COMPONENT 1 SECTION A EXAM PREP: ML

'ALL THE FINE YOUNG CANNIBALS'

FILM POSTER ANALYSIS EXAM PREP

Media language is used within this film poster to communicate meaning through the use of technical and visual codes along with language and narrative.

Barthes semiotics can be applied as we identify the signs and decode them; The use of red for the actors credit connotes love and romance which reflects the foreground image of a couple kissing, however, red also connotes danger also reflected in the background image where we see a females aggressive body gesture towards the male figure. The fact that the poster is in colour suggests that it is modernised. The serif font creates a serious tone and may reflect the romantic genre of the film. We see a couple kissing in the foreground image suggesting that the most important theme within the film is romance and adoration- with the underlying topic of violence towards men, which could reflect the social context that male abuse was rare or unspoken of.

Through visual codes such as gestures/body language, Roland Barthes Hermeneutic code can be applied as suspense and enigma is created through the connoted relationship in the foreground image. The female wearing black clothing also connotes mystery linking to the suspicion between the relationships shown. Dress code also establishes a binary opposition (Levi-Strauss) between the two women- in the foreground image her dress code conforms to stereotypical depictions of women in the 60’s with her beauty and revealing clothing in comparison to the fully covered female in the background although her hourglass figure is accentuated. Within this film poster, females are placed in a dominant position not only in gesture code but also the layout of the poster, if we apply the rule of thirds to the poster, the foreground male is cut off the side so the female is centred on the page. We also see the female actresses name coming before the males- subverting the ideology that women were of a lesser position than men. 

It can be argued that the film poster uses hyperbole-comparing humans to “cannibals” as the word associates with animalistic behaviour and using it within the context of love and relationships can exaggerate feelings. There is formal language and a formal mode of address, however there is an indirect mode of address as there is a lack of direct stares towards audience and majority of the characters body gestures face away from the audience when looking at the film poster. Due to the nature of the print, there is little text or captions to accompany the images. 

This film poster follows typical conventions of a romance film through factors such as the passionate body gestures in main images, the use of the colour red and serif font. This can be linked to Neale’s genre theory stating that repetition can establish a genre as the above conventions are repeated in majority of the genres film posters. 

The narrative of a love story can be seen once again through the gesture codes and the genre conventions mentioned before while exploring the themes of violence within relationships also through the use of gesture codes. There is a lack of captions leading to a lack of enigma outside of the main images we see. Todorov's narrative theory can be applied as the film poster could perhaps highlight the key features/progression points of the narrative- it could suggest that the background image is the disrupted equilibrium and that the foreground image is the restoration.

'OMO'

ADVERT ANALYSIS

Roland Barthes theory of semiotics can be applied, the colour yellow has positive connotations such as brightness- this can reflect the word "brightness" on the poster. The colour red is used to bring emphasis on the word "NOW" and "brightness" highlighting the positive features of the cleaning product. The serif font reflects a formal and factual tone. The use of bright colours places the audience with positive connotations towards the product. When the rule of thirds is applied, the placement of the product falls into its own third suggesting that it is important and dominant.

In terms of visual codes, the female figure is fully dressed with an apron on suggesting she is domestic and obedient through her modest clothing. The figure shows positive gesture codes such as smiling and is standing in an open arm positioning- standing with her arms on her hips. Placing the woman next to the washing machine may reflect the social context that it was a shared belief that women were restricted to domestic tasks such as cooking and cleaning. The female figure shows iconography of the 50’s such as the pinned curls in her hair and being swept away from her face, the figure is also seen to be wearing makeup suggesting that beauty and looks was equally important than hard work. Levi Strauss’ binary opposition can be applied as her makeup suggests glamour which contrasts with doing domestic work.

The word “thousands” highlight the success and popularity of the product also by stating their success we can suggest that they are opinion leaders within their market. The capitalisation of the word “NOW” suggests its importance and that there is finally a solution to the problem. There is an informal mode of address in terms of language however it can be argued that due to the woman’s gesture codes, there is a direct mode of address as her body direction is headed towards the audience and not facing the side also as if the woman is looking directly at the audience.

As the audience sees the female figure dressed modestly with an apron over her- we can establish the genre of the printed advert- understanding that it is a 50’s advert and reflecting the ideology that women were in an inferior position. Neale’s genre theory can be applied as the repeated use of women presented as domestic perfection establishes a genre that is recognisable to everyone.

