http://www.genders.org/g42/g42_bannister.html
This is a quite long and quite academic article useful for New Zealand identity, and for representation.
Saturday, December 17, 2005
Saturday, December 03, 2005
Two Recent Herald Articles
Risks in Bollywood Tactics
New Zealand Herald
03/12/05
Studios Poaching Animators
New Zealand Herald
03/12/05
Wednesday, November 16, 2005
Saturday, October 22, 2005
Of interest for exam ideas for you
http://clive-shepherd.blogspot.com/
For the media crew - this is an article of interest that may help spark some discussion for you scholarship/exammy types.
I added a beach photo so I remember that's where we live, so long since I actually saw it!!
This one is about product placement in rap music, plenty about MacDs here too.
http://parkinslot.blogspot.com/2005/04/paid-product-placement-in-rap-lyrics.html
Saturday, October 15, 2005
Link to good info on censorship
U.K site which is certainly worth a read - discusses violence, effects and censorship.
Click 'censorship' in links column
Click 'censorship' in links column
Monday, September 19, 2005
Communication model
A good model for discussing interrelationships between media and society
http://www.media-visions.com/communication.html
also a very useful vocab site
Kolker, Robert. "Glossary." Film, Form, and Culture. New York: McGraw-Hill Higher Education, 2002.http://journalism.wlu.edu/J338/vocabulary.htm (film vocab)
http://www.media-visions.com/communication.html
also a very useful vocab site
Kolker, Robert. "Glossary." Film, Form, and Culture. New York: McGraw-Hill Higher Education, 2002.http://journalism.wlu.edu/J338/vocabulary.htm (film vocab)
websites with info on sound and light
Sound http://www.tpt.org/newtons/12/movisnd.html
Lighting Is All About Chiaroscuro by Walter Graff http://www.film-and-video.com/broadcastvideoexamples-Chiaroscuro.html 19/09/05
Lighting Is All About Chiaroscuro by Walter Graff http://www.film-and-video.com/broadcastvideoexamples-Chiaroscuro.html 19/09/05
Friday, September 16, 2005
Analysing Media Messages
This is a great set of questions for you to think about when analysing any media message:
*who created this media message and why are they sending it?
Who owns and profits from this message (stakeholders)?
What techniques are used to attract and maintain viewer/reader attention?
What lifestyles, values and viewpoints are represented in this message?
What is left out of this message and why?
What are some ways that different people (e.g. rich/poor) might interpret this message?
Best of luck with the rest of the exams. Don't hesitate to email me if there is something specific you need with your production or any other standards.
Pay your money to the school office for the production day - we must have numbers in order to go ahead.
*who created this media message and why are they sending it?
Who owns and profits from this message (stakeholders)?
What techniques are used to attract and maintain viewer/reader attention?
What lifestyles, values and viewpoints are represented in this message?
What is left out of this message and why?
What are some ways that different people (e.g. rich/poor) might interpret this message?
Best of luck with the rest of the exams. Don't hesitate to email me if there is something specific you need with your production or any other standards.
Pay your money to the school office for the production day - we must have numbers in order to go ahead.
Thursday, September 08, 2005
Representation of Teens
Useful revision notes and activities for understanding of gender representation
http://www.saskschools.ca/curr_content/media20revision/unit1/lesson8/lesson8.html
http://www.saskschools.ca/curr_content/media20revision/unit1/lesson8/lesson8.html
Sunday, September 04, 2005
Essay Writing
For the external practice exam the question asks you to -
Analyse and evaluate the interrelationship between society and Reality Television.
As well as your notes on Reality television from the internally assessed question I strongly recommend that you check out the advice on this site.
http://www.unc.edu/depts/wcweb/handouts/argument.html
Analyse and evaluate the interrelationship between society and Reality Television.
As well as your notes on Reality television from the internally assessed question I strongly recommend that you check out the advice on this site.
http://www.unc.edu/depts/wcweb/handouts/argument.html
Thought you might enjoy this
You are a member of a film production studio that has recently been hired to produce a documentary about the Gilded Age of American history.
