Evaluation Question 7: Looking back at your Preliminary task, what do you feel you have learnt in the progression from it to full product?

Looking back at the beginning of the course to the end result, I strongly feel that my skills and knowledge has developed hugely in a variety of different ways. At the very start of the course, my group and I carried out a  Preliminary task. During the production and editing stages we believed we conducted the task to a high standard. However, looking back at the task now and reflecting on what was conducted, the Preliminary task wasn't as high quality as we once thought.

Firstly the camerawork of my Preliminary task as very basic and lacked in creativity. The ideology around the task was to clearly present and practise the 180 rule and reverse shot, which was successfully done. However the task lacked in creativity with the angle and shots used to represents the shots. For example, one scene in the preliminary task, a long shot was used to denote a person walking towards the camera, the wide space around the figure draws the demographics attention away from the character as the rule of thirds hasn't been followed resulting in the focus point of the scene not being decoded by the target audience. Comparing my preliminary task to my final or full product, the creativity within the camerawork dramatically advanced. Each scene within my production was filmed in a creative angle or shot which connoted different polysemic views that we wanted the target audience to decode. For example; this a depth of field extreme close up shot of a bloody teddy bear. Not only has the depth of field shot add a creative effect on the production as a whole, it also creates enigma in which the audience must solve by continuing to watch the production, this links to Barthe's theory of the Enigma Code.

Props are used to make the narrative come alive, tying in with the mise-en-scene to connote and create a realistic feel and atmosphere. At the beginning of the course, in the preliminary task, one prop was used (the blue folder), however the prop didn't convey the image/representation that I, as the producer, wanted the demographic is decode. The blue folder signified as a document of papers rather than a envelope of money which I intended. Therefore the lack in thought behind the image of props caused for miss-interpretations and enigma (Barthes theory of the Enigma Code) in unwanted situations.  However, in my full product, a prop list was made in advance to ensure we had the supplies needed on the day of filming. Instead of having one prop, my group and I had a range of props from, sharp objects to hundreds of photos. The props were especially made and brought purposely for the production, therefore resulting in having the right props for the audience to decode and encode interpretations.

After organisation skills were developed from the preliminary task to the full product, such as arranging times and spaces for the filming to occur. In the preliminary task, the mise-en-scene and location of the shots hold no sense of enigma connoting the schooling environment, this subverts from the dramatic sense of the narrative taking place. For my preliminary task no arrangements were made for filming, on the day my group and I decided to film in any free location around our school- this represents our lack in understanding media knowledge and the ability to think and use equipment creativity in the space and time provided to us. On the other hand, in my final production, 'Dark Obsessions' we had two separate filming locations for our production, in which we had to arrange certain times for us to film in. This helped us to develop organisation skills and the ability to work independently and find our own space rather than only using what is provided.

Softwares used for both the Preliminary task and the full product changed. Whereas the preliminary task I used a basic format editing software; called Imovie. Imovie is a simplistic software used to edit footage together, the features present are very limited meaning there was a restriction of creativity i could use in my editing process, however no features (such as lighting effects and filters) were used in the editing of my preliminary task, resulting in a very basic almost boring feel to the production. For my final production, opening sequence, i used the software, 'Final cut pro x' to edit my product. I found that instantly the features and functions were as a higher standard then imovie. Learning from my lack of creativity on the editing process with the preliminary task I added filters and effects to different shots for the audience to signify the emotions i was trying to decode. 

To conclude, our preliminary task didn't prove to be as high standard as we once believed, even though we all contributed and tried, our lack of knowledge and inexperience shone through. However, 'Dark Obsessions' our final production, represents our gain in knowledge and creativity through the course, where we used our time, space and equipment provided to our full advantage. Research through the course, after our preliminary task, has developed our skills widely. The variety of different research tasks set up for us allowed us to practise our essay and formal writing skills as well as gain knowledge independently. For example, the title sequence and trailer analysis tasks, opened my mind to different ideas for my genre of production and gave me the ability to understand and connote different conventions used which i could later present in my own production to produce highly professional-looking final piece.

Editing Shots.

