries).

The teacher is the first key role that is introduced into the sequence; this can be inferred from the amount of screen time dedicated to her character, as well as the fact that she speaks throughout. As the children walk up to the teachers desk to recieve their test scores, emphasis is put on one child in particular, suggesting that he too, is a key role within the narrative. This is done through the use of a tracking shot which follows his travel from his own desk, to the teachers; as well as this, this boy is the only child in which the teacher speaks to directly and gives a name (Kumar).

There is then a volta mid way through this clip as the film changes tone and introduces the second half of the narrative. It appears that the boy was daydreaming and that the illusion of school was just that- an illusion. This creates a sense of disequilibrium as the happy balance felt throughout has been disturbed. The audio becomes distorted and the visual clarity is disrupted in order to represent his confusion. As the reality is introduced, the editing changes from colour to black and white (greyscale) to present the bleakness.

This is the end of the action footage, however the short film is concluded with multiple facts appearing on a blank screen. There is eventually a voice-over that reads out the text that appears on screen, however this may cause the audience to be more passive in their engagement as the do not have to actively read for themselves.

Textual Analysis: Film 6

*The Little Things*

This is a documentary style short film focusing on the life of an eight year old girl called Ella. The sequence opens with an extreme close-up of the little girl assumed to be Ella herself. The backing audio track is very upbeat music creates an uplifting atmosphere/positive mood. This is then followed by multiple sceneric shots that establish the setting as well as having connotations of happiness also, e.g. the extreme close-ups of flowers are associated with summer and the joy that it brings. As the music is quite fast paced and upbeat, the footage consists of multiple short clips that follow one another to portray the everyday adventures life of Ella. Although the audience is not yet aware of her name, it is evident that she is the main focus of the documentary due to her prolonged screen time and consistent presence throughout.

Much like many other documentaries (and short films of other genres), the use of a hand held device causes the film to appear very realistic and therefore more emotionally arousing; if the audience feels they are a part of the narrative, they are more likely to actively engage themselves within the text.

The backing track comes to a halt at about 1 minute into the sequence, as the narrative changes in tone and becomes more formal and less idealistic. We are then introduced to Ella herself as she speaks directly to the audience, breaking the fourth wall and addressing the camera through her speech; another backing track is then added which is much faster in pace and higher in pitch, appearing more fun and somewhat childlike.

Ella then introduces the audience to her siblings and they too are featured on screen through the insertion of photographs and home videos; these are interlinked through a white fade in order to ensure continuity throughout.

At times it is difficult to understand what is being said by the other siblings, however it can be inferred that due to the documentary focus on Ella, this is not of great importance to the plot nor the audience's interpretation.

The credits and the title sequence appear on a black screen, most likely because it would obstruct the image and be hardly legible against the brightness of the footage if placed over action.

Textual Analysis: Film 5

*Connected*

The sequence fades in with multiple establising shots to emphasis the setting and make it a key point of focus; there is a lot of debris in the background and it can be inferred that the genre of this short film is linked with the representation of a dystopian future, therefore appearing as a Sci-Fi. The introducting of the opening title was very effective in my opinion, as the letters appear alongside the tempo/pitch of the backing track- this causes the title to appear fleeting. The typography is well spaced out and is in the format of sans sarif- this appears less feminine/romantic and reinforces the presumed genre; the white of the text also juxtaposes the dark tones used within the background which highlights the importance of the title as it becomes a central point of attention.  The text then becomes larger as the focus zooms in, with some letters become more defined and pointed in shape; the 'C' and the 'D' morph into symbols as the other letters begin to fade out. The frame then flashes in and out of action alongside some diegetic static sound effects.

There is a series of extreme close-ups (gas mask and feet) and the breathing becomes heavier- this soon becomes the main source of sound. This is followed by an extreme long shot/canted angle; this causes the atmosphere to appear uneasy and unpredictable- creating a slightly eerie tone. The sequence makes consistent refereces to technological advances; these advances are emphasised through the lack of diction. An extreme close-up of the actors eye allows the audience to engage/sympathise with them as they are now given human features in contrast to the space suits/gas masks present throughout; this is emotionally arousing and allows the audience to 'connect'.