American novelist Mark Twain coined the term "Gilded Age" in an effort to illustrate the outwardly showy, but inwardly corrupt nature of American society during the industrialization of the late 1800's.
The documentary will need to highlight the many aspects of society that made up the Gilded Age, including: technological innovation, big business, urbanization, immigration, and reaction to the period.
http://www.oswego.org/staff/tcaswell/wq/gildedage/student.htm
American novelist Mark Twain coined the term "Gilded Age" in an effort to illustrate the outwardly showy, but inwardly corrupt nature of American society during the industrialization of the late 1800's.
The documentary will need to highlight the many aspects of society that made up the Gilded Age, including: technological innovation, big business, urbanization, immigration, and reaction to the period.
http://www.oswego.org/staff/tcaswell/wq/gildedage/student.htm
Thursday, September 01, 2005
Part 3
So, for example, Robert Flaherty’s pioneering 1922 film Nanook of The North features scenes in which the Inuit family, which is its focus, hunt and catch a walrus. To catch this ‘authentic’ tradition, Flaherty actually required the family to re-enact a practice that had long gone out of fashion. In the same film, scenes shot inside an igloo necessitated the building of a special set with a wall removed so that the cumbersome camera equipment could be accommodated.
Another Flaherty film called Man of Aran (1934), told the tale of people living off the coast of Ireland and showed a shark hunt. Again, this was a practice that was almost extinct and an expert had to be brought in to teach the locals how to do it, before the cameras started rolling.
Another early documentary-maker was called John Grierson and sequences from his 1929 film Drifters about the herring fishermen of the North Sea required the redesign of the herring boat cabins, again so the bulky cameras of the period could be accommodated. So the search for truth has often involved documentary-makers in subterfuge and re-enactment.
There is no one way of telling a story using documentary, but there are different ways of addressing the subject matter and the audience. As has already been addressed, documentaries have often attempted to obscure the fact that they are highly constructed products, resulting from the rendering down of hours of film and the employment of careful film and sound editing. Think of specific examples you are familiar with where this occurs.
Expository
A very traditional form of documentary in which an unseen speaker performs a voiced-over commentary that literally explains the images that we are seeing. It is the form often associated with wild life or historic documentaries, in which the viewer might feel in need of information about what they are seeing. The audience is not particularly ‘empowered’ by this kind of approach, finding itself in a subordinate role listening to the version of events that the filmmakers choose to prioritise.
Observational
This is the mode associated with ‘fly-on-the-wall’ type documentaries. They appear to have been filmed in ‘real time’, as if the camera has happened upon events while those involved are seemingly unaware of the filming going on. The filmmakers correspondingly attempt not to interfere in what is underway. We do not hear their questions and we do not see them. There is no voice-over telling us what to think or what conclusions we should draw.
Interactive
Many documentaries feature a certain amount of interactive mode filmmaking. Such sequences will involve those being filmed responding to questions asked of them. In such interviews, the questions of the filmmaker may be left in or edited out. This may be a way that individuals in a film can make their own case, but it is also a mode that can act to undermine the interviewees, making them look foolish or deluded. Their interpretation of events or personal account may be rendered to seem trustworthy or untrustworthy depending on the context of surrounding shots or the nature of the statements being made in their own right.
Reflective
This is a style that is usually associated with more experimental documentaries, ones in which the filmmakers are interested as much in the process of making a film, of how reality can be constructed, as the actual content. At the simplest level the film may make no attempt to hide aspects of its construction - showing us the camera people for example.
Notes from
http://www.filmeducation.org/secondary/documentary2004/
Another Flaherty film called Man of Aran (1934), told the tale of people living off the coast of Ireland and showed a shark hunt. Again, this was a practice that was almost extinct and an expert had to be brought in to teach the locals how to do it, before the cameras started rolling.
Another early documentary-maker was called John Grierson and sequences from his 1929 film Drifters about the herring fishermen of the North Sea required the redesign of the herring boat cabins, again so the bulky cameras of the period could be accommodated. So the search for truth has often involved documentary-makers in subterfuge and re-enactment.