Shots are edited together in sequence to form a production. How this production is encoded and decoded by the demographic can depend on way the shots are edited together. I have given a brief explanation of each editing technique and added a working example I have analysed to which I will use as examples. The shots include;

Eyeline Match

Eyeline match is when there are two shots present edited together. One being the subject looking at another subject or an object off screen, it is then edited to the subject/object that the first subject was looking at. To ensure this editing shot is used effectively and in a realistic manner, the eyeline of the subjects and the object of the next shot must match. If the eyelines don't match the subject will look like their looking at something else off frame.
A video example of eyeline match can be seen below:

Cross Cutting 
Cross cutting editing is editing action that's happening in two different locations together.
For example in one shot, two subjects are having a fight in the classroom, in the next shot a different character is walking down the hallway.
A video example of cross cutting is below:

Focus Pull 
Focus pull or otherwise known as shift of focus is when the focus is adjusted from one subject to another, in the frame, to a deep or shallow depth of field.
A video example of focus pull is below:

Jump Cut
Jump cuts are when two short shots of the same action, however the camera angle slightly moves in each shot.
A video example of jump cut is below:

Montage 
Montage shots are a series of shots that are edited together into a sequence to condense, space, time and information.
A video example of montage is below:

Time Remapping
Time remapping is when the shot is in either slow or fast motion.
A video example of time reamapping is below:

Zolly Shot
Zolly shot is the camera movement of a zoom and dolly shot used together by moving the camera back on a dolly and zooming in to create the illusion that life is changing.
A video example of zolly shot is below:

Graphic Match
This is a French term for cutting and editing between either, two different objects, spaces or compositions which graphically match.
A video example of graphic match is below:

Flash Cutting
Flash cutting is a series of quick shots that have a sense of rhythm to them.
A video example of flash cutting is below:

Subliminal Cut
Subliminal cuts is a cut hidden because the editing is so fast, therefore it is unable to be detected by the demographic.


Elliptical Editing
This editing technique is similar to montage editing however this uses text to inform the target audience so connote a sense of time passing by.
A video example of elliptical editing is below:

Match on action Editing
Action editing, are cuts of one shot to another view that match the first shot's action.
A video example of action editing is below:

Sound

Sound is one of the four micro-elements, and can also be very important to shape a production in the way a director/ producer want the demographic to encode/decode it. Sound can be broken down into different sections.

Non-diegetic and diegetic soundtracks:
Non-diegetic and diegetic soundtracks are used to describe soundtrack that are connoted to be in the editing processes or within the narrative in the scene. They can be used to conform and subvert ideologies and even create polysemic views.
Non-diegetic soundtrack- is any sound that the characters wouldn't be able to hear. For example, voice-overs.   

Diegetic soundtrack- is any sound that the characters can hear, even if the actors themselves can't hear the soundtrack.
The video below shows both examples of non-diegetic and diegetic soundtracks.

Synchronous and Asynchronous sound: 
Synchronous and asynchronous sounds are used to describe the timing of the soundtrack in relation to the production shots itself. 

Synchronous Sound- this is sound that is in time with the image, creating and signifying a calm atmosphere. 

Asynchronous sound-this is sound that is not in time with the image, create and connoted a edgy and weary atmosphere.
Below is a video example of both synchronous and asynchronous soundtracks.

Parallel and contrapuntal sound: 
Parallel and contrapuntal sounds are used to describe the genre of the soundtrack and if it is continuous and fits with the genre of the production. 

Parallel Sound- is sound that matches the image.

Contrapuntal Sound- is sound that doesn't match the image. 
Below is an example of both parallel and contrapuntal sound.

Camera Shots/Angles and Movements.

Under camerawork there are three main category types; Shot movements, type and angles. These work together as one to conform and subvert to encoding of the demographic.

Shot Movement:

Static- when the camera isn't moving at all. 

Tilt- the camera stays in one place and moves vertically from high to low angle or high to low angle. 

Pan- the camera stays in one place and moves horizontally from right to left or left to right. 

Zoom- the camera zooms in or out to make things seem larger or smaller. 

Track- the camera moves along following actions; like its on a track.

Steadycam- the camera is carried by the cameraman allowing free movement. This usually gives a slightly more, 'jerky' looks to the footage.

