Technology has brought broad changes to the film industry. Computer-generated imagery has vastly improved the quality of special effects, allowing climactic movie battle scenes and superhero stunts to look more realistic than ever. Movies such as “Avatar” have pushed the limits of what a film looks like by showing the artistic possibilities of 3-D projection.
Although movie-studio revenue has gotten a boost from higher ticket prices for 3-D films, overall attendance is down at Cinema. There are continual threats of copyright infringement, including pirated DVDs and illegal online streaming of films.
Technology is in a golden age for movie lovers. But for companies in the entertainment business, only those who think creatively about how to sell and deliver content -- such as Apple and Netflix -- will reap the benefits.
In October of 2003, Disney and Twentieth Century Fox jointly set up a company website to expand the scope of its services to the home audience via high-speed broadband internet access and computer data equipment.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.
Although some illegally downloaded films can be of poor quality, and take a long time to download, illegal sites are improving. While films recorded from inside cinemas can suffer distortion, once the DVD has been officially released, the quality of the illegal copy available online improves. Faster broadband services are advantageous to illegal as well as legal sites.
Estimates released by the British Video Association for the year 2003 to 2004 showed that the number of illegal downloads of films and television programmes may have increased to 1.67 million, three times the number estimated to have taken place the year before. This was estimated by the BVA to have cost the DVD industry in the UK £45 million in lost revenue. The DVD industry was worth around £2.42 billion to the British economy in 2003.
It is estimated that the UK film industry was worth around £4.3 billion to the UK's economy, but that in 2007, illegal copying and sharing of films may have cost the economy up to £404 million.
DVD sales have accounted for around half the profits of the worldwide industry in the last ten years.
Tuesday, 15 November 2011
Thursday, 10 November 2011
Monday, 10 October 2011
Sound Terminology C&P
Terminology of sound in TV Drama textual analysis includes:
Diegetic Sound - sound from within the TV Drama world. Sound which the characters can hear.
Non-diegetic sound - sound from outside the film world. Can include soundtrack, theme music and voice-over.
Soundtrack - music chosen to go with the moving images. Helps create mood and atmosphere.
Sound effects - usually added in post-production, can include gun shots, explosions and other sounds which might be difficult to achieve by recording on set.
Theme - recurring music which goes with a show or a specific character. EG James Bond or Darth Vader
Ambient sound - the natural sounds of an environment such as birdsong for a country location or traffic noise for a city. This is sometimes recorded as 'wildtrack'... which means recorded separately and added in post-production.
Dialogue - the speech of characters. In analysis feel free to discuss both what characters say and how they say it - their intonation and accent... always use the word 'dialogue' rather than speech or 'talk'.
Sound bridge - when the soundtrack starts in one scene and continues into the next. This helps generate the mood and the atmosphere of a scene.
Diegetic Sound - sound from within the TV Drama world. Sound which the characters can hear.
Non-diegetic sound - sound from outside the film world. Can include soundtrack, theme music and voice-over.
Soundtrack - music chosen to go with the moving images. Helps create mood and atmosphere.
Sound effects - usually added in post-production, can include gun shots, explosions and other sounds which might be difficult to achieve by recording on set.
Theme - recurring music which goes with a show or a specific character. EG James Bond or Darth Vader
Ambient sound - the natural sounds of an environment such as birdsong for a country location or traffic noise for a city. This is sometimes recorded as 'wildtrack'... which means recorded separately and added in post-production.
Dialogue - the speech of characters. In analysis feel free to discuss both what characters say and how they say it - their intonation and accent... always use the word 'dialogue' rather than speech or 'talk'.
Sound bridge - when the soundtrack starts in one scene and continues into the next. This helps generate the mood and the atmosphere of a scene.
Sound In Secret Diary Of A Call Girl
Throughout, sound is minimal which thereby creates the key object feeling of awkwardness.
The first dialogue heard are greetings at the door. However it is apparent awkwardness will be built throughout as in the first few sentences there are awkward pauses and unfinished sentences. "Hi, you must be Blake and your.....", There are many 'umms' and 'errs' from all characters this just emphasises the uneasiness between them all.
The next key sound are sound effects, Things such as the woman's heels, this may show that there is a distance between the young man and dad that the young man isn't able to get to. Then the door locking. This outlines once again the young mans vunerabilty.
The next key sound is when the father turns on the radio in his car which ironically has fast paced, upbeat music to which you would connote to leading up to something. You then hear the electric windows as he plays with them in anxed, and lastly the rolling of his chair back and forth to stress his worry and uncomfortableness.
A soundtrack is then introduced when back in the apartment. However although slow and used in a sexual scene the music is not romantic or sexy but somewhat sad. This shows again the vunerabilty of the boy and perhaps the pity the woman has on him and his disabiltiy.
The first dialogue heard are greetings at the door. However it is apparent awkwardness will be built throughout as in the first few sentences there are awkward pauses and unfinished sentences. "Hi, you must be Blake and your.....", There are many 'umms' and 'errs' from all characters this just emphasises the uneasiness between them all.
The next key sound are sound effects, Things such as the woman's heels, this may show that there is a distance between the young man and dad that the young man isn't able to get to. Then the door locking. This outlines once again the young mans vunerabilty.
