2Format of the workshop Introductions How are you working now? Text SelectionGenre as a toolClose reading - Beyond the CUThe TechniquesScaffolding analysisBreak
3Format of the workshop Example scene 1 Example scene 2 Technology that can helpReviewing the main pointsDiscussion and feedbackAlcoholic beverages
4Introductions Who are you? Where are you from? Why are you here? What films are you currently teaching?Do you think you are doing a good job?What is your weakness?What do you hope to get from this workshop?
5How are you working now? What is your process for text selection? Quality of your student work?How much time do you give to film study?
8Genre No film is an island! Films are not stand-alone pieces of work Genre is expectationIn order to fully appreciate, understand and maximise your selected text you must utilise the wider genre
9Genre in Media Studies Taught at all 3 levels Meaning beyond merely being a storyFamily resemblanceConnections made easier and hopefully critique/analysis more robustSupport core text and show common techniques
10The ‘Open Door’ Pathways to the extended abstract Opportunity for excellenceHistorical contextSocial relevance, impact and influenceStudent generated knowledge
11Media Studies 2.4 Genre External assessment 4 options for 600 word essayCommercial considerationsAudience ExpectationDevelopment of genreCommon shared features
12Women in Science Fiction Barbarella (1968)Planet of the Apes (1968)Alien (1979)Blade Runner (1982)Aliens (1986)Terminator 2 (1991)The Fifth Element (1997)Gender RolesWomen’s LibContraceptionAbortionWomen in power
13Common Shared Features Frankenstein (1931)(1994)Planet of the Apes (1968)2001 (1968)Blade Runner (1982)Aliens (1986)Terminator 2 (1991)The Island (2005)Nature vs TechnologyHuman rightsPollutionGlobalisationMedical ethics
14How do I choose a text?Certain genres lend themselves to analysis in a more comprehensive way than others. Horror, Science Fiction, Film Noir and Documentaries are all genres that utilize the technical aspects of filmmaking in combination with the thematic and narrative conventions that English requires.Other genres such as Romance, Biopic and Drama are just as strong in terms of narrative/thematic content but perhaps lack in the technical area, yet often these often seem to be the texts of choice. This is simply shooting yourself in the foot.
15Close Reading Move past the CU Complimentary and collaborative techniquesApparatus rather than ArtDirectorial intention v Audience response
16Camera Movement & Angles Tracking - The use of and creation of space and depthZooming - Similar but also very different in terms of image producedSteadicam - Unobtrusive voyeurismHandheld - First person perspectiveTilts, Dutch Tilts - Power and balanceLow and High Angles - Status, scale and perspective
17Montage/EditingCut - Connection, rhythm, pace, juxtaposition & contrastTransitions - The invisible but manipulative, cutting on the moveSound - atmospheric and narrative partnership
18Scaffolding analysisJust like a literature essay there should always be a structure to written film analysisTry to overcome the ’obviousness’of the filmSeeing is NOT believingThe forms, apparatus and structure are designed to be invisible to the audienceThe visual image, narrative structure and editing are all subservient to the story and character lives, but meaning and emotion cannot exist in the text without the techniques that deliver themThis is why technical merit is such an important criteria in text selection
19T.U.M.E. Technique – correctly name and identify a technique Use – The specific and detailed example of the techniqueMeaning – What is the job of this technique?Effect – The result, the impact on audience
20T is for TechniqueThis is plainly and simply about practice. If you test your class at the beginning of your unit and find they are either unable to identify the techniques that you present to them (as I have found) then practice, practice and practice again. There is no other way.
21U is for UseAvoid vague and lazy answers that are lacking in specificity. Details are key and show concentration and commitment to the assessment. They must be exact and to be so you must make sure you give them the opportunity to be so.
22M is for MeaningThe student must give reasons why this technique is the one the director has chosen and what is the desired result of it’s use? Once this is clear then how does this technique interact/collaborate with other techniques in the scene and the wider film. The focus here is on the creator of the text.
23Effect / AffectThe student must now look at the impact of the technique and it’s collaborators on the audience. Supporting evidence becomes key at this point.That evidence should come from the wider text and genre. To be able to connect your example to those in other texts in the same ‘family’ is great, as it will often be used for similar purposes and has similar results.Seemingly unrelated genres can still provide good examples to back up analysis. Sci-fi and Film Noir or Horror are the best examples.Your students cannot fulfill this without having been taught around the text. The contextual and supporting materials of frontloading and pre-teaching a genre cannot be underestimated.
24The Extended AbstractIt is at this point that the true test of your text comes to be. If your text has ‘open doors’ the students should find themselves able to connect their conclusions to wider ideas, historical events, sociological issues.The ‘extended abstract’ becomes accessible and allows the student to display the knowledge, understanding and responses that prove their learning in the process.
69Technology that can help you VLC – video player of all formats and has various features including ‘snapshot’MPEG Streamclip – allows you to surgically remove scenes or shotsand convert file typesGoogle Scholar – Academic articles and other writing for extensionPrelinger Archives – Copyright free videos
70Main Points Choose your text wisely Practice your close reading skills T.U.M.E & Extended AbstractUse the available technologyTeach Media Studies instead