Thursday 9 July 2009
We have not died
This blog will be coming back - now i'm teaching the new creative and media diploma - it will be as random as ever. Slowly we blog again.
Thursday 21 May 2009
What has Rough Trade got to with the examination?
You may well ask the very question at the top of the page - and there is an answer - here are some helpful slideshows to get you started - then you need to work the case study into the surrounding structure.
Basically - write about this and then write about that [ROUGH TRADE] and then conclude - marks are then in the bag
Basically - write about this and then write about that [ROUGH TRADE] and then conclude - marks are then in the bag
The Music Industry Business Model
View more presentations from gangofour.
Friday 15 May 2009
for those that like to do stuff at home
here are a number of articles, essays, powerpoints and general notes to aide the learning process and make you somehow feel safe and secure that you can do examinations and all that stuff. In order to fully address what's been going on in class i will 'break it down' [an old hip-hop reference - you can see that i am street] for all those at the back
Year 13 Film Studies
FS5 World Cinema - as you know we studied the new wave - particularly the French New Wave and as it is celebrating 50 years of being 'hip, cool and generally subversive' their have been a number of features written looking at its impact. Which is good - because that's what your question will be like. So here goes - something to get your teeth into and make notes from,
The Sight and Sound feature
http://www.bfi.org.uk/sightandsound/feature/49531/
a really heavy article all about Godard and history - it has some excellent quotes about the ways in which his work developed and relates to the social conditions of the time.
http://www.h-france.net/rude/Nettelbeck2.pdf
and finally - because who reads more than three articles in an evening - here's one about Agnes Varda - because it wasn't only men who made new wave films.
http://itpworld.wordpress.com/2009/05/01/varda-and-the-nouvelle-vague/
FS6 Critical Studies
Here's some stuff on current censorship debates
This is the screeenonline site that links to the BFI - it really is the most up to date resource you can have.
http://www.screenonline.org.uk/film/id/445733/
this one is all about sex and violence
http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Censorship-SEX-AND-VIOLENCE.html
and here's Julian Petley's webpage at Brunel University [they really do teach people] it outlines his role in the whole violence and regulation debate - you can use the references to begin an exploration of his ideas.
http://www.brunel.ac.uk/about/acad/sa/artstaff/filmtv/julianpetley
Year 13 Media Studies
Here's an incredibly long powerpoint detailing the birth and development of the horror genre.
Here is another one that deals with the 'slasher film' don't be put off by the graphics on this one - it contains a great deal of theory matched to good examples.
I just thought i'd put this here as well - because it is scary - actually i think it may well have scarred me for life. My mother made me watch this - because my dad was on nightshift and she'd already watched the first part and wanted to see how it would conclude. Suffice to say my brother and I screamed a great deal that evening.
I will blog more later on - for year 12s and stuff - keep on coming back - i hear the film owl's in town.
Year 13 Film Studies
FS5 World Cinema - as you know we studied the new wave - particularly the French New Wave and as it is celebrating 50 years of being 'hip, cool and generally subversive' their have been a number of features written looking at its impact. Which is good - because that's what your question will be like. So here goes - something to get your teeth into and make notes from,
The Sight and Sound feature
http://www.bfi.org.uk/sightandsound/feature/49531/
a really heavy article all about Godard and history - it has some excellent quotes about the ways in which his work developed and relates to the social conditions of the time.
http://www.h-france.net/rude/Nettelbeck2.pdf
and finally - because who reads more than three articles in an evening - here's one about Agnes Varda - because it wasn't only men who made new wave films.
http://itpworld.wordpress.com/2009/05/01/varda-and-the-nouvelle-vague/
FS6 Critical Studies
Here's some stuff on current censorship debates
This is the screeenonline site that links to the BFI - it really is the most up to date resource you can have.
http://www.screenonline.org.uk/film/id/445733/
this one is all about sex and violence
http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Censorship-SEX-AND-VIOLENCE.html
and here's Julian Petley's webpage at Brunel University [they really do teach people] it outlines his role in the whole violence and regulation debate - you can use the references to begin an exploration of his ideas.
http://www.brunel.ac.uk/about/acad/sa/artstaff/filmtv/julianpetley
Year 13 Media Studies
Here's an incredibly long powerpoint detailing the birth and development of the horror genre.
