Juno Storyboard

 

Juno- All I want is you

Film Language

Camera

Frame: 

Extreme Close up, Close up, Mid-shot, Mid long shot, long shot, extreme long shot

Angle: Birdseye view (high angle) and worms-eye view (low angle)

Movement: Pan R+L               Tilt up and down

                    Tracking Shot       Hand held               - zoom up and down

                     Steadicam

Sound

• Dialogue
• music
• Diegetic Sound/ Non Diegetic Sound

Boyz in the Hood- Textual Analysis
At the start the opening uses a tracking shot to move with the children as they walk to school. The frame then moves into a mid shot for when the child wants to talk about something serious with the other kids. The blood as gunshots into the wall are there to show the type of neighborhood they are living and growing up in. The child also talked about how his brother had been shot which is implying because he is black that it was crime and gang related. The camera then transitions from the blood to the children in school. The pictures are done by the children in the class and they are pictures of what they have seen and this includes a police helicopter, someone in a coffin (maybe a family member) and a black person being arrested. This yet again is there to show what the children are seeing daily and what its like growing up in the neighborhood that they live. This also shows yet again the fact that its gangs. When he is walking home at the end it has the dialogue of his mum and the teacher about him, what we can see though is a group of black people beating up another black person and as he hardly reacts this would show that he is used to seeing this. This says about race that a lot of the gangs were filled with black people committing crimes where he lives   

Film Openings (Star Wars)

This is the opening scene to Star Wars. The scene starts off with fast paced music which indicates that something is going to happen or something is going on. Anyone can tell from the setting of the film that it is in space which would say that this film is a sci-fi film. This trailer also shows an enigma code at the end as the drone at the end goes off from the ship and its then unknown what happens to them which leaves the audience wanting to know more.

Institution

Institution
The main film going audience is 15-25
The big six film institutions:

• Sony
• 20th Century Fox
• Warner Bros                                                   - 90% of the worlds Media
• Paramount
• Disney
• Universal

Mass Market- Everyone

Niche- A certain group of people

Representation- Class Notes

Representations

The way in which people, events and ideas are presented to the audience.

For example, the media takes something that is already there and represents it to us in the way they choose. 

These representations are created by the producers (anyone who makes a media text) of media texts.

What they choose to present to us is controlled by gatekeepers.

Gatekeepers

A media 'gatekeeper' is any person involved in a media production with the power to make a decision about something the audience are allowed to read, hear or see - and, of course, not get to see; for instance, a newspaper editor has the final say on what goes into his or her newspaper, where it goes within the pages, next to what other piece, with which pictures, strap-lines and headlines, etc.

Moguls

But in the example of the newspaper editor's decision, this will not be made freely: it will have been affected by technical issues, by the kind of person who owns the newspaper, for example (i.e. the so-called media moguls, such as Rupert Murdoch), and by many things.

Media Consumers, that is you and me, the audience for media texts, are mostly unaware of the 'gatekeeping' decisions; indeed, the gatekeeper's job is to ensure his or her decisions and actions are 'transparent' or 'invisible' to the audience: But our perceptions of the news - and the version of the world it represents for us - are often strongly influenced by the gatekeeper's decisions.

Who, What, Why, Where

When you're analysing representation, think about the following questions:

• Who or what is being represented? Who is the preferred audience for this representation?
• What are they doing? Is their activity presented as typical, or atypical? Are they conforming to genre expectations or other conventions?
• Why are they present? What purpose do they serve? What are they communicating by their presence? What's the preferred reading?
• Where are they? How are they framed? Are they represented as natural or artificial? What surrounds them? What is in the foreground and what is in the background?

The Male Gaze (Laura Mulvey)

The cinema apparatus of Hollywood cinema puts the audience in a masculine subject position with the woman on the screen seen as an object of desire Film and cinematography are structures upon ideas.

Protagonists tended to be men. Mulvey suggests two distinct modes of male gaze - "voyeuristic (women as whores) and fetishist - women as unreachable Madonna's". (Also narcissistic - women watching film see themselves reflected on the screen).

How we treat people (Richard Dyer)

Dyer argues that how we are seen determines how we are treated and how we treat others people is based on how we see them. This comes from our understanding of representation.

He believes that stereotypes come down to power. Those who have power stereotypes those who don't.

Myths (Roland Barthes)

Barthes theory looks quite closely at the idea of mythology, usually in regards to people and places. He suggested that the media often gives us mythic representations or a fairy-tale-style portrayal or a particular place person.

Subculture (Dick Hebdidge/Ken Gelder)

Hebdidge said that a subculture is a group of like minded individuals who feel neglected by societal standards and who develop a sense of identity which differs to the dominant on to which they belong.

Ken Gelder lists 6 ways in which a subculture can be recognised: 

1. Often have negative relationship to work
2. Negative or ambivalent relationship to class
3. Through their associations with territory (The street, The hood, The club) rather than property.
4. Through their stylistic ties to excess
5. Through their movement out of home into non-domestic forms of belonging (social groups as opposed to family)
6. Through their refusal to engage with they might see as 'banalities' of life.

Film Language

Camera

Frame

Angle

Movement

Frame -

ECU (Extreme Close-Up)

CU (Close-Up)

MS (Midshot)

MLS (Medium Longshot)

LS (Longshot)

ELS (Extreme Longshot)

Angle -

Worm's eye-view

Low angle

Level

POV (Point of view)

Bird's eye-view

Movement -

Pan (movement right and left)

Tilt (movement up and down)

Tracking shots

Steady cam

Handheld 

Mise En Scene

Costume - What actors and actresses are wearing in the scenes?

Lighting - The level of light, bright, dark etc.

Actors - What class are they, their age, gender, ethnicity, sexuality, body language?

Make-up - Do they have any make-up on, do they need fake blood on them from a fighting scene.

Props - Do they have anything in their hands, are they using any objects for a particular scene.

Setting - Where are they? What's their surroundings? What type of place are the filming in?

Editing

Transitions - What are they putting in between scenes, how are they moving from one scene to the next.

Order of Narrative - How the film has structure to it and how to order the scenes.

Pace - How fast is the film moving, are their fast scenes, slow scenes etc.

Special Effects - Are there any effects used to add emphasis to the scenes. Are there any explosions, stunts etc.

Sound

Dialogue - Is there a form of speech that is adding an effect to exaggerate the scenes ambience.

Music - Is music added to create an effect or dramatise the scene.

Diegetic Sound/Non Diegetic - Music in the background, voice-over narration.