Idea: We start the film seeing a person going about their ordinary life day after day, and during the film we see them transform from this ordinary, average person to someone more extraordinary. The reason for the change is something I have not decided yet.
Locations: The opening would be filmed mostly on a train, but with some shots of their own house and possible some other key places in their day to day life. Other places where the rest of the film will be shot is at the beach, where possibly the "experience" happens.
Actors: The main character will be a woman, fairly young, and she will have supporting characters around her, such as a kind boss, and an older woman, who she may see as a reflection of herself in the future; this woman could possibly be the trigger for her change.
What makes your film so special and why would people choose to go and see it over everything else available? My film is different to other films, as it focuses on a younger person going on a journey to find happiness and freedom, but instead of the usual teenage audience you may normally get going to see this, I would expect to appeal to an older audience as well, probably in the 24 to 35 age range. This might be because I wouldn't intend the film to be purely silly and happy-go-lucky, but more melancholy with a question of what in life makes us truly happy.
How does it express your creativity? This film would be slightly more arty than other films of the genre, which would be able to capture the tone of the film. For example, the camerawork would not be simply filming the actors, but would almost be a feature of the film, making it much more visually interesting than other films. There would also be more interesting locations than just an office block, which would go towards the whole film looking more interesting and creative than others of this genre
Why should you back it, attach your name to it and fund it? Well, this film would be a new type of film, the first of a kind, and this new style would attract new audiences and stereotypes, both bringing in higher revenue, and setting a new standard of film for other companies to follow; a style that you would have started.
How can you guarantee success? I have spoken to a wide range of people who I would expect to be my target audience, and they all seem interested and keen on the style and idea of the film. The film will also be a different style to previous films, and when you create the first of something, or something different, people are likely to go an see the film even if just to see if they like the new style. When watching, they will get drawn into the plot, and hopefully, this will ensure the success of the film.
27.1.11
24.1.11
FIlm Openings:
Amelie; I like the montage sequence not quite at the beginning of this film, because it's visually interesting, and it also gives the audience information about the character without much of the plot being revealed too early on in the film.
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I also quite like the introduction to Napoleon Dynamite, as the way the credits are shown to the audience is different, and a lot more interesting than just titles appearing across the screen.
The opening to Billy Elliot is simple and there's no narrative or dialogue at all, which is quite effective. We only see him putting on a record and then jumping around, but this gives us a good idea of what the main character is like and when/where the film is set.
The introduction to Juno is basically just her walking around in cartoon form to a song, which is interesting to what and a bit different too. There is dialogue and photographic camera work at the very beginning, but I think just having a song and images would work better for a non-professional opening.
23.1.11
Thoughts for my film opening...
Having watched some examples of media openings, and experimented in iMovie, I really like the idea of playing around with the speed and motion of videos (for example, I could speed a clip up and put in in reverse), which would be an interesting way to reveal the opening credits.
I haven't had a set idea for what's actually going to happen yet, but I'm going to keep it very simple, probably without narrative, as having looked at a few more openings, unless I had access to someone with a good accent, and a good recording studio, it may make the whole opening sound a little unpolished. So, I think I'll use a montage type opening that will capture the audience's attention, but stay very clear of looking like a trailer. I'm also still avoiding thriller or horror, and going for a more cheerful film, because lots of students don't, and so it could look more original, as well as probably being more fun and even less like a trailer.
I haven't had a set idea for what's actually going to happen yet, but I'm going to keep it very simple, probably without narrative, as having looked at a few more openings, unless I had access to someone with a good accent, and a good recording studio, it may make the whole opening sound a little unpolished. So, I think I'll use a montage type opening that will capture the audience's attention, but stay very clear of looking like a trailer. I'm also still avoiding thriller or horror, and going for a more cheerful film, because lots of students don't, and so it could look more original, as well as probably being more fun and even less like a trailer.
19.1.11
Film Openings
American Beauty: I really like the introduction to this film (not very first bit, but when the narrative of Lester Burnham takes over). The information given to the audience about himself, which is written after the scene that is shown with the narrative tells us what is going to happen vaguely, but keeps our interest in him, because we want to find out why.