There is no one way of telling a story using documentary, but there are different ways of addressing the subject matter and the audience. As has already been addressed, documentaries have often attempted to obscure the fact that they are highly constructed products, resulting from the rendering down of hours of film and the employment of careful film and sound editing. Think of specific examples you are familiar with where this occurs.
Expository
A very traditional form of documentary in which an unseen speaker performs a voiced-over commentary that literally explains the images that we are seeing. It is the form often associated with wild life or historic documentaries, in which the viewer might feel in need of information about what they are seeing. The audience is not particularly ‘empowered’ by this kind of approach, finding itself in a subordinate role listening to the version of events that the filmmakers choose to prioritise.
Observational
This is the mode associated with ‘fly-on-the-wall’ type documentaries. They appear to have been filmed in ‘real time’, as if the camera has happened upon events while those involved are seemingly unaware of the filming going on. The filmmakers correspondingly attempt not to interfere in what is underway. We do not hear their questions and we do not see them. There is no voice-over telling us what to think or what conclusions we should draw.
Interactive
Many documentaries feature a certain amount of interactive mode filmmaking. Such sequences will involve those being filmed responding to questions asked of them. In such interviews, the questions of the filmmaker may be left in or edited out. This may be a way that individuals in a film can make their own case, but it is also a mode that can act to undermine the interviewees, making them look foolish or deluded. Their interpretation of events or personal account may be rendered to seem trustworthy or untrustworthy depending on the context of surrounding shots or the nature of the statements being made in their own right.
Reflective
This is a style that is usually associated with more experimental documentaries, ones in which the filmmakers are interested as much in the process of making a film, of how reality can be constructed, as the actual content. At the simplest level the film may make no attempt to hide aspects of its construction - showing us the camera people for example.
Notes from
http://www.filmeducation.org/secondary/documentary2004/
Part 2
The earliest film could not capture (document) the sounds of such a scene. The only soundtrack would be live music accompaniment in the cinema provided by a pianist. Even then such sounds could have a profound affect on how an audience received what they were seeing.
In an article in 1917 the Russian filmmaker Lev Kuleshov wrote: "to make a picture the director must compose the separate filmed fragments, disordered and disjointed, into a single whole and juxtapose these separate fragments into a more advantageous, integral and rhythmical sequence, just as a child constructs a whole word or phrase from separate scattered blocks of letters."
From: Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.41.
It is a curious phenomena, but if different images are edited together then it can affect how each of them individually are interpreted. A Russian called Lev Kuleshov first examined this 'effect'.
In his experiment he filmed Mozhukhin, a famous Russian actor and shots of a bowl of soup, a girl playing with a teddy bear, and woman laid out in a coffin. He then cut the bits of film so that the shot of the actor was seen first being followed by the soup, the girl and lastly the dead body. Each time the same Mozhukhin sequence was used. Viewers were asked what they made of what they had seen and many felt the shots of the actor conveyed different emotions, though each time it was in fact the same shot. They praised him for his changes in mood - from thoughtfulness concerning the soup, joy at seeing the child and sorrow concerning the dead woman. In this way Kuleshov used the experiment to indicate the usefulness and effectiveness of editing. It became the director’s belief that inter-cutting film, rather than performance, was the prime basis of filmic expression. And it has to be said, emotional impact on an audience.
That is a bit of background to a key product of careful editing, called montage, in which images are woven together to create suggestive combinations in which the meaning is often far greater than the individual elements on their own.
Documentaries are meant to be attempts to get at the truth. Both the films under consideration here contain a central concern with exposing something fundamental about a complex subject. The Fog of War is focused at blowing away some of that fog so that key principles governing the conduct of nations and those charged to lead them can be explored. Capturing the Friedmans also suggests the idea that something elusive can be caught. Think of and refer to your own examples here.
One of the key ways in which documentaries suggest they are telling the truth is by being made in ‘fly-on-the-wall mode. This requires the filmmaker to create the illusion that the camera (and any other crew) is invisible. Whatever the subject, it then looks as if they are going about their business, as they would do if the camera were not present. Of course, from the earliest days of the cinema, when this mode has been employed, it was always illusory because the often-dramatic incidents these films delivered up to us (as with any feature film) invariably had others present filming or recording sound. It is also the case that careful adjustments of ‘the real’ had to be made to accommodate the earliest camera equipment.