Here is another one that deals with the 'slasher film' don't be put off by the graphics on this one - it contains a great deal of theory matched to good examples.
I just thought i'd put this here as well - because it is scary - actually i think it may well have scarred me for life. My mother made me watch this - because my dad was on nightshift and she'd already watched the first part and wanted to see how it would conclude. Suffice to say my brother and I screamed a great deal that evening.
I will blog more later on - for year 12s and stuff - keep on coming back - i hear the film owl's in town.
Monday 23 March 2009
I provide resources for this and that
I have discovered the delights of 'slideshare' and will put up various resources on this site for you to use. They are the ones I use in class and you should have already have made notes but just in case you haven't - here they are.
Also I am a little worried that some of you don't know where we are heading in terms of the examination - so here are the deadlines for me
FS4 - Short Film [Cinematic Aims/ A short film - no longer than five minutes] due in on APRIL 3rd
You will then write your evaluation over EASTER
We studied THE FRENCH NEW WAVE in preparation for the FS5 examination on World Cinema - there are two sections - Section A [This is the new wave one ] and Section B [a close text study]
We then looked at SHOCKING CINEMA in preparation for FS6 Critical Studies - we will cover CENSORSHIP AND REGULATION straight after EASTER and Nina has covered GENDERED CINEMA - as you can see that works out as three questions - the shocking cinema one is weighted to carry more marks - that's why you should have done your essays.
Anyway here are the powerpoints.
Also I am a little worried that some of you don't know where we are heading in terms of the examination - so here are the deadlines for me
FS4 - Short Film [Cinematic Aims/ A short film - no longer than five minutes] due in on APRIL 3rd
You will then write your evaluation over EASTER
We studied THE FRENCH NEW WAVE in preparation for the FS5 examination on World Cinema - there are two sections - Section A [This is the new wave one ] and Section B [a close text study]
We then looked at SHOCKING CINEMA in preparation for FS6 Critical Studies - we will cover CENSORSHIP AND REGULATION straight after EASTER and Nina has covered GENDERED CINEMA - as you can see that works out as three questions - the shocking cinema one is weighted to carry more marks - that's why you should have done your essays.
Anyway here are the powerpoints.
French New Wave
View more presentations from Alan Fairnie.
French New Wave The Legacy
View more presentations from Alan Fairnie.
Shocking Cinema
View more presentations from Alan Fairnie.
Tuesday 10 March 2009
Wednesday 4 March 2009
i'm talking about film and that
Making a short film is a difficult task but i feel the year 13 are beginning to explore the true potential of the medium. I've included the link to the BBC Film Network Page - it deals with all aspects of professional short film making - but i also think that it covers the rationale behind it.
Basically your ideas are good - you all need to nail the story - concept is fine - but i want a story - we all want a story. Nonetheless check out the link - and certainly check out the films on offer here.
http://www.bbc.co.uk/dna/filmnetwork/filmmakersguidewhy
Meanwhile the Year 12 are embarking on the new WJEC Film Studies A-level and we are currently looking at Yasmin and This is England [for all those old students who did film - see how i managed to continue showing these two films] I'm toying with the idea of doing something creative tomorrow - i'm tired of analysis - well i guess you're tired of my analysis - so perhaps we'll do some cutting and sticking - you know we like to.
I found this specimen paper - you ought to take a look - it kind of has the questions you'll have to do in it. Take a look here
www.wjec.co.uk/uploads/publications/5797.pdf
well that's me for now - the film owl will be back
keep watching
Tuesday 24 February 2009
Sunday 8 February 2009
here is work - i am away - i will be back
some work for you
Year 13 - Thinking about Short Film
We need to start to thinking about the creative project for FS4 - i want you to start your initial research into short film. Visit the bbc.co.uk/shortfilm website and view at least 5 short films -
Consider the following questions
What do they have in common?
