STOP MOTION ANIMATION

 Today in media, we focused on stop motion. We chose  Speed Media as our company name and collected a piece of paper and a toy car. Then we set up the camera and worked out how to get the best shot by positioning the camera in the right place. Once that was all in place we were able to start the process. We moved the car by a fraction and took a photo each time which created a sequence of images that were put together to create a short clip. 

MAKING A FILM OPENING

 PREP Write up an account of what you did in the lesson. Start your post by copying the information from the PREP post (about the research that you did). Then describe your filming. Add a photo if you wish

Today in media in our groups, we laid a black cloth over the tables to create a surface to start the table top credit sequence.  We were then handed lots of interesting and unusual objects, like letters, old photos of unknown people and we also added in some of our own objects.  We discussed what objects we wanted to be significant and then decided we would zoom in on them.  As well as that, a few of us, to add some life to the sequence. interacted with the objects to create an unnerving feel as you don't know whose hands they are and what the interaction might foreshadow.  Once we had a story in our head and a sense of the genre and what we wanted the introduction to be like, we filmed the sequence in one take.  The camera was moving, so it took a few tries to get it working smoothly.  Once we had our final take, we transferred it to the computers in the media studio to begin our editing.  We thought about what music would suit the tone of the piece.  We chose 'We'll meet Again' as it is associated with the war and connected with our choice of objects.  We also wrote the names of our chosen director and performers to make it a realistic credit sequence. The following week, we continued to edit our film opening and we also filmed some live action to include in our credit sequence 

FILM OPENING CONVENTIONS

 PREP To prepare for tomorrow's practical work of filming an opening sequence, please watch the following two title sequences which are filmed in in a similar 'table top' style. 

• Delicatessen (dir. Jean-Pierre Jeunet, 1991)
• To Kill A Mockingbird ( dir. Robert Mulligan,1962)
• Extension work: there are many other opening sequences on the website Art of the Title

For each title sequence, write three sentences about how the conventions of film openings are used. 

The title of your prep blog post is FILM OPENING CONVENTIONS

Copy /paste the lines above and add the two images below : 

• what titles and credits appear on screen?
• how is the film's genre conveyed? 
• what use is made of sound?
• what hooks the audience and makes us want to carry on watching    

 

The opening of Delicatessen is filmed in a "table top" style. The title and credits are written among a seemingly random array of objects. The camera pans and reveals more and more unusual objects as the credits are shown. The opening shots show us a man hiding in a bin and another man launching down on him with a big kitchen knife suggesting a horror genre. The use of music backs this up as it is a discordant accordion which is atmosphere but also implies there might be a slightly comic humour to the film. The audience is hooked by the introduction of the two men at the start and eerie and suspenseful credit sequence makes the audience wait to see what will unfold.

The credit sequence for To Kill a Mocking Bird follows a similar "table top" style. We see a young girl use a crayon to reveal the title. The credits then follow hidden among the unusual objects in the girl's box. The film's genre is conveyed through a slow but engaging credit sequence which suggests it could be a drama and the use of music supports this. We hear a young girl humming right at the beginning and at the end of the sequence we hear her giggling which creates an unnerving atmosphere. This is heightened by a ticking clock which comes in, to be taken over by full orchestration and then comes seeping back in again.   An audience would want to continue to watch because we feel we are being drawn into the life of a young girl and we feel that the clock has some significance while the score hints that there are big emotions to come.

CUFFS

 

• As we watch the episode, notice how the different plot lines are woven together, how the editing links them and how the characters develop. The programme is much more than a series of police cases - although the excitement, tension and drama drives the narrative along. The audience also starts to empathise with the individual police officers and in some cases the people that they are dealing with.
• Who do we start to empathise with?

I start to empathise with some of the police officers as more of their character is revealed and we see them in difficult and uncomfortable situations. Firstly, when Jake is prompted to make his first arrest we see him get spat on and completely embarrassed. I really empathise with him at that point because that was not an ideal start to the job and you can see the panic in his face as a crowd starts to form around him.

 As well as that, I found myself understand and empathise with Ryan when I saw him vulnerable as Benson almost attacks him. You can see Ryan in a different light, he is no longer the strong and bossy mentor. Instead we can see him alone in danger and in need of protection and support.

THE AVENGERS: SOUND

PREP Watch the first 10 minutes (after the title sequence is over) of The Avengers on Clickview. Analyse how sound is used in the extract to create meaning. You can use any part of the opening scenes - both the opening scene at the seaside at Little Bazeley or the scene in Emma Peel's flat

• first identify an example - use terminology such as diegetic sound, non-diegetic sound, dialogue.
• then give the example - " Little Bazeley is constructed as a seaside village through realistic sound codes such as..."
• "One example of how sound is used is when Steed makes conversation with Emma Peel..."
• then explain what meaning is created - "In the exchange of dialogue between the fisherman and the undercover agent who arrives from the sea they talk about...... which creates suspicion and comedy because....."
• "Steed's dialogue reveals his accent and shows that he is..." "What Steed says to Emma Peel suggests that he feels in charge because...." /  "Emma's comment about the coffee and cream show that..." / "Emma's throwaway comment about having just finished a scientific article shows that..."

At the start of the episode, it is clear we are by the seaside. This is enhanced through the use of diegetic sounds which include, seagulls and the sound of the waves. This helps the audience watching feel immersed and establishes the world of the story. The use of these realistic sounds create a sense of atmosphere that builds into the moment where an unknown shape emerges from the sea. The sound of the seagulls continuous cawing creates a feeling of tension.

The non-diegetic music used in this sequence is very distinctive and particular to the period. It starts with a menacing trumpet sound that creates an ominous sense that something unusual or dramatic might be about to happen. Then the music changes to a more light hearted percussive sound that reassures the audience and hints at a light hearted tone to the show. This strange combination in the music keeps the audience watching as they suspect something might happen but also reassures them this is a safe and comfortable show to watch. In 1961 the country was worried about the Cold War so they wanted to watch a show about spies that was entertaining but made them feel safe and this score works to enhance that.