Another character is introduced mid-clip and the soundtrack increases in tempo; this introduces a sense of tension to the sequence and results in a fight scene- this is a typical convention of films within the 'action' genre, therefore suggesting that this short film is a hybrid. A hand-held camera technique is used at this point as the framing becomes more shaky and increases in rapid movements.
The audio track is also representative of the sense of panic felt as the oxygen levels decrease rapidly. There is a dramatic use of high key lighting which emphasises the extra-terrestrial atmosphere as the intensity of the sun/desert-like setting is highlighted. As the oxygen count continues to decrease within the narrative, tones of red fill the screen in order to symbolise the fear and danger of the situation; these tones flash promptly in order to represent the sense of urgency.

fades out, enters same low toned background, opening credits appear, same symbols as before but now the audience can identify with such symbols as the characters identities.

Textual Analysis: Film 4

*UNWIND- By MainStayPro*

The clip opens with a blank screen consisting of text; this introduces the initial narrative as well as including ambient beeping sounds in the background. As the clip continues, the audience is then made aware that the sequence is set in a hospital (hence the beeping sounds of the machines). There is a consistent use of extreme close-ups as the girls eyes are made a central focus throughout. The sequence goes in and out of surrounding action; this is presented through the use of many point of view shots; the narrative is shown through the young girl's perspective and is also seen through blurred vision- with the supporting characters coming in and out of focus (maybe to appear as if Kelsey is going in and out of consciousness/has distorted image/is drowsy?)

High key lighting is used when introducing the nurse through a close-up of just her face; although this scene appears to break the fourth wall through the use of direct eye contact with the camera, this is in fact used to emphasise that the story is visualised from Kelsey's perspective. The camera is presumably hand-held, creating a more realistic atmosphere; the shaking of the framing supports this idea and reinforces the presumption that the main character (Kelsey) is struggling to maintain consciousness/in focus.

There is a series of flashing lights in the background which alludes to the fact that this particular sequence is within the thriller genre; it appears somewhat dystopian/futuristic and the fast/rapidly paced flashing of the lights build tension and creates suspense throughout; it is also effectively used to emphasise Kelsey's panic.

Towards the end of the short film, the screen goes blank; the auditory narrative still continues, suggesting that the character of Kelsey is no longer awake/conscious. As the closing credits appear, there is some use of intertextuality and self-promotion as the filmmaker gives credit to the inspiration of the book 'Unwind'.

Textual Analysis: Film 3

*PLASTIC- By Sandy Widyanata*

A tracking shot is used to open the sequence as it follows the insect which leads us to the title of the short film, "Plastic". The typography is ineffective in my opinion as it is blurry and looks unprofessional. However, the colour (red) links in with the overall theme of the film- as the clip is somewhat in parody of plastic surgery and body image; it can be argued to be symbolic of blood, danger and also pain. The title disappeared when touched by the central character; I liked this very much and thought this to be very effective- it created a sense of urgency/panic which matched the storyline of getting ready for a date.

There is a close-up of the main characters face which is something that is a common reoccurrence within narrative short films (as I have learnt through my research). It appears that the camera placement is positioned inside the wardrobe which adds a somewhat personal effect. Low-key lighting is used to appear more discreet yet realistic- as if the audience is an outsider witnessing the action in secret.

The mystical backing track hints that the insect has some sort of symbolic meaning; as the sequence continues it appears that the insect directs the audience to the moral of the story. Our gaze follows the insect to a fashion magazine and then later towards a quote about how we must be careful what we wish for, as it might just come true. From this, the message/metaphorical meaning behind the story is made known... All the things that you think are your flaws actually make you who you are; if you were to get rid of those things, or change them in any way, would you still be you? The soundtrack then goes on to sound almost clumsy in tone which matches the action of the main character trying on her jeans as well as adding an element of humour, introducing it as a comedy. Diegetic sound is used to emphasise the ripping of the jeans which is followed by extreme close ups of certain body parts; it can be argued that this emphasises the female's insecurities. The music comes to a sudden halt as the character's stress reaches a peak and her necklace breaks followed by the sudden shattering of the beads; a sound bridge is used as a motorbike passes the window which indicates that time is passing and she is still not ready.

When she discovers that she can deform her face and mould it via her own free will, there is a lack in diction/speech and the clumsy music is reintroduced; this reminded me of Charlie Chaplin films and I found this very humorous and effective whilst watching.

A series of over-the-shoulder shots are used as we see her facing herself in the mirror, almost as if we are seeing her through the eyes of others- only when the camera views her face on (as if we were her reflection) do we see flaws or imperfections; it can be argued that this is symbolic of the fact that others do not see us as negatively as we see ourselves. It appears as if the main female character is breaking the fourth wall when looking directly into the camera, however, it is made clear that the camera is posing as the mirror.

