Essay Plan

Paragraph 1; Saying weather i agree or disagree, then looking at the question and briefly explaining key areas of the question. Show understanding of the text question and clear understanding and knowledge. Develop on my side of the argument, find a reference to back your evidence up.

Paragraph 2; look at the areas of media the question effects;
-Film
find case study material on each of these examples and go into detail about how each one has influenced the media, keep gong back to the question and stay on task.

Paragraph 3; Talking about the money, and the effect it has had on the global institutions. Talk about the box office and how it influences films and helps films do well. Find examples that are most relevant to the question set.

Paragraph 4; Look at the different companies, Disney, Paramount and look how successful they have been with the film industry referring each time to the question.

NOTES...
Examples of global institution are Major Film Studios, A major film studio is a film producer and production company that releases a substantial number of films annually.

The Big Six film studios are:

1. Warner Bros. Pictures. Comprising a whopping 19.7 per cent of the US/Canadian market share (2007 figures), Warner Bros. Pictures is the biggest player in the film industry. Securing the rights to major films like Harry Potter, Superman, Batman, The Matrix and Star Wars have made Warner Bros. the No. 1 name in the business.

2. Paramount Pictures. With 15.5 per cent of the US/Canadian market share (2007 figures), Paramount Pictures continues to be one of the most successful film production companies in the world. Star Trek, War of the Worlds, the Mission Impossible series, Transformers and Tropic Thunder are just a few of the popular films produced by Paramount Pictures.

3. Walt Disney. One of the most renowned film production companies in the history of the business, Walt Disney now holds 15.3 per cent of the US/Canadian market share (2007 figures). With highly successful movies like Pirates of the Caribbean, National Treasure, Meet the Robinson and Enchanted, there's no doubt that Disney will continue to play a key role in the industry for years to come.

4. Columbia Pictures. Comprising 12.9 per cent of the US/Canadian market share (2007 figures), Columbia Pictures remains a big player in the business. Some of this company's recent successes include Casino Royal, The DA Vince Code, the Spider-Man series and Step Brothers.

5. Universal Studios. 12.2 per cent of the US/Canadian market share (2007 figures) belongs to Universal Studios, which continues to make millions for the film industry. With major hits like the Borne series (Borne Identity, Borne Supremacy and Borne Ultimatum), The American Pie series, Knocked Up, American Gangster and The Incredible Hulk, it's very clear that Universal Studios knows what it takes to make money in this industry.

6. 20th Century Fox. Also known as "Twentieth Century Fox," this highly successful movie production company makes up 11.9 per cent of the US/Canadian market share (2007 figures). Some of the biggest and most successful movies from this empire include the X-Men series, Mr. and Mrs Smith, Star Wars Episodes II and III, and the Fantastic Four.

Roughly 9/10 films in the UK are seen as a result of these distributes.

USEFUL TERMINOLOGY.

Convergence - is the tendency for different technological systems to evolve toward
performing similar tasks. e.g. ability to watch video on your phone, tablet, console etc

Synergy – The interaction of two or more institutions/companies to ensure a larger effect than
if they acted independently. This is beneficial for each company through efficiencies in expertise and costs.

Exchange – How we access films

Proliferation - the spread of something

Hardware – the physical equipment used to either record, watch or distribute films

Content – the ‘things’ put in a film (SFX, 3D etc)

MARK SCHEME.

“Media production is dominated by global institutions, which sell their products and services to national audiences”. To what extent do you agree with this statement? 

Candidate focus on one of the following media areas, though they may make reference to other media areas, which they have studied:
Film

Candidates will be assessed on their ability to illustrate patterns of production, distribution, exchange and consumption through relevant case study examples and their own experiences as . Candidates may cover the following material in their responses to the question:
Production practices which allow texts to be constructed for specific audiences
Distribution and marketing strategies to raise audience awareness of specific products or types of products

General Mark scheme

Explanation/analysis/argument
20 marks Use of examples
20 marks Use of terminology
10 marks.

Level 1

Explanation/analysis/argument (0-7 marks) Shows minimal understanding of the task Minimal knowledge and understanding of institutional/audience practices, general opinions or assertions predominate Minimal argument evident, with little reference to case study material Of minimal relevance to set question or a brief response (under one and a half sides of answer booklet). Use of examples (0-7 marks) Offers minimal use of case study material Offers a limited range of (or inappropriate) examples Offers examples of minimal relevance to set question. Use of terminology (0-3 marks) Minimal or frequently inaccurate use of appropriate terminology. Some simple ideas have been expressed. There will be some errors of spelling, punctuation and grammar, which will be noticeable and intrusive. Writing may also lack legibility.

Level 2

Explanation/analysis/argument (8-11 marks) Shows basic understanding of the task Basic knowledge and understanding of institutional/audience practices, Factual knowledge will have some accuracy Basic argument evident, with some reference to case study material Some relevance to set question. Use of examples (8-11 marks) Offers some evidence from case study material Offers a partial range of examples from case study and/or own experience Offers examples of some relevance to the set question. Use of terminology (4-5 marks) Some terminology used, although there may be some inaccuracies. Some simple ideas have been expressed in an appropriate context. There are likely to be some errors of spelling, punctuation and grammar of which some may be noticeable and intrusive.

