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G325 section a revision methods and essay structures
- 1. What to Revise How to organise Revision Converting your revision into essay plans SECTION A 1A – SKILLS & 1B - CONCEPTS
- 3. What to revise… • Divide up your revision into SKILL AREA • For each SKILL, think of 3 or 4 elements/software that you have used over the course of the AS and A2 productions • For each skill ‘element’ list 1 or 2 examples of the ways in which you used it • For each example: – List 1 example from your AS Thriller – List 1 or 2 examples from your A2 Music Video / Ancillary – For each example you give you MUST reflect on: • What it allowed you to do with your work • When & how you used it in your work • What you can do now as a result of that skill, that you couldn’t do before. POST PRODUCTION FCPro STPro LiveT PShop cuts Special effects Non- diagetic sound titles Image manipulat ion Special effects AS EG1 MATCH CUTS AS EG2 DESAT- URATION AS EG3 AS EG4 A2 EG1.1 BASE TRACKS/ JUMP CUTS A2 EG1.2 Lip Synch A2 EG2.1 COLOUR GRADING A2 EG5 cropping A2 EG6 layers A2 EG2.2 GREEN SCREEN
- 4. The need for triangulation
- 5. How to organise your revision Grids and Mindmaps… or anything that can be easily converted to an essay paragraph plan
- 6. How to organise your revision…A suggestion POST PRODUCTION FCPro cuts AS EG1 MATCHCUTS A2 EG1.1 BASE TRACKS/ JUMP CUTS A2 EG1.2 Lip Synch Skill element & Feature AS Example 1 A2 Example 1 A2 Example 2 Special effectsFCPro AS EG2 DESAT- URATION A2 EG2.1 COLOUR GRADING A2 EG2.2 GREEN SCREEN STPro Non-diagetic sound AS EG3 LiveT titles AS EG4 PShop Image manipulation Special effects A2 EG5 cropping A2 EG6 layers PShop
- 7. How to organise your revision…some detail SKILL ‘ELEMENT’ / FEATURE OF SKILL AS EXAMPLE A2 EXAMPLE 1 A2 EXAMPLE 2 Final Cut Pro cutting AS EG1 • MATCHCUTS create continuity; quicken pace; heighten tension. • when protagonist is chased by the Villain after leaves house. • I cut when actor ran out of the door in long shot. I used a long shot from the pavement to see him running away from the house • Helps heighten action by making it feel natural and continuous A2 EG1.1 • BASE TRACKS/ JUMP CUTS • create disconnection; get from one shot, verse, location to another • Filmed 10 base tracks, lay them down on top of each other on timeline, marked every 4th beat, cut with razor tool • Intro it helps us establish artist in 4 different locations and jump cuts to the beat to take us from one location to next • Creative way to introduce our artist and helped us to follow conventions. A2 EG1.2 • Lip Synching • Matches image and artist singing with lyrics • Marked the audio at the beginning of verse & did same with base tracks • Lined them up, cut between them • Need to be very precise - out of synch in 2nd chorus look less professional as a result as you can tell the artist is miming Special effects AS EG2 DESATURATION • Indicates change in time; the past; flashback • Selected footage, clicked on effects etc… • When protagonist looks at the B&W picture of the child, after the cross dissolve we see child playing in the park in b&W • makes us feel it was his memory of the past so it helped us tell the audience about our character’s history A2 EG2.1 COLOUR GRADING Why did we use it – what effect can it create? When did we use it in our video? What was the overall effect of using it? How did it improve our video? A2 EG2.2 GREEN SCREEN Why did we use it? What effect can it create / help us to achieve? When did we use it in our video? What was the overall effect of using it? How did it improve our video? Final Cut Pro