Shot Types:

Establishing shot- this shot sets the scene from a long distance away. 

Long shot- shows the whole person.

Mid shot- shows a person from the waist up.

Close up shot- shows just a person's head and shoulders.

Extreme close up shot- shows just a part of the person.

Over the shoulder shot- shows a conversation between two people.

Point of view shot- the camera is the actor's eyes looking from their point of view.

Weather shot- the subject is the weather, can be used for other purposes eg, background for graphics.

Wide shot- the subject takes up the full frame, or at lest as much as it comfortably can.

Shot angles:

Birds eye- the camera is directly above the action.

Worms eye- the camera is directly below the action. 

High angle- the camera is above the action, at an angle, looking down at it. 

Low angle- the camera is below the action, at an angle, looking up at it. 

Canted angle- a camera angle which is deliberately slanted to one side, sometimes used dramatic effect to help signify unease, disorientation, frantic or desperate action, intoxication madness, etc. 

My Pitch

My pitch is a power point presentation which I presented my ideas to the class, gaining feedback and thoughts of how to improve my production idea and how to carry the process out.
The presentation is below:  

Dark Obsessions-Pitch

Different types of narrative

In simple terms the narrative is the order of events that happen in one production and there will always be a reason for the way the story is told or it's order. For example, directors often have the use of flashbacks, voiceovers or montages to connote previous stories or show a passing of time. There are a number of different narrative theories, here is a few of them.

Linear
Liner narratives are the, 'classic' and simple beginning, middle and end stories- this conforms the rule of Todorov's narrative theory. In other words the story follows a chronological order through one story, from beginning to end.

With the expectation of, 'The Dark Knight' a few of Christopher Nolan's films truly have a linear narrative. For example (in simple terms), the equilibrium is Batman controlling crime in the city, the Joker turns up causing trouble which is the disruption stage. New equilibrium is restored when Batman defeats the Joker and returns order to the city.

Non-linear
Non-linear narrative is where the narrative does not follow a regular beginning, middle, end pattern. The storytellers will play with the order of events. For example, some stories start with the ending. (Fight club and Forrest Gump, etc)

Unlike, 'The Dark Knight', 'Batman Begins' tends to follow a non-linear narrative pattern. The action jumps between time periods, from Bruce as a boy, to when he was an young adult, then back to an mature adult, back to a boy, etc. Another example, is one of Nolan's films called, 'Memento' the main trait of which is it;s an usual non-linear narrative structure. The narrative is told in reverse order.

Binary opposites
Claude Levi-Strauss saw that the world as full of binary opposites. For example, fat vs skinny or rich vs poor. This can also be connoted into media texts, in the narrative we often see these binary oppositions played off against each other. The most common binary opposition found in films is, good vs evil.

This is explored by Nolan in in the dark knight. Where the Nolan worked on the principle of the Joker and Batman being binary opposites in the following ways;

• The Joker is an symbolism of chaos and destruction, whereas Batman is order and justice.
• Each dresses and behaves in opposite ways.  

Cultural consumption and the ideology of enigma code.
Barthes was interested in concepts such as negotiated reading and the relationship between the institution/production and the demographic. He established that even thought texts give imprinted meanings which we create new meaning for ourselves, that the media has no control over. This is called cultural consumption, the way we view a text is influenced by our cultural, social and political views as well as our viewing of other texts.

The most well known of Barthes theories was the ideology of the, 'enigma code'. In simple terms a mystery to be solved by the audience. Making it a metaphoric hook that keeps the audience interested, and engaged. Therefore they are more likely to watch the film after seeing a trailer or tune in for the next episode. It is classically used in trailers in order to hook an target audience.

Modular Narratives in Contemporary cinema:
Modular narratives articulate a sense of time as divisible and subject to manipulation. Allan Cameron identified four different types of this modular narrative as;

• Anachronic
• Forking  paths
• Episodic
• Split Screens

Anachronic:
Anachronic modular narratives involve the use of flashbacks and/or flash forwards with no clear dominance between ant of the narrative threads. These narratives also often repeat scenes directly or from someone else's perspective- for example, 'Memento'.

