Vance

Vance Joy - Riptide 

• Extremely postmodern video - use of distressing horror imagery deliberately positioning the audience in a confusing and distressing situation.
• Extremely strong link between lyrical content and on screen visuals - an explicit description, perhaps a binary opposition between a conventional and subversive music video
• On the word 'riptide' a L/S high angle establishing shot of the sea, connoting danger and death
• A montage of C/Us of everyday items establishes to the audience themes of travel and solidify the overarching theme of escapism
• Mixture of continuous and discontinuous editing - some shots lack cause cause and effect
• Much imagery seems to be conventional of occult horror - Blair Witch Project, Ouija, The Conjuring, The Omen
• Continual, reoccurring shots of female characters being dragged under beds etc. Gender emphasised through the connotations of costume, for example high heals, red lipstick and so on
• Lacks the conventional element of performance, subversively omitting the metanarrative of celebrity
• Lacks a coherent narrative
• Unconventional master shot of middle aged women lip syncing to the track. Lip syncing gradually deteriorates and gets less professional. MES of blood and smeared makeup could connote abuse, violence. Additionally the use of incorrect lyrics, signposted with the on-screen subtitles, might suggest a code word, further emphasising the themes of abuse and escape
• Fully polysemic, with absolutely meaning explicitly anchored by the producer. Is she drunk? Is she in danger?

• 
  General theme and narrative - montage of shots suggests themes of drowning, dying and death
• Alternative theme and narrative - an unpredictable and deliberately misleading montage of shots
• Deliberately invites polysemic interpretations 
• Emotional response - cold, confusing
• Montage consistently matches the themes of the lyrics, eg 'cowboy running' is matched with long shot, canted angle, symbolic of dual personalities, afraid of what he has become
• Intertextuality - the mise-en-scene suggests the conventions of an Western film, and therefore functions as a referential code
• Referential codes create audience appeal, as only certain audiences will understand the reference
• Additionally, the mid shot of the seance and the mise en scene of the ouija board is referential of horror cinema, in particular 70's horror film
• Mid shot of letter dated august 1974 anchors the audience in to a particular time period, because it's cool
• Denies the audience a definitive reading
• "techniques of photographing girls' heavily manicured female hand pushes red leather bound book in to frame in a manner which seems rehearsed, robotic and non-consensual 
• Positions the audience in a voyeuristic, even perverted perspective, forcing the audience to consider Van Zoonen's notion of a predatory male gaze into the 

Realism and anti-realism are two sides of philosophical debate behind the whole basis of excepted scientific truth.

Rihanna has an album called good girl gone bad , in the advert Rihanna experienced the transistion.

semiotics; the study of signs and symbols as elements of communicative behaviour; the analysis of systems of communication, as language, gestures, colours or clothing.



the signifier is what that sign represents. for example  the color back in western cultures means death but in the eastern cultures it means life. perspectives change depending on where you are in the world
00.

Kiss Off The Vampire 

Director :  Don Sharp

 Genre    :   Horror 

Duration:   128mins  

Gerald and Marianne Harcourt  are a honeymooning couple in early 20th-century Bavaria who become caught up in a vampire cult led by Dr. Ravna and his two children Carl  and Sabena . The cult abducts Marianne, and contrives to make it appear that Harcourt was travelling alone and that his wife never existed. Harcourt gets help from hard-drinking savant Professor Zimmer , who lost his daughter to the cult and who finally destroys the vampires through an arcane ritual utilising the Seal of Solomon that releases a swarm of bats from Hell.Originally intended to be the third movie in Hammer's Dracula series , it was another attempt by Hammer to make a Dracula sequel without Christopher Lee. The final script, by Anthony Hinds, makes no reference to "Dracula," and expands further on the directions taken in Brides by portraying vampirism as a social disease afflicting those who choose a decadent lifestyle.

The job of directing was offered to Don Sharp, who later said he had never seen a horror film before being asked to the job by Tony Hinds. Hinds told Sharp he thought the director would be ideal based on Sharp's other work. The director watched Curse of Frankenstein, Dracula and Stranglers from Bombay and became enthusiastic.

"What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd."

Sharp said he was worried that "as Hammer progressed, the goal seemed to be for each picture to top the one before it and they were becoming satiated with violence. So I persuaded Tony that it was better to suggest 'Is it going to happen?' and give the audience a little touch of it, and then go on and really get your big shock at the end. There could be a good size shock in the middle too but not all the time."

Sharp said "I've always believed there needs to be a separation between suspense and shock. You lead on a mood but if you introduce the shock moment too quickly then it's expected. If you hang on keeping the same mood and tempo as the rest of the sequence, and then shatter the mood with a sudden violent moment, that's when it really works."

The film went into production on 7 September 1962 at Bray Studios. It was not released until 1964.

This is the only credited feature film screen role of Jacquie Wallis, who plays Sabena.

