Film 4 is controlled by the company Tessa Ross.
Film 4 is a production house and a channel that produces and broadcasts alternative films.
in 2006 the channel moved from SKY TV to free view to boost ratings and popularity.
Big change in 2002
- 2002 financial worries lead to a need to boot annual investment through third party partnerships
- Film 4 announced it would no longer distribute it's own films.
Current budget
- Channel 4 rose by 50% from 2011 to 15 million per year garanteed for the next 5 years.
-The increased budget will provide the domestic film industry with a financial boost following the government decision to close UK film council
- Tessa Ross states "at a time when funding is increasingly difficult to access it will allow us to extend our reach further towards new voices and audiences"
Working practises
-Film 4 make around 6 films a year
-In addition they have set up a low budget studio with the film council and distributors 'Warp X' a digital production house
-Working across TV & Film drama also allows for economies of scale and cross fertilisation
- They have worked with Working Title and BBC film partnerships.
Success
-Film 4 have won 5 oscars in 4 years and 3 BAFTAS in 2007
- Film 4 reaches 8.3 million ABcs a month with an up market pf 42% and male 55% profile
http://www.film4.com/features/article/film4s-sweeping-success-at-the-bifas film 4s success at the BIFAS
Since 1982 Film 4 has developed and co-finances many of the most sucessful UK films of recent years including- This is England, Slumdog Millionare and four lions
Latest and key directors of Film 4 include Danny Boyle, Martin McDonagh, Steve McQueen and Mike Leigh
Film4, Channel 4 Television's feature film division, has announced the appointment of Anna Higgs to the newly-created role of Commissioning Editor to spearhead its digital initiatives under the brand banner of Film4.0.
As part of its increased funding, Film4 is set to take a pioneering role in exploring the digital, online arena through Film4.0. Its aim will be to find new talent and discover new ways of making, marketing and distributing films and engaging new audiences online.
Friday 9 December 2011
Friday 4 November 2011
The Male Gaze & Facial Expressions
The concept of the gaze is one that deals with how an audience views the people presented.
For feminists it can be thought of in 3 different ways:
Laura Mulvey coined the term 'Male Gaze' in 1975. She believes that in film audiences have to 'view' characters from the perspective of a heterosexual male.
Features of the male gaze:
Some women enjoy being 'looked at'. The gaze can also be directed toward the members of the same gender for several reasons, not all of which are sexual, such as comparison of body image or clothing.
Categorising Facial Expressions
Women- Marjorie Ferguson
Chocolate Box
Seductive
'To gaze implies more than to look at- it signifies a psychological relationship of power in which the gazer is superior to the object of the gaze.'
For feminists it can be thought of in 3 different ways:
- How men look at women
- How women look at other women
- How women look at themselves
Laura Mulvey coined the term 'Male Gaze' in 1975. She believes that in film audiences have to 'view' characters from the perspective of a heterosexual male.
Features of the male gaze:
- Camera lingers on the curves of the female body, and events which occur to women are presented largely in the context of a man's reaction to these events.
- Relegates women to the status of objects. The female viewer must experience the narrative secondarily by identification with the male.
Some women enjoy being 'looked at'. The gaze can also be directed toward the members of the same gender for several reasons, not all of which are sexual, such as comparison of body image or clothing.
