IDENT: Journey Films (new)

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This is the new stop-go ident for Journey Films, the production company for our film The Journey

USES AND GRATIFICATION THEORY

Uses and gratification theory suggests that an audience will actively seek out media they wish to consume, based on certain criteria – the audience is active, not passive​

What they wish to consume is based on 4 specific gratifications:​

• Escapism​
• Personal Identity​
• Personal relationships​
• Information​

Conglomerates aim for 4 quadrant audiences, so aim to fulfil as many of these as possible in their productions​

Indie productions on the other hand, do not always aim to gratify the audience as much, so only some of these will be fulfilled​

This isn't to say that the audience is not viewed as active, only that smaller audience will find appeal in indie productions​

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Uses and Gratifications Applied - Jurassic World from harriet Barlow

Uses and Gratifications Applied - Tyrannosaur from harriet Barlow

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EVAL Q IDEAS

Q1a: how you used or challenged CONVENTIONS

73 QUESTIONS VOGUE

start with general conventions and then go to genre-specific (could combine the 2 a little) - summarise findings form research

I saw - I did

first establish conventions (i saw/i did for each convention)

idents - sometimes fewer for social realist

If you create anything new, go back and stick it in your blog

Give examples of where you challenged/followed conventions 

Q1b: REPRESENTATIONS of social groups/issues

demographics - can say if there is additional information for this in q 2a (embed)
counter-stereotypes
technology (screen use/time - links to representation of age, when characters engage with gadgets)
importance of dialogue, health service - representation of private versus public healthcare, can make point that we avoided this specific issue

Q2a: how you engaged with AUDIENCES

Convergence, digitisation, target audiences

social media

production companies are not strictly involved in marketing, but they do

production diaries and photos during production

web 2.0 (long tail theory)

U+G (pov shots, engaging with audience, intertextuality, Stuart Hall contested reading, script, music) A2 BOOKLET P 28 AND 29 - does audience dictate representation?
part of engaging is marketing (really for distributors, not production companies, but prods. market to dists, to create pre-release buzz)
distribution deal is usually made before production is complete
Ken Loach and Mike Leigh usually make pre-release deals with arthouse cinemas before production, but usually for indies distribution is sought after production (Greenop, MacQueen)
I saw - I did
Cornetto trilogy games, could share the millionaire game on social media
Q2b: how might it achieve DISTRIBUTION

WHO WANTS TO BE A MILLIONAIRE
Different types of distribution (horizontal vs vertical integration, theatrical, festivals, VoD, arthouse, self-distribution, wide release, territories - China, streaming, limited release)
Successful distribution can happen - e.g. Slumdog Millionaire, Billy Elliot, Secrets and Lies

Q3: DEVELOPMENT of production skills throughout the entire process

10 THINGS ... CANT LIVE WITHOUT(GQ) / WHATS IN MY BAG could do as practical skills, before and after, heres where we didn't apply that, planning? blog posts for illustration?

MOST SEARCHED QUESTIONS (ken loach? mike Leigh? sean meadows?) would use illustrations

THE JOURNEY
compare what you did at the start, and how you do it now

location 

cast

shots

sounds

over time

prelim task

Q4: how you integrated TECHNOLOGIES (software, hardware, online) in the project

FCPX MASTERCLASS

EQUIPMENT REVIEW could use for q3, then do abridged version for q4 (summary) look at free sample videos of big tech company tutorials (link on teams) put yourself in final cut, quirky keyframing, grabby motions

10 THINGS ... CANT LIVE WITHOUT(GQ)

APPLE KEYNOTE maybe use btech group to cheer and clap, crowd, camera framing to fake crowd OTS

synergy INTEGRATION - HOW USED TOGETHER
this includes the evaluation
convergence
video on how the millionaire was put together (including egs on youtube)
researched questions and answer, green screen, screen recorded, set dressing, hyperlinks to template

QUIZ SHOWS mastermind, family feud, who wants to be a millionaire

CHAT SHOW graham norton show? red chair? could have distributor form strand releasing explaining why they didnt give tyran a trailer, someone form baftas who didnt give olivia coleman a bafta

4 QUADRANT THEORY

Conglomerates

• The Big Six conglomerates of the film industry have managed to almost monopolize the market, as most of their films target a 4 quadrant audience​.

• In the last 8 years, almost every single highest grossing film of the year was produced by one of the Big Six, and didn't have a BBFC rating above 12​.

• Because they use the tentpole strategy (their films cost $100m+) there is a massive financial risk, as if only a few of their films are flops, their entire company fails​.

Conglomerates therefore tackle a 4 quadrant audience


Indies

• Indie films have less of a financial risk when making their films, as not only are budgets lower, so they do not have to make as much money to make profits, but they also receive government funding in the form of grants, which they do not have to pay back​

• Because they do not use the tentpole strategy, they can make films which appeal to niche, or smaller audiences​
• The most expensive Warp film was still only £8.1m ('71)​

• But, audiences still get missed out on because they do not have the budget to market their films​
• The BBFC plays a big role in this issue​

Indie films can therefore target niche audiences with their films, as they are not usually such big financial risks.
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STUART HALL theory of readings

Reception theory

It was suggested by Stuart Hall that a producer encodes specific meaning into a text, and the audience decodes it (preferably) in the way the creator intended. If the audience does not decode the text in the way intended, their reading is not inherently wrong - different audiences react differently based on who they are.

Some audiences may not be able to decode some texts based on things like cultural background, gender, age etc.

Different audiences pick up on different levels of reading:

• Preferred reading
• the audience is able to understand the text in the way the creator intended
• Negotiated reading
• the audience is able to understand some of the text, but not all of it
• Oppositional reading
• the audience rejects the intended meaning and creates their own, maybe because they disagree with the content, or they are not able to understand the text (it is not accessible to them)

If a text has multiple possible meanings, it is polysemic

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