Forking Path:
Forking path narratives juxtapose alternative versions of a story , connoting the different possible outcomes or endings that might result from small changes in a single event or series of events. This narrative, introduces a number of plotlines that usually contradict one another. Examples of this narrative include, 'Groundhog dog' and, 'Run lola run'.

Episodic:
This narrative are structured as an abstract series or narrative anthology. Abstract series is a type of modular narrative what is characterised by the operation of a non-narrative formant system which appears to dictate (or overlay) the organisiation  of narrative elements such as sequence of numbers of the alphabet. Anthology narrative consists of a series of shorter tales which are apparently disconnected but share a random similarity, such as all, 'episodes' being survivors of a shipwreck.

Split Screen:
Split screen narratives are different from are different from the other types of modular narratives previously discussed, because their modularity is articulated along spatial rather than temporal lines. These films divide the screen into two or more frames, juxtaposing events within the same visual field, in a sustained fashion. Examples of this narrative include, 'Timecode'.

Narrative Range:
There are two narratives that conform to the different ranges directors/producers can use, they include:
Unrestricted narrative: This narrative has no limits to the information that they is to give. An example of a media text connoting this narrative is the, 'News bulletin'.
Restricted narrative: The is the other narrative where only minimal information is giving regarding the narrative. An media text example of his narrative is the genre, 'Thrillers'

Narrative Depth:
Again similar to narrative range there are two sections for narrative depth.
Subjective character identification:  This is where the demographic is given unique access to what a range of characters see and do.
Objective character identification: Is when the target audience is given unique access to a character's point of view such as seeing things from the character's mind, dreams, fantasies of even memories.

Key Terminology:
Narrative- is defined as, 'a chain of events in a cause-effect relationship occurring in time' (Bordwell & Thompson, Film Art, 1980)
Diegesis- The internal world created by the story that the characters themselves experience and encounter.
Story- All events referenced both explicitly in a narrative and inferred (this includes backstories as well as these projected beyond the action).
Plot- The events directly incorporated into the action of the text and the order in which they are shown.

Reception Theory

The reception theory is different ways for the reader to respond that emphases each possible view of a reader's interpretation. This theory is mainly used by audience to analysis a production. Reception theory was discovered by the cultural theorist, Stuart Hall and has been split into three different sections, negotiated, dominant, oppositional. I will also put each section/category into an example, using a scene of a conversation between two characters in, 'Gone'.

Dominant Readings: 
The dominant reading can also be referred as the hegemonic reading, where the reader fully shares the text's code and accepts what the producers what them to think about the production/text. This makes the code seem, 'natural' and, 'transparent'.

An example of a dominant reading would be in the scene of, 'Gone' where the man in his formal attire connotes his higher authority over the girl (whom he is speaking to) the low angle we are faced with when looking at the male, signifies his importance as us as the audience and the girl character are all below him.

Negotiated Readings:
This is where the reader only partly shares the text's code and broadly accepts the preferred reading, sometimes however they resist and modifies it in a way which reflect their own experiences and interests- therefore contradictions are cased.

The media text example using this theory would be that, both characters in the scene of power. The male as power due to camera angle being a low angle, signifying his power and importance, giving him a sense of self-importance over the demographic and the second character in the scene. The second character has power of confronting. Countertypes are developed within the girl, has the facial expression of the male connotes his breakage under the pressure she is forcing on him.

Oppositional Reading:
This reading section can be seen as counter-hegemonic reading- opposite of dominant. Where the reader decides to go against what the producers are trying to express, and think the directly opposite.

An example of oppositional reading from the text example would be that, the audience don't believe he male in the scene has power but connoted by his facial expression and redness of the face he is signified to be stressed. As if he is breaking under the pressure which the girl is giving him, connoting the girl to hold the power therefore the girl becomes a counter hegemonic reading.


Stewart Hall developed his reception theory and came up with what became the, 'Encoding and Decoding model'.

Encoding: 
How the product is constructed by the producers of the text, what the producers when their audience to feel or interpreted something.

Decoding: 
How the product is interpreted by the audience when they receive it, this view is different to he producers.