The film's climax, involving black magic and swarms of bats, was originally intended to be the ending of The Brides of Dracula, but the star of that film, Peter Cushing, objected that Van Helsing would never resort to black sorcery. The paperback novelization of Brides does, however, use this ending.

Backgroud info on the director Don Sharp 

Donald Herman Sharp (19 April 1921 – 14 December 2011) was an Australian-born British film director.

His best known films were made for Hammer in the 1960s, and included The Kiss of the Vampire (1962) and Rasputin, the Mad Monk (1966). In 1965 he directed The Face of Fu Manchu, based on the character created by Sax Rohmer, and starring Christopher Lee. Sharp also directed the sequel The Brides of Fu Manchu (1966). In the 1980s he was also responsible for several hugely popular miniseries adapted from the novels of Barbara Taylor Bradford

Gaming

GAMING 

               

essay

essay.

Explain how economic contexts shape independent films. Refer to I, Daniel Blake to support your points. ( 15 marks )  30 minutes


I, Daniel Blake tends to contemporary British social issues, for example, neediness, the welfare framework and the Work Capability Assessment. The film depicts a gathering of customarily underrepresented characters in Newcastle battling in neediness to pick up advantages and backing. I, Daniel Blake passes on an unmistakable left-wing political message and censures explicit government strategies. Thought of the more extensive financial setting and idea of "gravity" may be helpful in investigating how changes to profit strategy had been defended.
 Financial variables including subsidising are incredibly noteworthy to this free British co-creation. The financing bodies are the BFI (through National Lottery Funding) and the BBC. 

“I, Daniel Blake” opens with a dark screen, and only the voice of a social worker interviewing Blake about his health and prospects. Back at his modest flat in a dreary postwar apartment complex, Daniel chides his neighbours for leaving their rubbish out, then continues his waron bureaucratic inertia while staying on hold for up to two hours in a Kafkaesque game of attrition.

A superficial reading of “I, Daniel Blake” might leave the impression that Loach and Laverty are critiquing Britain’s bloated and oppressive welfare state, but their true target is privatisation. The social workers and employment “professionals” Daniel works with at the jobs office are all hired by an American contractor. Efficiency, rather than efficacy, is the goal  in an operation that often seems cynically structured to guarantee enough shame, humiliation and frustration on the part of clients that they’ll ultimately give up, saving the “company” untold amounts of money and time.

But Daniel is not one to give up, whether he’s trying to become computer-savvy in a “digital default” world, or to help Katie, a young single mother he takes under his wing with alternately inspiring and heartbreaking results. A scene in which Katie breaks down in a food bank is but one of several small, shattering masterpieces that compose “I, Daniel Blake,” which brims with spirit, sympathy and candor as it tackles the catastrophic displacement brought on by economic and technological change.

As we’ve seen in the year since “I, Daniel Blake” premiered at Cannes, those changes have only become more pronounced, and consequential. Loach and Laverty don’t necessarily point out anything new in their film, which, in the end, succumbs to melodramatic stagecraft that detracts from the crystalline simplicity and clarity came before. But they have much to teach us, simply by lifting up resilience and compassion, and the inherent grace that lies in listening and responding to one another’s deepest needs.

“I, Daniel Blake” is about human value: disposable and abstract in one context; eternal, inviolable and sacred in another. They might underline the point a bit too thickly, but Loach and Laverty count on their audience to discern the difference, and to act accordingly.

I DANIEL BLAKE

I DANIEL BLAKE PLAN 

Explain how economic contexts shape independent films. Refer to I, Daniel Blake to support your points. ( 15 marks ) 30minutes 

P - Funding                       E - Example from production    E - Explain points                  T- Relevant 

     BBC/BFI                            Marketing                                  Link to text on audience        media 

     Marketing                           Text                                           Develop your point                Theories 

     Production 

     Director 

     Genre 

     Narrative 

     Audience expectations 

     Production value 

show

 

A mockumentary (a portmanteau of mock and documentary) or docucomedy is a type of movie or television show depicting fictional events but presented as a documentary.

Modern Family is an American television mockumentary family sitcom created by Christopher Lloyd and Steven Levitan for the American Broadcasting Company. First aired on September 23, 2009, the show follows the lives of Jay Pritchett and his family, all of whom live in suburban Los Angeles. Pritchett's family includes his second wife, their son and his stepson, as well as his two adult children and their husbands and children.

Christopher Lloyd and Steven Levitan conceived the series while sharing stories of their own "modern families". Modern Family employs an ensemble cast. The series is presented in mockumentary style, with the characters frequently breaking the fourth wall. 

my show would be a mockamentuary , of how the youth and adults of the working class live , this would be made on popular stereotypes that people think of the working class and use the fourth wall so they speak to the audience . 

What I will Need : 

* 4-6 Persons 

*a setting , possibly a park 

*