What codes and conventions do they follow?
How is narrative developed?
How is performance used in these films?
Homework - Bring back five fleshed out ideas for after half term
Year 11
Year 11 have been working on SECTION A and SECTION B - developing their files and finishing their evaluations of SECTION B.
They will need to work on this - their files are in the classroom - they need to work in the editing suite and ICT room.
Year 13 - Thinking about Short Film
We need to start to thinking about the creative project for FS4 - i want you to start your initial research into short film. Visit the bbc.co.uk/shortfilm website and view at least 5 short films -
Consider the following questions
What do they have in common?
What codes and conventions do they follow?
How is narrative developed?
How is performance used in these films?
Homework - Bring back five fleshed out ideas for after half term
Year 11
Year 11 have been working on SECTION A and SECTION B - developing their files and finishing their evaluations of SECTION B.
They will need to work on this - their files are in the classroom - they need to work in the editing suite and ICT room.
Monday 26 January 2009
Keep repeating - it's only a movie, it's only a movie, it's only a movie
It was rather a 'heavy' Monday - sorry to put you all through some of the most harrowing and evidently shocking cinema you've probably seen - but i feel we came out alright in the end.
I find this module a difficult one - mainly because of the random nature of shock [who can forget Helen's example of a shocking text?] Of course this is what the examination board want - a dialogue - in what ways do texts becoming shocking?
Ultimately the construction of film is the key to any answer within this module. If we focus on the elements that position audiences then we are able to discuss its effect. Rather than taking the approach that views each film as independent from another - and if it actually shocked you. Avoid all hierarchial discussion but recognise that film can position through micro - elements and the socio/ poiltical background you are coming from.
I think it is fair to say that the opening sequence of Irreversible is indeed a shocking experience - but rather than the content it may be best to focus on the actually way in which it is constructed. I think when i first viewed this sequence - i couldn't get to grips with the camera. This in itself is enought to discuss - this unnerving approach to the construction of mise-en-scene is wholly different to anything I have seen both before or after. I would expect to write about this in any essay - alongside a discussion of Noe's intentions - if we can ascertain them from this sequence. Clearly he intends to unsettle the spectator and not allow us to take a position. Which in light of why this scene begins the film is very clever - who at the beginning is the hero or villain? Of course we are not able to take sides - as violence is met with violence - is met with excessive violence. The screenplay gives no clues either - the language is coarse, it offends - but this comes from both parties.
All of this is bound up in that visual construction of the charcters descent into the club - we do not know who to back - who is right - who is wrong. Therefore as an opening sequence- whilst fulll of standard narrative enigmas - Noe refuses to let us stop and reflect or contemplate on what we are witnessing. You could say the camera operates as 'gut instinct' - it searches and roams for an answer - much as we do as an audience member. It is not until later within the reversed narrative of this highly controversial film that we are allowed a moments reflection - unfortunately - the only time we can 'look' without distraction is the event that forms the catylst for the opening sequence. Still Noe allows the horror to unfold and affect our sensibilities - it shocks us into inability - we can do nothing yet witness the horror. Its lack of cuts and camera angles simply plays the scene as one bursting with verisimilitude - it is real as comes. Are we spectators or witnesses?
Shocking cinema is an ever changing entity - it it not something we can neatly package and prepapre a question for FS6 on - there is no ideal template. This topic is grounded in the ways in which interact and react to film. Similarly multiple acts of viewing are not the same as the cinematic experience and this may need raising.
We will continue with this next week - but I just wanted to acknowledge your maturity and composure in dealing with film that does not simply aim to entertain. We have come a long way since this course started.
Only a few more shocking scenes to experience.
DON'T HAVE NIGHTMARES - REALLY - DON'T HAVE THEM
I find this module a difficult one - mainly because of the random nature of shock [who can forget Helen's example of a shocking text?] Of course this is what the examination board want - a dialogue - in what ways do texts becoming shocking?
