Kaya's media blog 2

1) Choose at least three TV dramas similar to your concept and watch at least one scene from each. Make bullet-point notes on everything you watch, commenting on camerawork, editing, sound and mise-en-scene. 1)   Top boy - clip stef and ZT get back on mails:   the mise en scene of the nice cars (from the money they made through drugs). T he empty petrol station suggesting that it is late at night so no pedestrians will see to help them. The costuming of the tracksuits and the bally (face masks) being used as it is an typical UK road man/gangster costuming which builds the British culture feeling. The props of guns being used and pulled out builds up tension as the audience as on edge waiting to see if someone will get injured. The mid shots during the fit to show multiple people fighting then the close up when they are speaking to show the facial expression clearly build up more intensity furthermore the tense non dietetic sound builds up more intensity. Intense fighting to begin with.

1) Type up your feedback   in full   including the ratings out of five for each of the categories. WWW: detailed research, reference to theorists, media language, lighting linked to genre EBI: too much text on screens, no pictures, more preparation needed, need more explanation, nothing about digital convergence/industry.    2) Use this feedback, comments from peers and your own reflection on your presentation to  self-assess  and write your own detailed  WWW  and  EBI  for your coursework concept and presentation as a whole. WWW: detailed presentation EBI: need images, more preparation regarding my concept  3) Write a  paragraph  discussing how your presentation will lead into your actual coursework production. Do you need to update your statement of intent? Does your concept offer enough clarity? Is it appropriate for the audience specified in the brief? Is it achievable to film with the resources you have available? Can you add media terminology or theory to your statement of inten

  Media Factsheet: 1) What is the history and narrative behind War of the Worlds? H.G. Wells' 1898 novel of the same name was adapted into a radio play by Orson Welles in 1938. It describes an alien invasion and the subsequent struggle between a race of extraterrestrials from Mars and humanity.  2) When was it first broadcast and what is the popular myth regarding the reaction from the audience? According to a common myth, when the broadcast of the live event took place on October 30, 1938, thousands of New Yorkers fled their houses in fear, and people from all across America flocked to the streets to see the actual space combat between Earth and the Martians for themselves. 3) How did the New York Times report the reaction the next day? The nation-wide excitement it had sparked was celebrated in the morning newspapers the next day. The New York Times ran a headline that said, "Radio Listeners in Panic, Taking War Drama as Fact." 4) How did author Brad Schwartz describe t

  Media Factsheet #224: Industrial contexts of Radio: 1) Read the first two pages of the factsheet. How does the Factsheet argue that radio still has cultural significance in the digital age? The broadcast modes of communication still reach billions of people, despite competition from digital platforms like iTunes, Spotify, YouTube, and many more. Radio can be heard in our homes through voice-activated speakers, television, radio, and in our cars and on our commutes via mobile devices. Because radio material engages the mind in a completely different way than visual mediums, it continues to be incredibly popular with listeners.  2)  Look at the page 4 section on media theories. Briefly summarise the ideas of Curran and Seaton, Hesmondhalgh and Livingstone and Lunt. According to David Hesmondhalgh, the media prioritises profit over originality. According to Curran and Seaton, a select few control a majority of the media's output. Regulation of Livingstone and Lunt Media ought to be