'Unit 26\r'

'Edexcel BTEC Level 3 Extended Diploma in Creative Media Production Assignment Brief television & Film | |Unit 26: Film Studies | backing: Analytical Approaches and Relationships surrounded by Films and | | |their Production Context | | | division: 2013 |Group: Year 12 | |Assignment expiration: |Assignment Deadline: |Assessor: | | / /2013 |Draft Submission: / /2013 |G. Rushworth | | | lowest Submission: / /2013 | | |This brief has been approved by: |appointment: | |J. MacKay |Jan 13 | Context | | | |This unit aims to develop learners’ spirit of how carrys be created for specific audiences and how they make meaning for those | |audiences through an exploration of industry practices and the application of a retch of theoretical approaches. The insights that | |learners develop allow for inform their approaching take work. | |Learning Outcomes: |Unit: | |Be fit to apply different analytic approaches to conducts |26. 1 | | agnise the birth between films and their work contexts |26. 2 | useful Resources: | |www. imdb. com | |Film website with range of industry and film data | |www. empireonline. co. uk | |Possibly word’s biggest and best film magaizine with huge back catalouge of reviews/features | | | |There is a very large selection of DVDs available in Media Studies.Just fill a Media t for each oneer to take a mien. | +-+ | assign 1: Analytical Approaches | | move on |Using the analytical approaches of writing style analysis, content analysis and auteur theory, create a |? |P1 | | |detailed discussion of the gangster musical genre. | | | | | | | | | |You will look at the film Goodfellas, and extracts from The Godfather, Scarface, Ameri provoke Gangster| | | | |and occupy Stock and Two Smoking Barrels. | | | | |? | | | |Your discussion of the genre may be d genius as a 1400 word report, or as a cardinal minute Power Point| | | | |presentation with serial let downs. | | | | | | | | | |In your analysis of the g angster genre you should also consider the following: | | | | | |? | | |Codes and Conventions | | | | |Iconography | | | | |Findings from both your content and textual analysis | | | | |Narrative structure | | | | |Audience Readings |? | | be |In checkition: | |M1 | | | applicable exemplars that draw upon elements or details of the films studied will be devoted to buy at| | | | |what is said, provided you will not specify these examples to tell how they illustrate the point they |? | | | |support. In discussing codes and conventions in a genre analysis you might note: | | | | | | | | | |‘The lingua is distinguish of the iconography of the horror movie and is ofttimes the means by which the | | | | |victim is killed.In 12 of the 15 movies I studied for my content analysis a knife was used for at| | | | |least one of the murders and in five it was used for all of them. The otherwise two common means of | | | | |killing were choking with a rope and with the b be ha nds. Knives have connotations of | | | | | cut movements and gushing blood. The most famous example of this must(prenominal) be the squander scene in | | | | |Hitchcock’s Psycho. Being knifed to death is particularly frightening because you hobo see the | | | | |person killing you.It’s not identical shooting, which is done at a outperform and is a much more | | | | |cold-blooded means of killing. This is why the gun is the conventional weapon in gangster movies | | | | |like Scarface. ’ | | | |DISTINCTION |Ideas will be developed and points supported with arguments and well focused examples which are | |D1 | | |elucidated in such a air as to draw out of the example precisely what it is roughly it that |? | | | |exemplifies the point it illustrates. | | | | |Examples will refer to precisely defined elements or details of the films studied.In discussing | | | | |codes and conventions in a genre analysis you might note: | | | | | | | | | |‘The kni fe is part of the iconography of the horror movie and is often the means by which the | | | | |victim is killed. In 12 of the 15 movies I studied for my content analysis a knife was used for at| | | | |least one of the murders and in five it was used for all of them. The other two common means of | | | | |killing were strangulation with a rope and with the bare hands.What | | | | |these methods all have in common is that they involve close bodily accomplish between the victim and | | | | |the killer, | | | | |which makes the murder more frightening, remote shooting which is done at a space and is a much| | | | |more | | | | |cold-blooded way of killing. This is why the gun is the conventional weapon in gangster movies | | | | |like Scarface | | | | |or war movies like Platoon, where the killing of Elias by Barnes poses how far apart they are | | | | |morally as well | | | | |as physically and Barnes’s act seems even more cipher because it is so careful and | | | | |deli berate. Knives have | | | |developed connotations through intertextuality that are specific to horror movies, such as | | | | |slashing movements | | | | |and gushing blood. In the most famous example of this †the shower scene in Hitchcock’s Psycho †| | | | |we never actually see the murderer, but we do see the movement of the knife repeated over and over| | | | |again, and the blood swirling down the shower outlet as though it is just water. ’ | | | business 2 Relationship Between Films And Their Production Contexts | |PASS |Empire, an established film magazine, wants you to write an informative bind (800 words) about| |P2 | | |Hollywood’s Goodfellas (1990) and Britain’s pursue Stock and Two Smoking Barrels (1998). |? | | | |You can use your notes from task 1 to help you. Your denomination will look at the affinity each | | | | |film has with the production company and the factors that influence that relationship. | | | | | | | | |Your expression should discuss the following: | | | | |Stars | | | | |Social issues | | | | |Regulatory bodies | | | | | monetary determinants | | | | |Distribution and Exhibition | | | | |Vertical and horizontal ntegration | | | | |Synergies between different films |? | | | | | | | | |You will ensure your article looks professional. You should add stills from both films, and use | | | | | allow for font and layout. | | | | deservingness |You will talk about the relationships between production contexts and films, in such a way as to | |M2 | | |show why they are the way they are, or the effects they have on the films that are produced. |? | | | | | | | |Relevant examples that draw upon elements or details of the films studied will be habituated to support| | | | |what is said. | | | | | | | | | |Relevant existent information about production contexts will be offered although it will not be | | | | |used to support developed argument. | | |DISTINCTION |You will talk critically about the relationships between production contexts and films, justifying| |D2 | | |points |? | | | |made with accompaniment arguments or take the stand. | | | | | | | | | |You will draw out of an example precisely what it is about | | | | |it that exemplifies the point it illustrates.Material about production contexts will be well | | | | |researched and will refer to precisely focused elements or details of the film/films studied. | | | | | | | | | |You will provide full and extensive explanations and systematically provide arguments to support | | | | |points made. Relevant examples that draw upon elements or details of the films studied will be | | | | |given to support what is said. | | | |Guidance for this Assignment |Task |? |To fall upon a PASS grade, the evidence must show that you are able to: | |P1 | take hold approaches to analysing films with some suppress use of takings terminology |1 | | |P2 | diagnose the relationship between films and their production contexts wi th some appropriate use of undefended |2 | | | |terminology | | | |To happen upon a MERIT grade, the evidence must show that you are able to: | |M1 |Apply approaches to analysing films coherently with propagation to detailed illustrative examples and generally|1 | | | | go under use of subject terminology | | | |M2 |Explain the relationship between films and their production contexts with reference to detailed illustrative |2 | | | |examples and generally correct use of subject terminology | | | |To achieve a DISTINCTION grade, the evidence must show that you are able to: | |D1 |Apply approaches to analysing films critically, supporting points with arguments and elucidated examples and |1 | | | |consistently use subject terminology correctly | | | |D2 |Comprehensively explain the relationship between films and their production contexts with elucidated examples|2 | | | |and consistently using subject terminology correctly | | | Tutor’s Feedback | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |Referral †What the learner should do: | | | |Tutor’s key signature/ get a line |IV Signature/Date | | | | | scholarly person’s Feedback | | | | | | | | | | | |Learner’s Signature/Date | | | ———————†Grading Criteria: Text taken directly from criteria in BTEC guidelines\r\n'