Monday, 15 January 2018
KC focus: INDUSTRY + AUDIENCE
(but there is generally some overlap with others!)
we will start on Audience by looking to link aspects of Andrew Goodwin's theory to what we think may be the target audience(s).
Apply the GA(W)PS format to an initial analysis of the possible audience. Give some precise textual detail to back up your points.
Apply at least one of Goodwin's conventions to reinforce your audience analysis. Again, provide precise denotation to back up your analysis: timing, shot types, edits etc.
Here's the video:
Below is a summary of Goodwin's theory; there is more than you need here!!!
Here's a further range of theory that might be applied - again, this is MUCH more than you need, so you should be aiming to pick out and apply at least one of these, and at least one aspect of Goodwin:
Monday, 8 January 2018
I tag most posts so you can find similar/related content, or can simply use the tag cloud (look down the left-hand side) to find posts on a given topic. You can also do a blog search if you don't see a specific tag.
Thursday, 7 December 2017
(Several gathered here)
AQA COURSEWORK TRAINING VIDS
A Dr Who vid on uStream, then a YT playlist:
Friday, 1 December 2017
Doctor Strange was criticized for whitewashing with the Tilda Swinton role. Here we see Disney casting an Asian actor rather than a Caucasian (white) star in Mulan.
Hollywood has attracted widespread criticism for casting white actors to play Asian characters. Tilda Swinton, Scarlett Johansson and Emma Stone have all played characters who were Asian in the source material.
Liu Yifei gets starring role in Mulan, as tide turns against 'whitewashing' https://www.theguardian.com/film/2017/nov/30/mulan-tide-turns-against-whitewash-as-liu-yifei-gets-starring-role?CMP=Share_AndroidApp_Blogger
Monday, 20 November 2017
Tuesday, 7 November 2017
For more than 50 years, Ken Loach has been making social-realist dramas tied together by a prevailing thread — the compassionate observation of the struggles of the working class to hold onto such fundamental dignities as a home, a job and food on the table within a hostile system that often views them unfairly as the cause of their own misfortunes. His latest feature, I, Daniel Blake, is quintessential Loach, which means you have a good idea of what you're getting as soon as the core elements are established. And yet while the framework and perspective are familiar, the veteran Brit director's films can still have the power to grip us in an emotional chokehold. (Hollywood Reporter)
This is the type of thing you need to research and analyse: the movie was partly funded by government grants (National Lottery payments through the BFI) - not loans, grants - and is available to stream through platforms such as BFI Player (which is highly selective).
This is the guidance the exam board have given to you on this CSP, which is focused on Key Concept INDUSTRY only.
A NOTE ON BUDGET
In common with many Indie productions, there is no quoted budget to be found online. However, the cinematographer notes they saved £150k by filming digitally for the 1st time; there was a £300k FilmFund (BFI, funded by the UK government/National Lottery) grant and another €100k grant from Creative Europe, as well as tax breaks for filming in Britain and Belgium (as a UK, France, Belgium co-production!). Shane Meadows' 2006 social realist This is England cost Warp Films £1.5m, while Ken Loach's 2009 Looking for Eric was £4m and the 1920s war drama The Wind That Shakes the Barley a similar €6.5m.
Lets estimate IDB at a £2m budget, lacking the expense of Cantona or 1920s period costume, props and action. The important point, and I'm quoting the chief examiner in an email to me, is:
The production budget is unknown but certainly only a tiny fraction of the $165 million it cost to make Dr Strange. ...
Students need to know that in terms of actual production budget IDB costs were low, particularly in relation to Dr Strange.
Director Ken Loach has a long, distinguished career, as reflected in the recent documentary about him and his films:
Here's a BFI 4min overview;
NB: it contains swearing, reflecting the frank, realistic style of his movies:
Loach is known for his social realist movies:
- low budget
- often reflected in handheld cinematography (quicker and cheaper to film)
- no stars (he often even uses non-actors)
- non-franchise (Warp's This is England is a rare exception)
- no CGI/SFX
- minority/underprivileged central protagonist (eg working class/poor, sexual or ethnic minority)
- as such people are under-represented in mainstream, commercial cinema, there is government funding to support such films
- but as Loach usually refuses to write a script, he typically finds the production budget by pre-selling rights to France, Germany and other European markets where his films have a following
- he also usually picks up funding from the BBC or Film4 (part of the Channel 4 group)
- he can struggle to get his films into UK cinemas (theatrical release); they are usually stuck in the arthouse circuit, meaning low box office prospects - but IDB was an exception...
- social realist movies explore serious social issues
- this lack of light relief is another reason these movies rarely make much money, but...
- Billy Elliot, The Full Monty, Secrets and Lies and Slumdog Millionaire are all exceptions to this general rule
- a filmmaker with a recognisable style who...
- tackles serious social and cultural issues in their work