In an article in 1917 the Russian filmmaker Lev Kuleshov wrote: "to make a picture the director must compose the separate filmed fragments, disordered and disjointed, into a single whole and juxtapose these separate fragments into a more advantageous, integral and rhythmical sequence, just as a child constructs a whole word or phrase from separate scattered blocks of letters."
From: Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.41.
It is a curious phenomena, but if different images are edited together then it can affect how each of them individually are interpreted. A Russian called Lev Kuleshov first examined this 'effect'.
In his experiment he filmed Mozhukhin, a famous Russian actor and shots of a bowl of soup, a girl playing with a teddy bear, and woman laid out in a coffin. He then cut the bits of film so that the shot of the actor was seen first being followed by the soup, the girl and lastly the dead body. Each time the same Mozhukhin sequence was used. Viewers were asked what they made of what they had seen and many felt the shots of the actor conveyed different emotions, though each time it was in fact the same shot. They praised him for his changes in mood - from thoughtfulness concerning the soup, joy at seeing the child and sorrow concerning the dead woman. In this way Kuleshov used the experiment to indicate the usefulness and effectiveness of editing. It became the director’s belief that inter-cutting film, rather than performance, was the prime basis of filmic expression. And it has to be said, emotional impact on an audience.
That is a bit of background to a key product of careful editing, called montage, in which images are woven together to create suggestive combinations in which the meaning is often far greater than the individual elements on their own.
Documentaries are meant to be attempts to get at the truth. Both the films under consideration here contain a central concern with exposing something fundamental about a complex subject. The Fog of War is focused at blowing away some of that fog so that key principles governing the conduct of nations and those charged to lead them can be explored. Capturing the Friedmans also suggests the idea that something elusive can be caught. Think of and refer to your own examples here.
One of the key ways in which documentaries suggest they are telling the truth is by being made in ‘fly-on-the-wall mode. This requires the filmmaker to create the illusion that the camera (and any other crew) is invisible. Whatever the subject, it then looks as if they are going about their business, as they would do if the camera were not present. Of course, from the earliest days of the cinema, when this mode has been employed, it was always illusory because the often-dramatic incidents these films delivered up to us (as with any feature film) invariably had others present filming or recording sound. It is also the case that careful adjustments of ‘the real’ had to be made to accommodate the earliest camera equipment.
Part one of some notes about doc and history
Supplementary Notes for Documentary AND Film History:
The term 'documentary' has long been a source of argument. An early pioneer of such filmmaking was called John Grierson and although he thought it a 'clumsy' term, he suggested it should stand. Another definition of this genre that Grierson used was 'the creative interpretation of actuality'. What do you think that phrase might mean?
Consider one of the first kinds of documentary - in fact one of the first kinds of film at all - the movies that earlier pioneers made outside factories at the end of a shift when large numbers of workers could be seen leaving for home. What aspects of this kind of simple filmmaking can be considered?
• Actual (A) - in other words something that would have happened whether or not the camera was there?
• Creative (C) - in other words affected by practical decisions made by the director/camera operator, and which had the effect of making the sequence more entertaining
• Interpretive (I) - in other words affected by practical decisions made by the camera operator/director that might affect an audience's understanding of what they were seeing.
The term 'documentary' has long been a source of argument. An early pioneer of such filmmaking was called John Grierson and although he thought it a 'clumsy' term, he suggested it should stand. Another definition of this genre that Grierson used was 'the creative interpretation of actuality'. What do you think that phrase might mean?
Consider one of the first kinds of documentary - in fact one of the first kinds of film at all - the movies that earlier pioneers made outside factories at the end of a shift when large numbers of workers could be seen leaving for home. What aspects of this kind of simple filmmaking can be considered?
• Actual (A) - in other words something that would have happened whether or not the camera was there?
• Creative (C) - in other words affected by practical decisions made by the director/camera operator, and which had the effect of making the sequence more entertaining
• Interpretive (I) - in other words affected by practical decisions made by the camera operator/director that might affect an audience's understanding of what they were seeing.