Level 3

Explanation/analysis/argument (12-15 marks) Shows proficient understanding of the task Proficient knowledge and understanding of institutional/audience practices, factual knowledge is mostly accurate Some developed argument, supported by reference to case study material Mostly relevant to set question. Use of examples (12-15 marks) Offers consistent evidence from case study material Offers a range of examples from case study and/or own experience Offers examples which are mostly relevant to the set question. Use of terminology (6-7 marks) Use of terminology is mostly accurate. Straightforward ideas have been expressed with some clarity and fluency. Arguments are generally relevant, though may stray from the point of the question. There will be some errors of spelling, punctuation and grammar, but these are unlikely to be intrusive or obscure meaning.

Level 4

Explanation/analysis/argument (16-20 marks) Shows excellent understanding of the task Excellent knowledge and understanding of institutional/audience practices,  factual knowledge is relevant and accurate  A clear and developed argument, substantiated by detailed reference to case study material Clearly relevant to set question. Use of examples (16-20 marks) Offers frequent evidence from case study material, award marks to reflect the range and appropriateness of examples from case study and/or own experience Offers examples which are clearly relevant to the set question. Use of terminology 8-10 marks) Use of terminology is relevant and accurate. Complex issues have been expressed clearly and fluently. Sentences and paragraphs, consistently relevant, have been well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar.

The importance of cross media convergence and synergy in production, distribution and marketing

Paramount was the distributor and Production Company for Star Trek Into Darkness.

To co-inside with the film’s release and to generate more money and profit it means that Paramount had to work to get Star Trek more into the public eye (more so than it already was). It means that they had to make content that was all around the public eye, for example they made a video game and also an iPhone and Android app. Also because they were in charge of making sure the film was publicised and distributed enough to make sure that they got back all the money that they had spent creating the film in the first place, it was crucial that they decided to create the right media to ensure that the public interest was influenced by the marketing to actually decide to see the film in the cinema.

Paramount essentially took the lead in marketing the film; however they did also have a part in creating the film as well.

 

A game was created during the making of the film star trek, it was a single player action game with a co-operative gameplay option, and this allowed players to connect and either play Spock or Kirk. The person who created this game was named Steve Sinclair delivered his E3 pitch, and others described it as “bro-op”. Disadvantages about this game are that it doesn’t allow players to switch characters between the different chapters; it also doesn’t allow fellow players to “drop-in” and play alongside co-operatively.

Paramount would have created the app for I phones and devices as it would have been a good marketing point for the film, also it would have attracted a wide age range audience which then could encourage users to go ahead and watch the film.

Kill List Research

WARP X

Year	Film	Director	Notes
2008	A Complete History of My Sexual Failures	Chris Waitt	Winner, Festival Prize: Spirit of Darklight, Darklight Film Festival[6]
	Donkey Punch	Olly Blackburn	Filmed on a £1 million budget,[7][8] over 24 days,[9][10] in South Africa[11]
2009	Bunny and the Bull	Paul King	Winner, Best Achievement in Production, British Independent Film Awards[12]
	She, a Chinese	Xiaolu Guo	Winner, Golden Leopard, Locarno International Film Festival[13]
			Winner, Screenplay Award, Hamburg Film Festival[14][15]
	All Tomorrow's Parties	All Tomorrow's People & Jonathan Caouette	Covers several years of the music festival, All Tomorrow's Parties, which began in 2002[16]
	Hush	Mark Tonderai	Nominated, Best Achievement in Production, British Independent Film Awards[17]
2011	Tyrannosaur	Paddy Considine	Winner, Outstanding Debut by a British Writer, Director or Producer, BAFTA[18]
			Winner, The World Cinema Award for Directing: Dramatic, Sundance Film Festival[19]
			Winner, Best British Independent Film, British Independent Film Awards[19]
			Winner, Best Director, British Independent Film Awards[19]
	Kill List	Ben Wheatley	Nominated, Best Achievement in Production, British Independent Film Awards[20]
			Nominated, Best Director, British Independent Film Awards[20]
			Winner, Best Horror, Empire Awards[21][22]
2012	Berberian Sound Studio	Peter Strickland	Previewed at London FrightFest Film Festival in August 2012,[23] and at the 2012 Edinburgh International Film Festival[24]
2013	For Those in Peril	Paul Wright	First feature film for director Paul Wright;[25] with debut at 2013 Cannes Film Festival[26]

STUDIO CANAL

StudioCanal acquired film libraries from studios that either went defunct or had merged with it over the years. As a result, the company's library is the third-largest in the world.
StudioCanal's library includes the film libraries of:

