UNDERSTANDING HEGEMONY

Today's classwork:

Parasite directed by Bong Joon Ho
(South Korean) 2019

WHAT? In writing, sum up simply what you understand, with one brief paragraph per question point from the article that you read last lesson.
WHERE? On your blog with the blogpost title UNDERSTANDING HEGEMONY
HOW? Follow the '1 to 6' but not write the actual numbers. Place the images wherever you think it helps.
IMAGES? Add images to support your points (I have grouped the ones below on a Word document to make them fit.) 

I have made a start (under the first images) to suggest how you could tackle this.

(left) The Guardian Observer
July 2015 Vanessa Thorpe
(right) https://www.nationalreview.com/2020/01/movie-awards-so-male-so-white-so-what/

Hegemony refers to the way in which the media encourage people to consent to status power structures. The media tends to be dominated by a narrow set of people (middle class white men) who tend to represent people like themselves as more powerful / significant than other groups. Therefore one specific set of images of this dominant group of people are represented as superior and more powerful. These are often white, male, Western people. For example, I looked at how Western journalists report on the film industry and found that the accompanying image reflected this point (article by Vanessa Thorpe about the film industry) as every actor featured was male and all but five were white. Other groups are less often represented as powerful / significant: people from the working class, women, BAME, people with disabilities. For example, I have looked at the representation of working class issues (Ken Loach's films Sorry We Missed You and I, Daniel Blake) as well as of disabled actors (such as the BFI trailer for 100 Years of Disabled People in Film). Arguably, this approach is so entrenched and subtle that it is rarely challenged, so what the media reflect back to us perpetuates what is considered normal. For Gramsci, this is media 'manufacturing consent'.

Behaviourist models analysing the effects of the media ....

BFI's trailer  is available here

THEORY LESSON: HEGEMONY

Please read this slowly! It is not as hard as it looks.

TV DRAMA

It's Monday so we will work on our skills analysing the film language of TV drama. 
The text is very short: BONFIRE OF THE VANITIES on Claremont's ClickView 
Find it under Media > Film Openings > Bonfire of the Vanities
Email me what you manage to write (Header with your name + Bonfire) between 11.30 and 12:55 please. I will be at my desk in case you are stuck and would like to email me a question.

SUPPORTING INFO
The Bonfire of the Vanities is a 1990 American satirical black comedy film directed and produced by Brian De Palma and starring Tom Hanks, Bruce Willis, Melanie Griffith, and Kim Cattrall. The screenplay, written by Michael Cristofer, was adapted from the best-selling novel of the same name by Tom Wolfe. 

Trailer here https://www.youtube.com/watch?v=896Yk-JmCGo
Film synposis here https://en.wikipedia.org/wiki/The_Bonfire_of_the_Vanities_(film)

CHARACTERS: Peter Fallow - author

SETTING & CAMERA MOVEMENT The 330-second Steadicam shot of Peter Fallow arriving at the Palm Court of the Winter Garden was a tour de force for operator Larry McConkey. He had to track backwards, get on a golf cart, ride it for 380 ft, get off it again, track backwards 234 ft, get into the elevator, get out again, and track for another 250 ft.^[17]

The huge party scenes were shot at the L.A. Natural History Museum.

This is the format for every question:

1 Discuss the ways in which the extract constructs meaning through the following:

• camera shots, angles, movement and composition
  
• editing
  
• sound
  
• mise-en-scène.
  

Here is the media language (open this link) terminology to refresh your memory. 
We usually attempt to formulate an introductory sentence that shows our grasp of the whole.
We usually find the terms 'establishing shot' useful in starting our writing.

Remember our essay technique:

• T identify the terminology
• E examine the example
• EAA explain / anaylse / argue how the example creates a particular representation

PRESS REGULATION

GoogleMeet Friday 1 May 11.30 - 12.30
We are discussing Press Regulation. You will need to have open the relevant A2 blog page which is here https://a2mediaclass.blogspot.com/p/film-regulation.html

CHALLENGE At A2 for your Advanced Production, you will also show that you have done Preliminary Exercises - these will be different from your Foundation Production. Here is the first idea: make a short edited video of montage shots  

• Use the music from this work
  https://www.adforum.com/creative-work/ad/player/34615686/a-world-we-deserve/babyshop
• perhaps a combo on video and stills
• perhaps with some slowmo
• perhaps text on screen

AUDIENCE THEORY

To support your answer for CCR2, we are going over aspects of Audience Theory so that you can show your understanding. You can include it in your CCR2. Where possible, make links between theory and your own production.

CREATIVE CRITICAL REFLECTION 2: How does your film opening engage with your target audience?

There are many good examples; this is one
https://ls1666x.blogspot.com/p/creative-critical.html 

CCR 2: SUMMER TERM LESSON 1

Please would you focus on this task this week. The links are to give you an inspirational guidance of what can be achieved.

CREATIVE CRITICAL REFLECTION 3: How did your production skills develop throughout the project? 

http://sm1648.blogspot.com/p/3-creative-critical-reflection.html

https://cg1626.blogspot.com/p/c-c-r-3.html 

https://nf1623.blogspot.com/p/creative-critical-reflection-3.html

I will see you for a Google Meet on Monday 27 April as arranged (see Google Classroom); in addition, I will be at my laptop for instant feedback today during normal lesson time of 10:10 to 10:55.
It would be lovely to hear from you!

HOLIDAY TASKS: CREATIVE CRITICAL REFLECTIONS

Welcome back to doing your work under your own steam at your own pace. What a blessing! You must take a proper break from work in the holidays but also plan time to do your 4 creative critical reflections. 

To help you, I am starting to make a post showing you excellent examples for each one, so that this visual support and guidance can scaffold you. CCR1 and 2 ask two questions which you may deal with in separate presentations if you prefer.

CREATIVE CRITICAL REFLECTION 1: How does your film opening use or challenge  conventions? 

CREATIVE CRITICAL REFLECTION 1: How does your film opening represent social groups or issues?

https://ls1666x.blogspot.com/p/key-media-concepts.html

https://mg1629.blogspot.com/p/creative-critical-reflection.html

CREATIVE CRITICAL REFLECTION 2: How does your film opening engage with your target audience?
In our GoogleMeet on Monday 27 April, I will deliver the start of a presentation on Audience Theory so that you can include it in your CCR2. We can just drop it in or add it when you have done the lesson, so don't let it hold you up now.
 
CREATIVE CRITICAL REFLECTION 2: How would you distribute your film opening? 

https://ls1666x.blogspot.com/p/creative-critical.html


CREATIVE CRITICAL REFLECTION 3: How did your production skills develop throughout the project? 

http://sm1648.blogspot.com/p/3-creative-critical-reflection.html

https://cg1626.blogspot.com/p/c-c-r-3.html 

https://nf1623.blogspot.com/p/creative-critical-reflection-3.html 

CREATIVE CRITICAL REFLECTION 4: How did you integrate technologies - software, hardware, online - in this project?

https://ycc0972.blogspot.com/p/ccr2.html

http://sm1648.blogspot.com/p/4-creative-critical-reflection.html 

https://ls1666x.blogspot.com/p/4-creative-critical-reflection.html

https://mg1629.blogspot.com/p/4-ccr.html