Categorising Facial Expressions
Women- Marjorie Ferguson
Chocolate Box
- Half/ full smile
- Lips together/ slightly parted
- Teeth barely visible
- Full/ three-quarters face to camera
- Emphasis on eyes
- Mouth shut with a hint of a smile
- Head to one side or looking back at the camera
- Full face
- Wide open, toothy smile
- Head thrust forward or thrown back
- Hair often wind blown
- Includes male/ female 'two-somes'
- Dreamy
- Heavy lidded
- Overtly sensual/ sexual
Seductive
- Similar to cool/ level
- Eyes less wide
- Expression is less reserved, but still self-confidant
- Milder
- Nymph like
- Active
- Healthy
- Vibrant
- Outdoor girl
- Often smiling/ grinning
- Concentrating
- Engaged in business in hand
- Mouth closed
- Eyes object directed
- Sometimes a slight frown
- Hair usually short style or tied back
- Deliberately ridiculous
- Exaggerated
- Acting the fool
- Pulling faces
- Neutral looks of a dummy, artificial, wax like
- Features may be in any position- but most likely eyes wide open and a smile
- Looks remain vacant and empty with personality removed
'To gaze implies more than to look at- it signifies a psychological relationship of power in which the gazer is superior to the object of the gaze.'
Evaulate Working titles website commenting on what features make it particually useful or interesting
Working titles website is unlike any other british film website, it looks very proffesional. this may be because of the influence the company has from one of its shareholders, Universal pictures. this allows the the website and company to have better access to funding and higher quality employees or web designers etc. the home page has five seperate pages/slides to show five diffrent films. the website is also easy to navigate and has trailers from films over 5 years ago. the website has a lot of video blogs also, which is good because people may want to see what the actors/producers are like in and out of character. The site contains links, newfeeds and trailers. overall i think i think the website is very professional and better looking than other british film companies sites. i think this because of the quality layout, news feed and large galllery of blogs and trailers.
Tuesday 1 November 2011
Doug Bilheimer
At first glance he looks very much like a tramp but he actually is a fashion icon and very wealthy. he chooses to look this way so no one looks at him and he stands out from the crowd. its his identity.
Friday 28 October 2011
1. Who were the co-founders of Working Title?
The company was founded by Tim Bevan and Sarah Radclyffe in 1983.
2. When was the company founded?
Working Title Films was co-founded by producers Tim Bevan and Sarah Radclyffe in 1983
3. Where is Working Title based?
Working Title Films is a British film production company, based in London, UK.
4. Who are the co-chairpersons of WT now
The Co-chairpersons of Working Title are Tim Bevan and Eric Fellner
5.What awards have Working Title won?
Its movies have won six Oscars, 26 Baftas and prizes at Cannes and Berlin.
6. How many full time staff does WT employ?
42 fulltime staff areemployed bywirking title.
7. What is Working Title’s philosophy?
The Working Title philosophy has always been to make films for an audience - by that I mean play in a multiplex
8. List 5 box-office hits that Working Title have made.
5 box office hits that working title have made are; Mr. Bean's Holiday, Atonement, Nanny McPhee and the Big Bang, Shaun of the Dead and Love Actually.
9. List 5 flops that Working Title has made.
5 'flops' that workingtitlehasmade are; Catch a Fire, Thunderbirds, captain corelli's mandoli, the green zone and the boat that rocked.
10. What is Richard Curtis’ relationship with Working Title?
New Zealand-born British screenwriter, music producer, actor and film director, known primarily for romantic comedy films such as Four Weddings and a Funeral, Bridget Jones's Diary, Notting Hill, Love Actually and The Girl in the Café, as well as the hit sitcoms Blackadder, Mr. Bean and The Vicar of Dibley. Most of these films are working title products.
The company was founded by Tim Bevan and Sarah Radclyffe in 1983.
2. When was the company founded?
Working Title Films was co-founded by producers Tim Bevan and Sarah Radclyffe in 1983
3. Where is Working Title based?
Working Title Films is a British film production company, based in London, UK.
4. Who are the co-chairpersons of WT now
The Co-chairpersons of Working Title are Tim Bevan and Eric Fellner
5.What awards have Working Title won?
Its movies have won six Oscars, 26 Baftas and prizes at Cannes and Berlin.
6. How many full time staff does WT employ?
42 fulltime staff areemployed bywirking title.