The insect then appears to die after the character realises that she is no longer herself- is the insect representative of the desire to be different? Once this desire is overcome, does the negative view of body image cease to exist- therefore resulting in the death of the insect?

Textual Analysis: Film 2

*NIGHT NIGHT NANCY- By Lewis Farinella*

The opening titles for this short film is presented through a text message; not only does this fit into the overall storyline, it is also very effective as towards the end it is revealed that her boyfriend (the person who she is exchanging texts with) is actually the threat towards the main character (Nancy). I found this interesting as what is seemingly a loving goodnight text is soon uncovered to have a double meaning, not only saying goodnight, but also saying goodbye. As my own piece is in relation to a society which is too often consumed by technology, I may choose to do something similar.

Through my AS research of the horror/thriller genre, I found that low-key lighting is very typical of this genre and in this case, I found it to be very influential in setting the tone and mood of the film; as well as this, the darker tones also emphasise the white text which appears in order to divert the audiences attention to reading the storyline.

Due to the representation of technology and the influence it has on the audiences understanding, I presume that this short film was made for a teen/young adult audience due to the modern portrayal of a teenage girl and the social entity to which the story is maintained.

The lack of diction throughout is very effective in this particular genre and it builds tension/suspense, leaving the audience questioning the nature of the film and causing them to keep watching. The backing track is introduced mid-sequence (when the disequilibrium is introduced). This causes the scene to become very intense as the protagonist/victim finds photos of herself sleeping on her phone, alerting her of the intruder inside the house.

The mise-en-scene is well suited to the setting and the time of sequence as the main character appears to be in bed clothing whilst wearing minimal makeup. As well as this, the setting of the room is very plain and understated; this is so that the audiences attention is not diverted from the media appearing on screen.

Numerous tracking shots are used which suits the overall storyline as it alludes to being followed- this arouses a sense of both fear and paranoia from the audience. This is followed by a match-on-action as the main character enters/exits the room; this puts the central focus on the main character, appearing almost as if the clips are appearing as she sees them herself (point of view).

The audio (backing track) halts when a feeling of comfort/relief is introduced, almost to the effect of a cliffhanger as the audience is left on edge. The antagonist/villain is then introduced into the sequence followed by a close up of the female's facial expression in order to emphasise her fear. The pace and tempo then increases with the speed of the clip, the music peaks as the character runs. There is also consistent diegetic sound from this point onwards as we have now been aware that there is an intruder in the house- hearing him approach from the next room.

A point of view shot is used in order to put the audience in a position of fear and vulnerability- almost as if they are the victim themselves- we see what she sees whilst she is hiding in the wardrobe.

The rule of thirds is also used as the antagonist is positioned slightly to the right of the frame, he then continues to walk into the centre once acknowledging her hiding place- this belittles her and puts him in a position of dominance. He is framed into the shot using a medium shot whereas she is featured through the use of close-ups.

The antagonist then re-enters central screen with a close up of the mask- as he disappears again the music pauses for dramatic effect. There is diegetic sound effects as the phone rings; we then see an extreme close-up of he hand as she reaches for the light, therefore emphasising the suspense of her actions- also allowing the audience to sympathise with her fear.

High-key lighting is used when the bloody figure is seen which is then followed by the only piece of diction within the entire piece of media- "Night night Nancy". This interlinks with the title and is therefore effective, engaging with the audience and emphasising the relevance of the title. The lights then turn off and the short film is left on a cliffhanger.

The typography appears almost floating in order to create an eery effect alongside the music; this reinforces the desired genre and may or may not impact the audience's perception of the tone/mood.

Textual Analysis: Film 1

*LOVESICK- By Kevin Lacy- Director at The American Film Institute Conservatory in Los Angeles*

The sequence opens with a close up of a female character in which her facial expressions and body language allow the audience to gain knowledge that she is angry/upset. Due to the background being out of focus, it can be argued that the female is therefore the most dominant within the scene; however through the use of a voice-over, non-diegetic sound takes the central focus of the clip. The use of slow-motion as well as a slow push out zoom leads into the introduction of the main character within the film- the male. An over-the-shoulder shot is then used in which the mise-en-scene remains blurred in the background. 

The sequence then pauses whilst the voice-over continues; as well as this the pause of ambient sound creates a sense of humour within the clip. When the title is introduced, the main character is reinforced as a central focus as he is positioned in the centre of the 'O'. The continued slow motion alongside the contrasting soundtrack of a very happy and peaceful atmosphere creates the effect of foreboding as the audience is then lead to await or expect some sort of event. 