- 8. From revision to Exam…converting grid to plan POST PRODUCTION FCPro cuts AS EG1 MATCHC UTS A2 EG1.1 BASE TRACKS/ JUMP CUTS A2 EG1.2 Lip Synch Skill element & Feature of Skill AS Example 1 A2 Example 1 A2 Example 2 Special effects FCPro AS EG2 DESAT- URATION A2 EG2.1 COLOUR GRADING A2 EG2.2 GREEN SCREEN STPro Non- diagetic sound AS EG3 LiveT titles AS EG4 PShop Image manipulati on Special effects A2 EG5 cropping A2 EG6 layers PShop Paragraph 1 Paragraph 2 Paragraph 3 Paragraph 4 Paragraph 5 Paragraph 6 Paragraph 7 Paragraph 8
- 9. A Chronological Essay FCPro cuts AS EG1 MATC HCUTS FCPro Special effects AS EG2 DESAT- URATION STPro Non-diagetic sound AS EG3 LiveT Titles AS EG4 FCPro Cuts A2 EG1.1 BASE TRACKS/ JUMP CUTS A2 EG1.2 Lip Synch FCPro Special Effects A2 EG2.1 COLOUR GRADING A2 EG2.2 GREEN SCREEN Paragraph1 Paragraph2 Paragraph3 Paragraph4 Paragraph5 Paragraph6 Paragraph7 Paragraph8 Paragraph9 Paragraph10 Pshop Image Manipulation A2 EG5 cropping Intro–defineterm/establishskills beforeMediacourse/stateproductions A2 EG6 layers Pshop Special Effects Conclusion–reflectonthemainskills youhavedevelopedfromAStoA2 AS A2
- 10. AComparativeEssay Paragraph 1 Intro – define term / establish skills before Media course / state productions you have produced for AS and A2 Paragraph 2 FCPro Cuts AS EG1 - THRILLER MATCH CUTS Paragraph 3 FCPro Cuts A2 EG1.1 MV BASE TRACKS/ JUMP CUTS A2 EG1.2 MV Lip Synch Paragraph 4 FCPro Special effects AS EG2 THRILLER DESAT-URATION Paragraph 7 LiveT titles AS EG4 - THRILLER Paragraph 6 STPro Non-diagetic sound AS EG3 - THRILLER Paragraph 8 Pshop Image manipulation A2 EG5 – DP/AD cropping Paragraph 9 A2 EG6 AP / AD layers Pshop Special effects Paragraph 10 Conclusion – reflect on the main skills you have developed from AS to A2 and evaluate how important developing the skill has been to your work at AS and A2 Paragraph 5 A2 EG2.1 MV COLOUR GRADING A2 EG2.2 MV GREEN SCREEN FCPro Special effects
- 12. What to revise… • Divide up your revision into CONCEPT AREA • For each CONCEPT, list each of the theorists AND each of the theories that you have studied for that concept • For each theorist / theory, identify 1 or 2 examples from your Music video • For each example: – Analyse how you used the use of camera, editing and mise-en-scene – Explain how this supports or challenges the theory REPRESENTATION Mulvey Goodwin Railton & Watson Tujillo Male Gaze Active Female Artists Masculine Power Masculinity & the outdoors Masculini ty as Physical Power A2 EG1.1 Camera – shot type & movement A2 EG1.2 Mise-en- scene COSTUME A2 EG2.1 Camera – shot type A2 EG 3.1 Mise-en- scene costume A2 EG2.1 Editing – jump cuts A2 EG 3.2 Camera – camera angle A2 EG 4.1 Mise-en- scene - location A2 EG 4.2 Camera – shot distance A2 EG 5.1 Camera – shot-type & angle A2 EG 5.2 Editing – cuts and screen time
- 13. The need for TRIANGULATION
- 14. How to organise your revision Grids and Mindmaps… or anything that can be easily converted to an essay paragraph plan
- 15. How to organise your revision…A suggestion REPRESENTATION THEORIST THEORY MV example 1 MV example 2 MULVEY MALE GAZE A2 EG1.1 Camera – shot type & movement A2 EG1.2 Mise-en-scene COSTUME DIRECT ADDRESS – ACTIVE FEMALE ARTISTS GOODWIN A2 EG2.1 Camera – shot type A2 EG2.1 Editing – jump cuts RIALTO & WATSON MASCULINE POWER THROUGH DESEXUALISATION A2 EG 3.1 Mise-en-scene costume A2 EG 4.1 Mise-en-scene - location TRUJILLO MASCULINITY AS STRONG AND PHYSICALLY POWERFUL A2 EG 3.2 Camera – camera angle A2 EG 4.2 Camera – shot distance TRUJILLO MASCULINITY AS BEING OUTDOORS & IN PUBLIC SPACES A2 EG 5.1 Camera – shot-type & angle A2 EG 5.2 Editing – cuts and screen time