Monday, August 29, 2005
Natural History NZ
Article in today's herald about the Bug documentaries and an overview of the film production company in Dunedin that created it. Important article for everyone, and especially those of you doing Schol. Start collecting, annotating and keeping these readings.
http://www.nzherald.co.nz/print.cfm?objectid=10342831
http://www.nzherald.co.nz/print.cfm?objectid=10342831
Sunday, August 28, 2005
Great website
Hey dudes and dudesses,
This website has cool movie info - visit the location your fave film was made at!
http://www.famouslocations.com/index.php
This website has cool movie info - visit the location your fave film was made at!
http://www.famouslocations.com/index.php
Wednesday, August 24, 2005
History of Special Effects
If you have not viewed this you need to - it is essential for background understanding of your genre study.
Notes to accompany the film -
1895 - Execution scene in "Mary Queen of Scots" - uses a dummy but many viewers were convinced the actress had made the 'ultimate sacrifice'!! Viewers today are not so gullible.
"A Trip to the Moon" Mellier - used split screen technique (First sci-fi film)
early 1900s Movies lost popularity. Captured popular imagination by giving them a narrative.
"Great Train Robbery" match shots with background shot separate to foreground, resulting film was a composite.
1912 - Strategically placed miniatures used to add portions of a set in "The Walls of Babylon" - glass shotsand cut outs used to increase size and detail
1920s - Ben Hur - miniatures used hanging between the camera and full scale sets to create massive scenes
Fritz Lang - Metropolis (futuristic fantasy) blended every tool available to special effects teams
Advent of sound - sound stages
1933 - King Kong - Large scale mechanical effects, stop motion animation, compelling sense of reality; background painted on glass; astonishing realism. Many techniques developed for this film still used today.
Special effects - departments start to have their own studios within major studios. When studios closed independent effects studios opened - all various departments under one roof allows for cross-pollination of ideas ends in the creation of seemingly 'impossible' images. ("Think tank" approach where designers share ideas)
Set designs done to make story more entertaining, dramatic and more believable to a large audience.
Take a basic conceptual idea and make it work in all the various details.
Models/miniatures are used e.g. Fox Plaza building in "Die Hard" (couldn't damage real building)
"Ghostbusters" sculpted miniature and full size puppets - both used for stop motion process. Series of still images in rapid succession to give illusion of moving image. One technique for bringing characters to life.
1989 - "The Abyss" create illusion of futurist adventure 2000ft below ocean surface
(required all visual effects tricks known).
Dream Quest effects studio - came up with new techniques to create effects - foam core mockups of sets to recreate underwater realism. Used air to create underwater environment.
CGI innovations
Notes to accompany the film -
1895 - Execution scene in "Mary Queen of Scots" - uses a dummy but many viewers were convinced the actress had made the 'ultimate sacrifice'!! Viewers today are not so gullible.
"A Trip to the Moon" Mellier - used split screen technique (First sci-fi film)
early 1900s Movies lost popularity. Captured popular imagination by giving them a narrative.
"Great Train Robbery" match shots with background shot separate to foreground, resulting film was a composite.
1912 - Strategically placed miniatures used to add portions of a set in "The Walls of Babylon" - glass shotsand cut outs used to increase size and detail
1920s - Ben Hur - miniatures used hanging between the camera and full scale sets to create massive scenes
Fritz Lang - Metropolis (futuristic fantasy) blended every tool available to special effects teams
Advent of sound - sound stages
1933 - King Kong - Large scale mechanical effects, stop motion animation, compelling sense of reality; background painted on glass; astonishing realism. Many techniques developed for this film still used today.
Special effects - departments start to have their own studios within major studios. When studios closed independent effects studios opened - all various departments under one roof allows for cross-pollination of ideas ends in the creation of seemingly 'impossible' images. ("Think tank" approach where designers share ideas)
Set designs done to make story more entertaining, dramatic and more believable to a large audience.
Take a basic conceptual idea and make it work in all the various details.
Models/miniatures are used e.g. Fox Plaza building in "Die Hard" (couldn't damage real building)
"Ghostbusters" sculpted miniature and full size puppets - both used for stop motion process. Series of still images in rapid succession to give illusion of moving image. One technique for bringing characters to life.