As the character's emotions change to a more positive and hopeful outlook the speed of the background music increases and becomes more joyous. This is then followed by two close-up shots of both the main character and his new love interest; however, when referring to the rule of thirds, the male remains to the right of the frame whereas the female is positioned more centrally- implying that she possesses the upper-hand. A vintage effect is then used to portray a flashback type sequence; this reinforces the females dominance due to her being portrayed as some sort of fantasy. Match-on-action shots are consistent throughout this short film in order to show progression and emphasise the extent of the journey. 

As well as this, the use of high angle tracking shots in use with the increased speed of the soundtrack conveys a sense of desperation in which can be reinforced through the diction of the voice-over. Amateur camera work (hand-held camera, shaky effect) is used when the main character is running towards his destination; this is effective in producing a realistic and engaging sequence in which the audience can match the desired emotions portrayed via the main character. When the location changes to some sort of alleyway or tunnel, back lighting is used to emphasise the main characters silhouette as well as the following use of brief high key lighting to display feelings of hope and excitement; this is later knocked down when the main character encounters a problem (getting knocked down by a car) - disrupting the equilibrium of the plot. 

The pace then quickens once more to match the emotions and facial expressions of both the main character and the little boy referred to as 'Bieber'; both the excitement and the frustration both result in the increase of speed within the soundtrack to reinforce the action seen within the clip. 

The music then decreases in both pace and volume until it comes to an ultimate stop; it then re-enters the same soundtrack used to introduce to clip, implying a that there is/will be a cyclical nature of events. The main character then sees the love interest once more, this provokes the non-diegetic sound of wedding bells; upon entering the long awaited conversation between the two, the audience are left to lip read the sentence 'I'm so in love with you - marry me?'. Through not being able to hear this diction the audience is left to rely on the following action (her response) in order to follow the scene progression. The same speech that was introduced within the beginning of the sequence is then used once more, reinforcing the repetition of the plot. The typography is large, bold and very circular in font; this is a very effective as it can be interpreted as a representation of the short itself- impulsive, child-like and making a statement. 

Upon initially watching this short film I enjoyed it as a whole, however, when watching it a second time I found myself easily distracted as due to the genre of a romantic comedy I found it quite cliche and very predictable. There are certain aspects such as the repetition that I do not wish to repeat within my own product however there were certain technical skills (such as camera work) that I plan to experiment with and portentially apply to my own work.

AS Final Product & Blog Address

FINAL PRODUCT
'In The Frame'

BLOG ADDRESS
AS Portfolio

Film Noir Conventions Within A Short Film

'The Last Letter'

Whilst looking at some of the conventions presented within the Film Noir element of media we were given the task of applying such codes to our chosen brief. Due to my choice of a short film, myself and a few others worked together in the production of a short film consisting of Film Noir codes and conventions. This is our final product: 

Theories

Propp's Theory - Characters
Whilst analysing a whole series of Russian folk- tales prop found some common similarities in the character roles in which he later used to develop his character theory. He suggested that every story/narrative consists of a variety of different character types. This includes:

• The villain - disputes with or goes against the hero in some way.
• The dispatcher - much like an informative, this is the character who reveals the villains intent and makes the hero aware of this.
• The helper - also known as the loyal sidekick, accompanies the hero on his conquest 
• Princess/prize - somebody in which is seen as 'just out of reach' within the majority of the sequence e.g. kept from marrying the hero due to outside forces. However, sun a character is traditionally retrieved/saved by the hero near the end of the narrative; therefore resulting in the defeat of the villain. 
• The donor - the character who assists the hero through preparation, commonly a magical object.
• False hero - takes credit for the actions/bravery of the hero in order to get to the princess/prize.

Barthes Theory - Narrative Codes
Barthe suggested that within a narrative there would be one or more codes that describe the meaning of the text. He also stated that texts may be presented as 'open' (the text may be perceived in many ways and there may be multiple interpretations) or 'closed' (the is only one way in which the text can be unravelled). These are the 5 codes:

• Hermeneutic/enigma code -
• Proairetic/action code - 
• Semantic code -
• Symbolic code -
• Referential code -

http://www.slideshare.net/sarahlambe/barthes-5-narrative-codes-12063567?related=1



Todorov - Equilibrium
Strauss- Binary Opposition

My Chosen Brief & Why I Chose It

I have chosen to partake in the construction of a short film.
I chose this brief for a variety of different reasons:

