AS Coursework production with allocated marks out of 60

http://examplesofwork13.weebly.com/as.html

http://ocrmediastudies.weebly.com/coursework-with-levels.html

Private Study for next week (starting 19th January)

1. Levi-Strauss' Binary Opposites - Fill in the sheet

2. Complete the work started in class on The Bourne Ultimatum and The Usual Suspects.
6 frames from each comparing and contrasting the camerawork, editing, style etc.

3. Complete 2 full film opening analyses from the selection in the post below. Please aim to do The Usual Suspects. Use the guidance questions and the model provided in the previous post.

ONE ANALYSIS MINIMUM DUE IN NEXT THURSDAY, THE 2ND THE FOLLOWING WEEK.

4. Watch past students' work and start learning from them. You could start embedding some in your own blog and draw a few bullet points on their respective strengths and weaknesses.

Trisha, I left a pack of sheets for you in the media pod with a post-it on it.

Analysing Film Opening Sequences

Lesson starter: opening scene of What Lies Beneath:
https://www.youtube.com/watch?v=naqvgCG9fuI

Complete the analysis of two thriller openings.
You will consider and explore:
• How does the opening engage/create interest for the audience?
• Does it establish characters? How?
• Does the opening introduce themes, mood or story/narrative? How?
• How are the opening titles displayed?
• How is enigma established?

What you will need to analyse:
• Mise-en-scene;
• Use of soundtrack;
• Use of diegetic sound;
• Editing;
• Camera shot, movement and position;
• Use of special effects.


Need help with analysis? Read the example below on "The Shining" to see a model of a good analysis.
Here is an interesting analysis of the opening sequence for The Shining which appears on the Long Road Media Blog (thank you, Long Road). Read it carefully to learn some tips.

You might want to watch the sequence first!

https://www.youtube.com/watch?v=TgCejsyS0t8

The film opens with a series of shots of panoramic landscape vistas showcasing the bleak desolation of the snowy mountainous surroundings, which will provide the backdrop for the film’s subsequent narrative developments. Various bird's eye view shots intermittently cross dissolve into one another, and depict an expansive clear blue lake, a snow-capped mountain range, and a densely populated forest of evergreen trees. The camera moves swiftly through its surroundings in each shot, sweeping past the breadth of the natural environs below it, and thus conveys to the audience a sense of the massive scale and large land span of the location depicted.

During the camera’s continual movement, it occasionally captures its views from distorted angles, which undermines the idea otherwise created by this series of shots of the benevolent purity of natural beauty and the wintry American landscape. It thus uses spatial manipulation to contradict the principal connotations of the images of nature captured in these shots, and hence foreshadows the heavy deployment of themes and imagery centred upon the supernatural that will follow.

Also indicative of this theme is the use of slow, sombre, unnerving and deliberate electronic music, which in conjunction with the seemingly oppositional images suggest a malevolence to the surroundings shown and imply an unknown danger amongst them.

Eventually the camera finds a road snaking through an aerial shot of a thickly forested area then picks out and follows a lone car in extreme high angle long shot, making its way along the road. The camera gradually moves increasingly closer maintaining its birds’ eye view position, but also gradually rotates to distort the angle and create a sense of unsettling foreboding in the manner described above. A series of shot changes track the car’s journey and depict a range of different natural backdrops indicating the traversal of time and space. As the camera finally tracks speedily in to a mid shot of the car from behind, revealing it to be a yellow Volkswagen Beetle, credits rise up through the frame from below in blue typeface, and each gives way to the next, departing the frame by rising out of it.

The moving camera overtakes the car and veers away to the left, aerially crossing country before again finding the car and tracking its journey, once again with another series of extreme high angle long shots, while the eeriness of the electronic score continues to aurally unsettle the viewer.

The camera’s point of view eventually shifts to depict an extreme long shot of a remotely located building amongst the mountains, trees and lakes. It slowly circles the building, getting gradually closer. This building is the Overlook Hotel, and will be the yellow car’s final destination, and the principal location for almost all of the film’s subsequent action.

Overall, the opening sequence has been gradually building up to this elaborate establishing shot of the hotel, and has served to highlight its isolation and remoteness and communicate an implication of danger, that the audience should by now have associated with this idyllic yet spectral location and its backdrop.
Remember that to achieve higher grades, you need to be ANALYTICAL rather than just descriptive. Don't simply tell me that there is a close up at this point or a tracking movement at that point. Explain how it helps the narrative and how it is supposed to affect the reader.

Choose two openings from the choices below. Write an analysis for each one.
 Create a 9 or 12-frame board to illustrate your comments.

Opening scene of The Usual Suspects (couldn't find it with the opening credits)

The opening of SALT - start from 1:40 and stop after the film title (or better, keep watching and use the helpful notes for your own understanding):

Opening scene of The Bourne Ultimatum

Why not check out this playlist too?
https://www.youtube.com/watch?v=mVLJkIZvFlo&list=PLF1EA16AC466B5E47