Ultimately the construction of film is the key to any answer within this module. If we focus on the elements that position audiences then we are able to discuss its effect. Rather than taking the approach that views each film as independent from another - and if it actually shocked you. Avoid all hierarchial discussion but recognise that film can position through micro - elements and the socio/ poiltical background you are coming from.
I think it is fair to say that the opening sequence of Irreversible is indeed a shocking experience - but rather than the content it may be best to focus on the actually way in which it is constructed. I think when i first viewed this sequence - i couldn't get to grips with the camera. This in itself is enought to discuss - this unnerving approach to the construction of mise-en-scene is wholly different to anything I have seen both before or after. I would expect to write about this in any essay - alongside a discussion of Noe's intentions - if we can ascertain them from this sequence. Clearly he intends to unsettle the spectator and not allow us to take a position. Which in light of why this scene begins the film is very clever - who at the beginning is the hero or villain? Of course we are not able to take sides - as violence is met with violence - is met with excessive violence. The screenplay gives no clues either - the language is coarse, it offends - but this comes from both parties.
All of this is bound up in that visual construction of the charcters descent into the club - we do not know who to back - who is right - who is wrong. Therefore as an opening sequence- whilst fulll of standard narrative enigmas - Noe refuses to let us stop and reflect or contemplate on what we are witnessing. You could say the camera operates as 'gut instinct' - it searches and roams for an answer - much as we do as an audience member. It is not until later within the reversed narrative of this highly controversial film that we are allowed a moments reflection - unfortunately - the only time we can 'look' without distraction is the event that forms the catylst for the opening sequence. Still Noe allows the horror to unfold and affect our sensibilities - it shocks us into inability - we can do nothing yet witness the horror. Its lack of cuts and camera angles simply plays the scene as one bursting with verisimilitude - it is real as comes. Are we spectators or witnesses?
Shocking cinema is an ever changing entity - it it not something we can neatly package and prepapre a question for FS6 on - there is no ideal template. This topic is grounded in the ways in which interact and react to film. Similarly multiple acts of viewing are not the same as the cinematic experience and this may need raising.
We will continue with this next week - but I just wanted to acknowledge your maturity and composure in dealing with film that does not simply aim to entertain. We have come a long way since this course started.
Only a few more shocking scenes to experience.
DON'T HAVE NIGHTMARES - REALLY - DON'T HAVE THEM
Tuesday 6 January 2009
New Media Technologies and all that stuff
I am running a revision session for NMT resits - we will hope to cover the basics but you will need to do some focussed research if yu intend to improve your grade. There is no miracle cure here, however, the paper is only an hour long. It's about AUDIENCES and INSTITUTIONS - therefore having some opinions about them in relation to your case studies is the way in which you'll get marks.
If you ask yourself who benefits from NMT and how? Then you are half way there. Add some details about the rise of download culture annd the rise of the i-pod and you'll find you've run out of time.
Having an argument - actually having a viewpoint will improve your performance.
Below are a number of YouTube sourced videos that deal with the impact of the internet on the music industry and the ways in which the institutions and audiences have responded to these changes.
Below are two shorts from Apple - evey year Apple announce their new products at a state of the art conference in California - watch the videos below and consider the ways in which the institutions is responding to the demands of the audience or shaping their desires. Does Apple really need to introduce new product into the market? If so, why do you think this is?
As Dylan said - The times they are a changing
If you ask yourself who benefits from NMT and how? Then you are half way there. Add some details about the rise of download culture annd the rise of the i-pod and you'll find you've run out of time.
Having an argument - actually having a viewpoint will improve your performance.
Below are a number of YouTube sourced videos that deal with the impact of the internet on the music industry and the ways in which the institutions and audiences have responded to these changes.
Below are two shorts from Apple - evey year Apple announce their new products at a state of the art conference in California - watch the videos below and consider the ways in which the institutions is responding to the demands of the audience or shaping their desires. Does Apple really need to introduce new product into the market? If so, why do you think this is?
As Dylan said - The times they are a changing
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