7. What is Working Title’s philosophy?
The Working Title philosophy has always been to make films for an audience - by that I mean play in a multiplex
8. List 5 box-office hits that Working Title have made.
5 box office hits that working title have made are; Mr. Bean's Holiday, Atonement, Nanny McPhee and the Big Bang, Shaun of the Dead and Love Actually.
9. List 5 flops that Working Title has made.
5 'flops' that workingtitlehasmade are; Catch a Fire, Thunderbirds, captain corelli's mandoli, the green zone and the boat that rocked.
10. What is Richard Curtis’ relationship with Working Title?
New Zealand-born British screenwriter, music producer, actor and film director, known primarily for romantic comedy films such as Four Weddings and a Funeral, Bridget Jones's Diary, Notting Hill, Love Actually and The Girl in the Café, as well as the hit sitcoms Blackadder, Mr. Bean and The Vicar of Dibley. Most of these films are working title products.
SOUND
In its simplest form sound can be broken down into two categories
Diegetic - sound which occurs naturally within a scene (e.g. dialogue,sound effects)
Non - Diegetic - sound which has no obvious source and is added on (e.g. Jaws theme during and attack)
Within these categories there is however important distinctions to be drawn.
Diegetic -
Dialogue. An actors voice can add important information about a character just by varying pitch and tone.
Synchronous sounds are those sounds which are synchronized or matched with what is viewed. For example: If the film portrays a character playing the piano, the sounds of the piano are projected.
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example: The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example: A film maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city setting.
Non-diegetic sound
Background music is used to add emotion and rhythm to a film. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
General terms
Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.
Diegetic - sound which occurs naturally within a scene (e.g. dialogue,sound effects)
Non - Diegetic - sound which has no obvious source and is added on (e.g. Jaws theme during and attack)
Within these categories there is however important distinctions to be drawn.
Diegetic -
Dialogue. An actors voice can add important information about a character just by varying pitch and tone.
Synchronous sounds are those sounds which are synchronized or matched with what is viewed. For example: If the film portrays a character playing the piano, the sounds of the piano are projected.
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example: The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example: A film maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city setting.
Non-diegetic sound
Background music is used to add emotion and rhythm to a film. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
General terms
Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.
Monday 24 October 2011
5 codes of narrative
The 5 codes of Narrative
• Text can be like a ball of string; it can be unravelled in one or more ways.
• When you watch a text it is closed (there is only one obvious thread to pull on) or open (unravelled in a lot of different ways)
The 5 codes are:
1. Action code – implies something is about to happen, e.g. pulling out s gun means that someone is going to shoot it
2. Enigma Code – refers to any element in a story that is not explained and therefore keeps audience interested.
3. Semantic Code – any element in a text that suggests a particular, often additional meaning by way of connotation.
4. The Cultural code – audience and leader/actor know the same things because of their culture. E.g. Father Christmas.
5. The Symbolic code – two things next to each other that don’t fit
Ideology – belief system behind what you/we watch.
Levi Strauss – believed that the world was split into a series of, binary opposites’. Essentially one thing can only be defined in relation to something it isn’t. E.g. hero is only a hero if there was a cowardly option.
• Text can be like a ball of string; it can be unravelled in one or more ways.
• When you watch a text it is closed (there is only one obvious thread to pull on) or open (unravelled in a lot of different ways)
The 5 codes are:
1. Action code – implies something is about to happen, e.g. pulling out s gun means that someone is going to shoot it
2. Enigma Code – refers to any element in a story that is not explained and therefore keeps audience interested.
3. Semantic Code – any element in a text that suggests a particular, often additional meaning by way of connotation.
4. The Cultural code – audience and leader/actor know the same things because of their culture. E.g. Father Christmas.
5. The Symbolic code – two things next to each other that don’t fit
Ideology – belief system behind what you/we watch.
Levi Strauss – believed that the world was split into a series of, binary opposites’. Essentially one thing can only be defined in relation to something it isn’t. E.g. hero is only a hero if there was a cowardly option.
Subscribe to:
Posts (Atom)