- 16. How to organise your revision…some detail THEORIST THEORY A2 EXAMPLE 1 A2 EXAMPLE 2 MULVEY The Male Gaze Representation of women highlights imbalance in patriarchal society. Women as passive, sexual objects to satisfy male pleasure - they are ‘looked at’ and the male viewer is ‘active’ – the person who ‘looks’. A2 EG1.1 • Camera –movement & shot type • 1st verse – tilt up to intro our female artist – use of camera to draw audience to her body before we intro her face – conventional of MV – repetition of this shot at the beginning of each verse • Use of big close up on lips in chorus – dismembers mouth – becomes an object A2 EG1.2 • Mise-en-Scene - costume • 3 separate costumes – 1 per verse – helps to brand artist and connect with target audience of men & women • 1st verse especially reinforces male gaze – short black dress – appeal to male audience The Active Female Artist Although the female artist might be dressed provocatively or use shot types that indicate a male gaze, he argues that in looking directly at the camera, breaking the 4th wall, the female artist takes control of her representation and is active not passive A2 EG2.2 • Camera – Shot type • Chorus – use of mid shots and medium close ups help us see the artist looking directly at the viewer, breaking the 4th wall. • makes the artist look in control in the MV – she knows we are watching her and she is watching us A2 EG2.2 • Editing – jump cuts • The bridge – tempo of sound increases – use of jump cuts creates repetition of CUs where we use a zoom in on the artist face one after another • reinforces she is singing directly to us – the zoom in brings us closer to her to remind us that is singing to us directly Goodwin
- 17. From revision to Exam…converting grid to plan REPRESENTATION THEORIST THEORY MV example 1 MV example 2 MULVEY MALE GAZE A2 EG1.1 Camera – shot type & movement A2 EG1.2 Mise-en-scene COSTUME DIRECT ADDRESS – ACTIVE FEMALE ARTISTS GOODWIN A2 EG2.1 Camera – shot type A2 EG2.1 Editing – jump cuts RIALTO & WATSON MASCULINE POWER THROUGH DESEXUALISATION A2 EG 3.1 Mise-en-scene costume A2 EG 4.1 Mise-en-scene - location TRUJILLO MASCULINITY AS STRONG AND PHYSICALLY POWERFUL A2 EG 3.2 Camera – camera angle A2 EG 4.2 Camera – shot distance TRUJILLO MASCULINITY AS BEING OUTDOORS & IN PUBLIC SPACES A2 EG 5.1 Camera – shot-type & angle A2 EG 5.2 Editing – cuts and screen time Paragraph 1 Paragraph 2 Paragraph 3 Paragraph 4 Paragraph 5 Paragraph 6 Paragraph 7 Paragraph 8
- 18. Intro – define concept / say you will analyse your music video and give the name of your artist, the song and genre you worked in / you could also mention some of the theorists you will look at 1B-ExamQuestionParagraphPlan Paragraph 1 Paragraph 2 Paragraph 3 Paragraph 4 Paragraph 5 Paragraph 7 Paragraph 6 Conclusion – Summarise the main theories & ideas that your Music Video supports and those it challenges – reflect on the success of the music video in relation to the concept. MULVEY MALE GAZE A2 EG1.1 Camera – shot type & movement A2 EG1.2 Mise-en-scene COSTUME DIRECT ADDRESS – ACTIVE FEMALE ARTISTS GOODWIN A2 EG2.1 Camera – shot type A2 EG2.1 Editing – jump cuts RIALTO & WATSON MASCULINE POWER THROUGH DESEXUALISATION A2 EG 3.1 Mise-en-scene costume A2 EG 4.1 Mise-en-scene - location TRUJILLO MASCULINITY AS STRONG AND PHYSICALLY POWERFUL A2 EG 3.2 Camera – camera angle A2 EG 4.2 Camera – shot distance TRUJILLO MASCULINITY AS BEING OUTDOORS & IN PUBLIC SPACES A2 EG 5.1 Camera – shot- type & angle A2 EG 5.2 Editing – cuts and screen time
- 19. GOOD LUCK