Amelie: The introduction to this film is seemingly unrelated or random in context to the film, which captures our attention. It is simple but effective, with the fast voice telling us of unrelated incidents throughout France, such as stories of a few people/ things. The old-style camerawork and simple music work really well, giving it a different style, which is good when capturing an audience. The second part of the opening sequence shows Amelie just being young, without any props of much detail, which is amusing and captivating. The muted colours and occasional effect such as a flare and purposely shaken camera are effective too. There is no speech when focussed on Amelie.
Pan's Labyrinth: The start of this has no visuals, only breath and a hummed lullaby, which is very effective as it makes us concentrate on what's going on. The first voice we hear tells us a story, but we don't see the voice, only a girl and the pictures attached to the story, which again is different, and so interesting and effective.
Billy Elliot: The opening is very simple and effective; it sets the scene of the film, and who it is based around, but doesn't really give us any information about the plot or characters. This works because it lets us focus on the boy jumping, and we don't get given too much information at once which could potentially mean the audience lose interest.
Matilda: The start of Matilda also starts very simply, with an image of a baby and narrative over the top. The audience then are introduced to the baby's parents, who are very unlikeable characters; by giving the audience characters to dislike, the audience are interested, because by forming an opinon they are getting involved. There is also an element of feel-good when Matilda is making pancakes, and I think this sort of scene would work as an opening. The narrative continues some way into the film, giving the audience an idea of the background of the film.
In light of these introductions, I have decided to keep my introduction very simple, without much information or too much visual impact (such as fight or action scenes), because none of the above introductions give away much of the plot, which I believe makes them good introductions, as they only open the film, and don't dictate what is going to happen in the rest of the film in too much detail. I would like to use narrative in my opening, as it's a technique that I have seen works, and I'd also like to keep the visuals minimal, perhaps only having one or two shots alongside the narrative. On the other hand, I really like the beginning to Amelie, and Billy Elliot, where we see a character having fun effectively, with only music in the background and no speech. Either way, I plan for the opening to be fairly simple, which will also ensure that it does not become a film trailer as some openings do.
Amelie: The introduction to this film is seemingly unrelated or random in context to the film, which captures our attention. It is simple but effective, with the fast voice telling us of unrelated incidents throughout France, such as stories of a few people/ things. The old-style camerawork and simple music work really well, giving it a different style, which is good when capturing an audience. The second part of the opening sequence shows Amelie just being young, without any props of much detail, which is amusing and captivating. The muted colours and occasional effect such as a flare and purposely shaken camera are effective too. There is no speech when focussed on Amelie.
Pan's Labyrinth: The start of this has no visuals, only breath and a hummed lullaby, which is very effective as it makes us concentrate on what's going on. The first voice we hear tells us a story, but we don't see the voice, only a girl and the pictures attached to the story, which again is different, and so interesting and effective.
Billy Elliot: The opening is very simple and effective; it sets the scene of the film, and who it is based around, but doesn't really give us any information about the plot or characters. This works because it lets us focus on the boy jumping, and we don't get given too much information at once which could potentially mean the audience lose interest.
Matilda: The start of Matilda also starts very simply, with an image of a baby and narrative over the top. The audience then are introduced to the baby's parents, who are very unlikeable characters; by giving the audience characters to dislike, the audience are interested, because by forming an opinon they are getting involved. There is also an element of feel-good when Matilda is making pancakes, and I think this sort of scene would work as an opening. The narrative continues some way into the film, giving the audience an idea of the background of the film.
In light of these introductions, I have decided to keep my introduction very simple, without much information or too much visual impact (such as fight or action scenes), because none of the above introductions give away much of the plot, which I believe makes them good introductions, as they only open the film, and don't dictate what is going to happen in the rest of the film in too much detail. I would like to use narrative in my opening, as it's a technique that I have seen works, and I'd also like to keep the visuals minimal, perhaps only having one or two shots alongside the narrative. On the other hand, I really like the beginning to Amelie, and Billy Elliot, where we see a character having fun effectively, with only music in the background and no speech. Either way, I plan for the opening to be fairly simple, which will also ensure that it does not become a film trailer as some openings do.