• I am interested in the social and cultural issues that impact everyday modern society- issues such as mental health, racism and homelessness are topics that I feel passionate about therefore contributing to my decision in creating a documentary. 
• The deadlines and plan of action for this brief seemed best suited to me personally; as somebody who struggles with time management I decided that a brief which addressed the main product primarily before the ancillary tasks would be more beneficial. 
• I also considered choosing the advertisement brief; however after looking into the ancillary tasks in comparison to my own set of skills I decided that as an inspiring writer/journalist the task of a magazine review was best fitted to my strengths. 
• After watching a few documentaries I decided I wanted to focus on the issue of homelessness and the grotesque nature of modern consumer society. 
• The location is another benefit to choosing this genre as the streets of London possess many homeless people in which I could portray; it is also easily accessible to me.
• After looking into the codes and conventions of the film noir genre I decided that through presenting my product in black and white I could then explore semiotics and the metaphorical image of contrast; this relates back to the overall meaning of the product.
• Voice-over; passive, camera looking over them. Interview? Vox-pop. (voice of the people) narrative- follow one story? Hand-held camera. Iconic?  

Short Film Research

HISTORY The very first films were presented to the public through a Kinetoscope designed for individual viewing; all films were short in length up until the early 20th century where improvements in recording and editing technology allowed multi-shot films to develop in both length and quality.



The first feature films were introduced from 1910 onwards in which provoked an increase in demand, popularity and profitable income. The construction of 'picture palaces' were soon funded through receiving middle-class custom over he next three decades. However, during the 1970's the arrival of the blockbuster movie diverted attention away from short films therefore having an impact on dedicated screen time; adverts and trailers being the only exception. Instead, short film makers have resorted to other media platforms such as the internet to distribute their products. The production context for short films consists of a considerably lower budget than feature films, therefore making it very unlikely that a distribution company will invest. On the other hand, independent makers of shorts are faced with less financial pressure and fewer career consequences at stake; this allows filmmakers to challenge the typical conventions displayed through cinematography- ultimately provoking a greater freedom of expression.



TODOROVS THEORY

DECREASING POPULARITY SINCE 1930's- NICHE AUDIENCE

MEANINGS/MORALS: GIVES DEPTH/PURPOSE

DIALOGUE IS NOT ALWAYS NEEDED

WATCH RIGHT PLACE

POV SHOTS- FOLLOW STORY

QUICK BUILD UP

WATCH TYLER

DAZZLE

FUTURE SHORTS

IRELAND TV

SHORTS INTERNATIONAL


DOCUMENTARY CONVENTIONS:

HAND HELD CAMERA

VOICE OF AUTHORITY

VOICE OF GOD

INTERVIEWS

Advertisement Research

What is advertising?

Advertising is a way of promoting products, services and information through numerous media platforms as well as hard copy advertising locations (e.g. on buses, posters etc). Advertisements serve as a form of communication and relationship between manufacturer and consumer; an example of this is the high-speed distribution of new ideas through the use of single images/clips, slogans and logos.

"Audience research is a vital part of any campaign, and is these days a painstaking and complex process. Research must take into account current and predicted trends, consumer values and how these drive popular culture" -http://www.mediaknowall.com/as_alevel/Advertising/advertising.php?pageID=research

Wieden and Kennedy is one of the largest independently owned advertising agencies in the world, headquartered in Portland. Some of it's leading clientele are positioned in Portland, New York, Sao Paulo, London, Amsterdam, Delhi, Shanghai and Tokyo; consisting of ties with Coca-Cola, Nike, Facebook, Tiffany & Co and other well-known brands/companies.

Honda Civic advert created by Wieden & Kennedy

This advert consists of no script or speech other than the catch-phrase "some say the most powerful thing you can build... is a feeling". This is very effective as the voice-over (the source of speaking is not visible to the audience) does not appear to be selling or promoting the intended product, however the slogan alongside the graphics and audio instantly provokes a feeling of desire through the audience, causing them to lust over the product itself.

The advertising industry took off during the Second World War through the use of biased propaganda (although it had been around for many years before) in order to entice everyday citizens to either join the force (males) or participate in the industrialisation of weapon construction (females). In support of the hypodermic needle theory, such advertisement glamorised certain ideas/concepts in order to push similar opinions onto others; this had a massive impact on society due to the misleading information being presented by authority figures and individuals of higher power in order to convince others into having similar beliefs.

Such propaganda played on the stereotyped roles of both gender and class in order to entice the desired target audience.