1989 - "The Abyss" create illusion of futurist adventure 2000ft below ocean surface
(required all visual effects tricks known).
Dream Quest effects studio - came up with new techniques to create effects - foam core mockups of sets to recreate underwater realism. Used air to create underwater environment.
CGI innovations
Sunday, August 21, 2005
Time
Ok - time is becoming an issue here - we seriously need to think about footage (moving image) and collecting material (print media) for our productions in a big way. I am aware that some of you are onto this but for others you must get organised and make major moves with it.
Intending scholarship students - see Mr Mawer asap to register and keep up with the readings I will continue to post here.
Link for those interested is:
http://www.nzqa.govt.nz/scholarship/index.html
Intending scholarship students - see Mr Mawer asap to register and keep up with the readings I will continue to post here.
Link for those interested is:
http://www.nzqa.govt.nz/scholarship/index.html
Monday, August 15, 2005
Page of resource links you need to read
Here is a preliminary list of readings that you can print out and annotate to bring to the exam for the unit standard:
Bell, R. (01/03/05) Let’s face up to our drinking problem
http://www.nzherald.co.nz/print.cfm?objectid=10113007
Available online 07/08/05
Broadcasting authority warns serial complainer (11/05/05)
http://www.nzherald.co.nz/print.cfm?objectid=10124839
Available online 07/08/05
Brown, R (02/07/05) Airing grievances
http://www.listener.co.nz/printable,4249.sm
Available online 07/08/05
Catherall, S (31/07/05) Has New Zealand’s Film Industry Bubble Burst?
http://www.nzherald.co.nz/print.cfm?objectid=10338437
Available online 07/08/05
Dunne formally complains over TV3 debate (03/08/05)
http://www.nzherald.co.nz/print.cfm?objectid=10338973
Available online 07/08/05
Homer’s 7pm language passes standards test (26/02/05)
http://www.nzherald.co.nz/print.cfm?objectid=10112678
Available online 07/08/05
Radio comments about Zaoui inaccurate, says BSA
http://www.nzherald.co.nz/index.cfm?ObjectID=10335603
Available online 07/08/05
SPADA
http://www.spada.co.nz/resources/codesofpractice/codesofpractice.html#Bryson
TV One documentary unfair, says authority (10/05/05)
http://www.nzherald.co.nz/print.cfm?objectid=10124761
Available online 07/08/05
It's a hard road living in the perfect country
14.05.2004
http://www.nzherald.co.nz/print.cfm?objectid=3566550
Available online 15/08/05
Clean green image pamphlet
http://www.mfe.govt.nz/publications/sus-dev/clean-green-image-value-aug01/summary-leaflet-aug01.pdf
Bell, R. (01/03/05) Let’s face up to our drinking problem
http://www.nzherald.co.nz/print.cfm?objectid=10113007
Available online 07/08/05
Broadcasting authority warns serial complainer (11/05/05)
http://www.nzherald.co.nz/print.cfm?objectid=10124839
Available online 07/08/05
Brown, R (02/07/05) Airing grievances
http://www.listener.co.nz/printable,4249.sm
Available online 07/08/05
Catherall, S (31/07/05) Has New Zealand’s Film Industry Bubble Burst?
http://www.nzherald.co.nz/print.cfm?objectid=10338437
Available online 07/08/05
Dunne formally complains over TV3 debate (03/08/05)
http://www.nzherald.co.nz/print.cfm?objectid=10338973
Available online 07/08/05
Homer’s 7pm language passes standards test (26/02/05)
http://www.nzherald.co.nz/print.cfm?objectid=10112678
Available online 07/08/05
Radio comments about Zaoui inaccurate, says BSA
http://www.nzherald.co.nz/index.cfm?ObjectID=10335603
Available online 07/08/05
SPADA
http://www.spada.co.nz/resources/codesofpractice/codesofpractice.html#Bryson
TV One documentary unfair, says authority (10/05/05)
http://www.nzherald.co.nz/print.cfm?objectid=10124761
Available online 07/08/05
It's a hard road living in the perfect country
14.05.2004
http://www.nzherald.co.nz/print.cfm?objectid=3566550
Available online 15/08/05
Clean green image pamphlet
http://www.mfe.govt.nz/publications/sus-dev/clean-green-image-value-aug01/summary-leaflet-aug01.pdf
Thursday, August 11, 2005
Production day
Production day will be October 5 - second Wednesday of holidays. Cost $ 20 - limited numbers so it will be first in, first served basis.