13.1.11
Media Studies Coursework
We have decided, from watching the projects and final videos of previous media classes to avoid the following, as they do not work in my opinion:
- Horror
- Thriller
- Crime
- Gun-related openings
- Over-complicated plots to begin with
- House or school settings
11.1.11
"Time Warner's takeover of British publisher IPC media has given the NME brand a new lease of life". Discuss.
Before IPC media was taken over by Time Warner, there was a significant lack and even a decrease, of readership of ther classic British music magazine, NME. Over recent years, NME has seen readership drop by 53% from 2003 to 2010. However, recently, Time Inc have taken over the whole of IPC media, including NME, and the brand is now beign taken to America, which could be argued to give it a new lease of life, where others may see it as unfair globalization of an iconic British magazine.
The synergy of IPC with Time Inc. has provided the company with wider readership both across the UK and the US, and also has enabled much more advertisement, paticularly of their own brands within the company. This has been helpful the NME, whos struggling readership had been a cause for concern among both it's publishers and some opf the British public, who of course, did not want the m,agazine to go under. Whilst being taken over, NME was taken to America, where they now host the "Club NME NYC" every fortnight, both bringing in more revenue to the magazine, and rasing awareness of it in America. This, for a start, has helped NME to start to regain some of its former glory and popularity. It has also given the NME to opportunity to express views on new American music as well as British music, allowing perhaps a broader horizon for the articles in the magazine, and again the readership.
Having said that, the NME is losing none of it's "rock'n'roll heritage"; Club NME will give those who attend "the full-on live experience of Club NME both in LA and NYC", both huge American cities where hopefully, the NME will raise it's profile, and it's sales, which will ensure the survival of the magazine both in America and in the UK. In thsi way, it could certainly be argued that taking the NME to america has given it a "new lease of life", because it has made sure that it can survive in the modern world.
The NME has kept up with modern advances, such as magazines online; the NME magazine is already the 3rd most popular music news site. Perhaps it's readers enjoy the site because of it's rolling news, 24 hours a day, and the accessibililty of the magazine conveyed across to anh internet audience. EVen though the online site has been up and running for 10 years, only recently has it been taken to America, and so within a short span of time, it has risen through the ranks to 3rd most popular, showing that by being available in America, the readership across the different types of media has increased; this is reassuring to the owners of the NME, as it means the NME is not unpopular, as may have been thought from the massive drop in sales in Britain over the last decade.
There has also been a huge increase of interest in NME radio; recently, overall listening hours have been increased to 1.3 million. Clearly the availability to get NME on the radio, and the television too, has meant more people are interested in listening to music from NME, signalling that a new generation will follow the brand, in such a way giving it a new lease of life. NME, available in paper, on the internet, on the TV, and on radio has becomne incredibly accessible, and so has become the chosen music brand for many more people; the station currently has 253000 young listeners.
There has also recently been an NME app released, available to all who have iPhones or a simiular device; again, this appeals to the youth, and so by being taken over by Time Inc, the digital platforms of the magazine have been hugely increased, possibly ensuring that even if hard copies of magazines do become redundant, there will always be versions of this iconic British brand available to people across the globe, in as many different forms as one could want.
Overall, with the takeover of IPC media by Time warner, NME has been given new life, through extended finances of the Time Warner company. Despite some of the British public being unhappy about the globalization of their brand, being open to an American audience as well will ensure the longevity and survival of the NME in todays incredibly competitive and tough market. Being available on all digital platforms is not only incredibly good for business, but the convergence of the different media into new medias, such as internet phones, will have made sure that wherever you go, it is possible to access not only the NME, but the whole of the internet. In today's tecnological age, the life of any magazine will be increased by having larger availability, and tyhe NME is no exception.
Anna Wyatt
The synergy of IPC with Time Inc. has provided the company with wider readership both across the UK and the US, and also has enabled much more advertisement, paticularly of their own brands within the company. This has been helpful the NME, whos struggling readership had been a cause for concern among both it's publishers and some opf the British public, who of course, did not want the m,agazine to go under. Whilst being taken over, NME was taken to America, where they now host the "Club NME NYC" every fortnight, both bringing in more revenue to the magazine, and rasing awareness of it in America. This, for a start, has helped NME to start to regain some of its former glory and popularity. It has also given the NME to opportunity to express views on new American music as well as British music, allowing perhaps a broader horizon for the articles in the magazine, and again the readership.