The next key sound is when the father turns on the radio in his car which ironically has fast paced, upbeat music to which you would connote to leading up to something. You then hear the electric windows as he plays with them in anxed, and lastly the rolling of his chair back and forth to stress his worry and uncomfortableness.
A soundtrack is then introduced when back in the apartment. However although slow and used in a sexual scene the music is not romantic or sexy but somewhat sad. This shows again the vunerabilty of the boy and perhaps the pity the woman has on him and his disabiltiy.
Editing - Secret Diary Of a Call Girl
An eye-line match allows the audience to witness the awkwardness between the three characters. The long take of the father searching around the bag in this scene also emphasises the awkwardness.
Action shot of the father carrying the son to the bed.
There is then a shot reverse shot when she locks the door this is to show the vunerability of the young man. Again awkwardness is created by small talk of how "nice" the dad seems.
The shots become slightly longer after the father leaves this also creates an uneasy, awkward feeling for the audience.
The next scene is outside following the father and his feelings, the scene shows this by having a mid shot of the father looking up at the house in which he has left his son and then showing said house.
Discontinuity is the used when the father is in the car waiting for his son. This creates a feeling of worry and anxiety for the father.
As this show is of adult content, perhaps the targeted audience were parents trying to get them to feel the awkwardness of the situation the father is in.
Action shot of the father carrying the son to the bed.
There is then a shot reverse shot when she locks the door this is to show the vunerability of the young man. Again awkwardness is created by small talk of how "nice" the dad seems.
The shots become slightly longer after the father leaves this also creates an uneasy, awkward feeling for the audience.
The next scene is outside following the father and his feelings, the scene shows this by having a mid shot of the father looking up at the house in which he has left his son and then showing said house.
Discontinuity is the used when the father is in the car waiting for his son. This creates a feeling of worry and anxiety for the father.
As this show is of adult content, perhaps the targeted audience were parents trying to get them to feel the awkwardness of the situation the father is in.
Sunday, 9 October 2011
Camera Analysis
The scene opens so that we can see the middle aged people with their tools.
The second scene then starts introducing the medium shot of the young girl before then changing to an over the shoulder shot. The medium shot's use is to show the casual clothing of the young girl, this connotes her implicated age.
The camera angle then changes to a close up of the young girl in a car. The effect of the close up is to show she is lying as she is confused.
A wide shot is then used to show the car crash, changing swiftly to a medium shot again to introduce the head teacher. This effect is used to show the headteachers clothing and other age features such as white beard and grey hair.
While the young girl is having an argument with her guardian the camera stays at Amys eye level.
Once in the young girls bedroom the camera tilts to show the contents on the bed, thus adding more proof to her age although already given now.
The second scene then starts introducing the medium shot of the young girl before then changing to an over the shoulder shot. The medium shot's use is to show the casual clothing of the young girl, this connotes her implicated age.
The camera angle then changes to a close up of the young girl in a car. The effect of the close up is to show she is lying as she is confused.
A wide shot is then used to show the car crash, changing swiftly to a medium shot again to introduce the head teacher. This effect is used to show the headteachers clothing and other age features such as white beard and grey hair.
While the young girl is having an argument with her guardian the camera stays at Amys eye level.
Once in the young girls bedroom the camera tilts to show the contents on the bed, thus adding more proof to her age although already given now.
Monday, 26 September 2011
Mise en Scene
How does the Mise en scene help construct the representation of age?
The first scene is of people lugging tools in a countryside background. The people in this scene are of a certain age mainly middle aged or over. The clothes wore by these people are dirty like work clothes, this straight away contrasts with the next scene of two younger people in casual clothes (what you would expect a teenager or somebody in their early twenties to wear).
You then see the young girl 'Amy' about to drive. Upon getting in the car she seems confused about how to do so after saying she could, This creates awareness among the audience. Amy then crashes the car and a old man 'Edward Green' Amy's headmaster is introduced. Before he is even introduced it is clear that he is some form of authority, this is apparent by his appearance; Tweed jacket (Stereotypically worn by teachers), V neck (non-matching tie/shirt/jumper), Grey beard, Comb over. ect.
Amy's real age is revealed, It is then that she begins to act her age and the Mise en Scene makes her age obvious eg. Hiding behind the adult figure (Blocking), Later throws a tantrum when told off and then runs away in which the contents of her room is shown (Teen magazines, teddy bears, fairy lights).
The first scene is of people lugging tools in a countryside background. The people in this scene are of a certain age mainly middle aged or over. The clothes wore by these people are dirty like work clothes, this straight away contrasts with the next scene of two younger people in casual clothes (what you would expect a teenager or somebody in their early twenties to wear).
You then see the young girl 'Amy' about to drive. Upon getting in the car she seems confused about how to do so after saying she could, This creates awareness among the audience. Amy then crashes the car and a old man 'Edward Green' Amy's headmaster is introduced. Before he is even introduced it is clear that he is some form of authority, this is apparent by his appearance; Tweed jacket (Stereotypically worn by teachers), V neck (non-matching tie/shirt/jumper), Grey beard, Comb over. ect.
Amy's real age is revealed, It is then that she begins to act her age and the Mise en Scene makes her age obvious eg. Hiding behind the adult figure (Blocking), Later throws a tantrum when told off and then runs away in which the contents of her room is shown (Teen magazines, teddy bears, fairy lights).
Subscribe to:
Comments (Atom)