Exam - Unit Standard 7473
Notes for Unit Standard assessment that will be part of Term 3 Exam - look at the website www.bsa.govt.nz to learn about how to make a complaint under the Broadcasting Act. Think about a media product you would like to complain about and bring notes to the exam as to how you would do this. There will be templates and extra notes provided in the resource book on the day but it will help if you have read up in advance and bring your own notes as well.
The other part of the exam will be Achievement Std external - Interrelationship between a genre and society - you will need your notes on Reality Television for this.
Exam - Unit Standard 7473
Notes for Unit Standard assessment that will be part of Term 3 Exam - look at the website www.bsa.govt.nz to learn about how to make a complaint under the Broadcasting Act. Think about a media product you would like to complain about and bring notes to the exam as to how you would do this. There will be templates and extra notes provided in the resource book on the day but it will help if you have read up in advance and bring your own notes as well.
The other part of the exam will be Achievement Std external - Interrelationship between a genre and society - you will need your notes on Reality Television for this.
Another useful article for U.S. 7473
This article discusses a 'radical plan to get more local TV programmes made' and will be helpful for the unit standard we are doing in Week 8/9 exam.
http://www.listener.co.nz/default,4249.sm
http://www.listener.co.nz/default,4249.sm
Sunday, August 07, 2005
Great website list
http://www.wgtn.wift.org.nz/favourite.htm
See you all tomorrow, I will give you the rundown and some further background info for exams.
See you all tomorrow, I will give you the rundown and some further background info for exams.
Friday, August 05, 2005
Production days
Hi all,
I'm planning 1 - 2 days in the second week of the holidays where you can come in and do some serious editing/production work. Hopefully we'll bring in a couple of outside experts which may involve a slight cost - let me know if you're interested. I will post the info for the Unit Standard for the exams shortly.
I'm planning 1 - 2 days in the second week of the holidays where you can come in and do some serious editing/production work. Hopefully we'll bring in a couple of outside experts which may involve a slight cost - let me know if you're interested. I will post the info for the Unit Standard for the exams shortly.
Tuesday, August 02, 2005
Please see me
Hi all,
We need to finalise which standards each of you is registered for. Can you all come and see me tomorrow. The exam question is for Achievement Standard 90602 (Media genre and society - reality TV) and you will need to submit some practice responses in weeks 6 and 7.
If there are any of you concerned about getting more credits please let me know as I am quite prepared to put a Level 3 unit standard - New Zealand identity in the media (or level 2- close reading and narrative- if you need it) into the exam as well. We do need to make these decisions asap in order to put them onto the framework so the credits count.
I will post a practice exam question for Reality TV over the next few days.
We need to finalise which standards each of you is registered for. Can you all come and see me tomorrow. The exam question is for Achievement Standard 90602 (Media genre and society - reality TV) and you will need to submit some practice responses in weeks 6 and 7.
If there are any of you concerned about getting more credits please let me know as I am quite prepared to put a Level 3 unit standard - New Zealand identity in the media (or level 2- close reading and narrative- if you need it) into the exam as well. We do need to make these decisions asap in order to put them onto the framework so the credits count.
I will post a practice exam question for Reality TV over the next few days.
Wednesday, July 27, 2005
How about giving this a go?
www.wetwestfilmfest.com - The rules are simple - create a film with a watery link and send it in. Entry is free.
Check it out and go for it.
Check it out and go for it.
Tuesday, July 26, 2005
Tuesday
Thanks to all who have completed their concepts - on the whole these have been of a very good standard. It's great to see the next phase being submitted now with detailed planning and ideas. Mel and Al can you resend your concept please?
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