Having said that, the NME is losing none of it's "rock'n'roll heritage"; Club NME will give those who attend "the full-on live experience of Club NME both in LA and NYC", both huge American cities where hopefully, the NME will raise it's profile, and it's sales, which will ensure the survival of the magazine both in America and in the UK. In thsi way, it could certainly be argued that taking the NME to america has given it a "new lease of life", because it has made sure that it can survive in the modern world.
The NME has kept up with modern advances, such as magazines online; the NME magazine is already the 3rd most popular music news site. Perhaps it's readers enjoy the site because of it's rolling news, 24 hours a day, and the accessibililty of the magazine conveyed across to anh internet audience. EVen though the online site has been up and running for 10 years, only recently has it been taken to America, and so within a short span of time, it has risen through the ranks to 3rd most popular, showing that by being available in America, the readership across the different types of media has increased; this is reassuring to the owners of the NME, as it means the NME is not unpopular, as may have been thought from the massive drop in sales in Britain over the last decade.
There has also been a huge increase of interest in NME radio; recently, overall listening hours have been increased to 1.3 million. Clearly the availability to get NME on the radio, and the television too, has meant more people are interested in listening to music from NME, signalling that a new generation will follow the brand, in such a way giving it a new lease of life. NME, available in paper, on the internet, on the TV, and on radio has becomne incredibly accessible, and so has become the chosen music brand for many more people; the station currently has 253000 young listeners.
There has also recently been an NME app released, available to all who have iPhones or a simiular device; again, this appeals to the youth, and so by being taken over by Time Inc, the digital platforms of the magazine have been hugely increased, possibly ensuring that even if hard copies of magazines do become redundant, there will always be versions of this iconic British brand available to people across the globe, in as many different forms as one could want.
Overall, with the takeover of IPC media by Time warner, NME has been given new life, through extended finances of the Time Warner company. Despite some of the British public being unhappy about the globalization of their brand, being open to an American audience as well will ensure the longevity and survival of the NME in todays incredibly competitive and tough market. Being available on all digital platforms is not only incredibly good for business, but the convergence of the different media into new medias, such as internet phones, will have made sure that wherever you go, it is possible to access not only the NME, but the whole of the internet. In today's tecnological age, the life of any magazine will be increased by having larger availability, and tyhe NME is no exception.
Anna Wyatt
10.1.11
Create your own timeline reflecting the significant developments in the magazine industry since 1990.
1992:
- First SMS text message sent to a mobile phone
- Newspaper and Magazine archives published on CD-Rom.
- Plans for World Wide Web revealed by the Economist
- Mosaic (first graphical web browser) launched.
- What Car? produces CD-Rom holding review of Saab saloon with XYZ new media magazine
- Guardian newspaper launches UK version of Wired
- IPC launches UnZip, 'the UK's first fully interactive magazine on CD-Rom'.
- Editor Gill Hudson puts CD-Rom on cover of August issue ofMaxim in UK
- IPC launches Uploaded.com, based on content from Loaded , andnme.com, based on New Musical Express. Start of an ambitious web programme
- Futurenet website claims 200,000 registered users.
- VNU launches Jobnet recruitment website based on advertising inComputing, PC Week and Network News
- TV Guide magazine in US goes online
- Zest and Good Housekeeping make masthead TV programmes
1999:
- Launch of www.natmags.co.uk Over the next 18 months, National Magazines launches 'microsites' for each of its magazines
2001:
- Dotcom crash. IPC closes high-profile websites such asBeme.com and Uploaded.com. Similar story of contraction at Emap. Technology-dependent Future in crisis: sells Business 2.0in US and closes UK edition; closes many other titles
- Despite series of relaunches, Punch closed by Mohammed al Fayed. Lives on as website selling cartoon catalogue www.punch.co.uk
- Dennis uses picture messaging on Maxim website
- Sunday Times newspaper launches The Month, a CD-Rom previewing arts and entertainment events in the weeks ahead. To be published on the last Sunday of each month.
- PPA announces marketing programme to promote magazines for advertising www.ppa.co.uk
As far as I can find, there are no significant technological advances after 2003, despite many more magazines being launched, and a few having to close down due to the recession, which was prominent in 2009.
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