• Carolco Pictures (Terminator 2: Judgment Day, Rambo: First Blood Part II, Basic Instinct, Total Recall, etc.)
• De Laurentiis Entertainment Group (King Kong Lives, Tai-Pan, 3 Days of the Condor, Evil Dead II, international rights to Bill & Ted's Excellent Adventure, etc.)
• Embassy Pictures (The Graduate, This Is Spinal Tap, The Producers, The Emerald Forest, The Sure Thing, etc.)
• the Alexander Salkind pictures not owned by Warner Bros. (including The Trial and Santa Claus: The Movie)
• British Lion Films (The Wicker Man, The Man Who Fell to Earth, Don't Look Now, The Third Man, etc.)
• the films of Anglo-Amalgamated (Peeping Tom, the Carry On series (1958-66 only), etc.)
• the Ealing Studios library (The Ladykillers, The Cruel Sea, etc.)
• the EMI Films library (Highlander, Death on the Nile, The Go-Between, etc.; also including the ABPC back catalogue, but not including US rights to certain co-productions—said rights to such films as Close Encounters of the Third Kind [whose worldwide rights are with Sony Pictures] and The Deer Hunter [whose worldwide rights are with Universal Studios] are owned by other major studios, usually the original releasing studio) - coincidentally, StudioCanal sister company Universal Music Group acquired EMI in 2012
• and the Lumiere Pictures and Television output (including The Avengers)

FILM FOUR

Film4 did not originally focus on broadcasting blockbusters, but nowadays broadcasts many mainstream Hollywood films. The channel frequently has themed nights or seasons in which a number of films centred around one genre, director or actor are shown. As Channel 4 also owns a film production company, Film4 Productions, it shows many of its in-house productions.

UK FILM COUNCIL

1. Cross My Mind (2014) ... Production Company
2. How I Live Now (2013) ... Production Company
3. Under the Skin (2013/I) ... Production Company
4. Last Passenger (2013) ... Production Company (developed with the support of)
5. The Spirit of '45 (2013) ... Production Company (support)
6. Now Is Good (2012) ... Production Company (in association with)
7. The Woman in Black (2012) ... Production Company (presents)
8. Up There (2012) ... Production Company (presents)
9. The Iron Lady (2011) ... Production Company (presents) (as UK Film Council [Awarding funds from The National Lottery®])
10. My Week with Marilyn (2011) ... Production Company (made with the support of

The Seven Areas Of Representation (AGE)

DEFINITION OF AGE - The period of time that a person, animal, or plant has lived or is expected to live 

STEREOTYPES ASSOCIATED WITH THE AGE - There are many stereotypes in age;l most of these lie within the 'teen' age bracket. A variety of ages are found within all programs and all genres. Mise – en – scene plays a key role to represent age: teens wear hoodies; adults dress smartly; old people wear dated textured clothing and children dress immaturely in bright colours that don't co ordinate.Most perceptions of different ages are true – except some are unfair. Like not all teenagers are ‘chavs’ and intimidating, and not all old people are clumsy and short.Feelings have changed over time, especially within teenagers who are now represented in a much more negative light to years ago. 

A SELECTION OF TV DRAMAS THAT INCLUDE THE STEREOTYPE, AGE - There are many different kinds of shows on television today and these are able to present different kinds of images. Some shows present news and current affairs stories, trying to report on actual events in a realistic way. Other shows will create fictional drama or comedy situations that are designed to reflect real life. Commercials are made to sell products to specific groups or target audiences in society.
All of these types of television can use stereotypes as part of their presentation. Some of the main kinds of stereotypes used on television include:

• Gender
• Age
• Ethnicity
• Disability

Stereotypes can be used in positive or constructive ways, however there has been research that shows many people base real life opinions on how different groups are shown on television. An example of a stereotype in a TV programme is Corination Street.

ANALYSIS OF HOW THE STEREOTYPE'S ARE REPRESENTED - People organise their knowledge about the world around them by sorting and simplifying received information. Therefore, they create cognitive schemes, which are certain representations of the reality displaying its most typical and fundamental elements and properties. These schemes are responsible for defining the essence of our worldview and have a significant influence on social cognition – understanding, anticipation, situation and emotion control.

IMAGES FROM THE TV DRAMAS YOU USE TO ILLUSTRATE YOUR POINTS -

ISSUES OR PROBLEMS THAT ARISE FROM THE REPRESENTATION OR THE STEREOTYPE INVOLVED - One of the main issues that is brought up with the representation of age, especially among the younger generation, is that if the writers stereotype too much then many people could take offence and complain to the producers and writers of the show. This means that when writing very stereotypical characters you shouldn't go too far into that representation to cause offence and starting to generalize about what the majority of the population is like at a certain age.

The Male Gaze

Woman's fragrance:

Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell. 

Male fragrance:

Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.

Both perfumes are for either the male or the woman however advertised for the opposite sex.

Looking at some of the music videos presented in everyday life there all seductive to the audience.

.

Definitions

Marjorie Ferguson

 

 

Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality. 

Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell. 

 
Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.
 

Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.


Trevor Millum

Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.

Narcissistic: similarities to the cool/level and soft/introverted looks, rather closer to the latter: a satisfied smile, closed or half-closed eyes, self-enclosed, oblivious, content - ‘activity directed inward’.

Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.

Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.

Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.

Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed. (Millum 1975, 97-8)