Todorov’s theory of narratology can be applied to this printed advert, there could be an implicit narrative depicted in this print as seen through the language and visual codes mentioned above such as the word ‘NOW’ suggesting there is a long awaited solution for a troubling problem/issue. Although there is no established initial equilibrium we can suggest that OMO is now the solution.

comp 1: VIDEOGAMES

ASSASSIN'S CREED 3 - LIBERATION PPT.

PEGI

Pan European Game Information

The Pan-European Game Information (PEGI) age rating system was established to help European parents make informed decisions on buying computer games. The system is supported by the major console manufacturers, including Sony, Microsoft and Nintendo, as well as by publishers and developers of interactive games throughout Europe. The age rating system was developed by the Interactive Software Federation of Europe

PEGI rate games on age suitability not difficulty; PEGI categorise games in the following age slots: 

PEGI also features warnings on the back of the packaging of games and often on the disks themselves- these signs must have a universal meaning so that the broad audience of Europe have the same understanding: 

However, complications may arise as signs such as drugs can be mixed with medicinal ideas as it is a picture of a syringe

The following are statistics of games that fit in the age slots and the games that fit into the content descriptors above:

comp 1: RADIO

LAUREN LAVERNE

comp 1: FILM INDUSTRY

FILM POSTER ANALYSIS

Composition- character names- not actors- on the top followed by the film logo- resembling the parental advisory logo and the group picture walking in a line. Within this picture we see a reflection of the character list on the top, as Dr. Dre, Eazy-E and Ice Cube are all at the front- suggesting they are the most important or most featured. Can also show who the bigger actors are within the group without listing their real names. Again this film poster is in b&w creating a mysterious and serious tone- could reflect the fight of discrimination against black people.

Generic elements- genre- American Hollywood film- selling the actors and not the director, eye-catching and intriguing images shown. Release date is shown. Setting is established through the title ‘Compton’ and the street sign, also the fact that they are walking on the road could suggest their path to success.

Teaser elements- “the worlds most dangerous group’ again if the audience are unaware of the groups past success they may not associate this film with the biopic genre and refer to crime or action- also through their code of dress.

Stars/directors- similar to poster 1 they use the established image of NWA from their past to market this film- using the faces of the actors and names of musicians to sell this film. Director n/a

Usp-  the large film logo- similar to the parental advisory logo- majority of films we associate mainly with font but the most memorable thing is the black and white filter and the logo

Social networking- website is included on the bottom of the poster where the audience can access more information about the film.

Composition- large individual headshots of each member of NWA and main stars of the film – suggests that the main method of selling this film is through the faces/names of the stars. black backgrounds highlight the focus point of the stars. large white serif font- block capitals create a sense of importance and the white contrasting the black also makes the stars the focus point. The black and white filter could suggest a troubled plot- sense of seriousness and mystery.

Generic elements-  genre= American Hollywood film- not an independent- we can see this as they use the big name stars to sell the film unlike ‘I, Daniel Blake’ where Ken Loach, the director, is the selling point. No established setting but audiences can associate the setting with Compton from the first picture of Eazy-E.

Teaser elements- the black background and gun could be enigmatic and cause audiences to be suspicious to the plot of the story, guns are normally associated with action films not necessarily a biopic film about musicians.

Stars/directors- we don’t see actual actor names or director names we just see the names of the musicians- perhaps not selling off actors but the established brand of the NWA group and their popular names especially Ice Cube and Dr. Dre

Usp- it goes against the generic film poster- no institutional info- just eye catching headshots that are in black and white

Social networking- there are no links to a film website- no media marketing eg. A hashtag- just the faces and names

Target audience- teenagers upwards- straight outta Compton logo is on the bottom which is very similar to the parental advisory logo.

Composition-  a large portrait of the main character Daniel Blake- eye-catching for consumers. Critic acclaims/awards shown at the top along with critic quotes- positive positioning of the film in consumers thoughts. Neutral colours- compared to large Hollywood films which use a lot of colour. Spray-paint in the background bringing in elements of the film.  The portrait is Blake looking upwards maybe glorifying him and make him look more heroic.

Generic Elements- genre- UK independent- we can see in the critics reviews its praising the director Ken Loach. Palme d’or award- highly recognised- positive positioning of film to consumers.

Teaser elements- we can’t see majority of the graffiti in the background- hermeneutic code creating suspense as to what is written and what the film is about and who the figure is.

Stars/directors-  two main stars are mentioned however the name of the director appears first suggesting that the main selling point of this film is the director and his achievements – shows his other films that he has directed and shown in the film festival awards.

Usp- the main image looks like a painted portrait instead of actual photographs of the actors from the film- reflects raw/authenticity of an independent film

Social networking- n/a maybe suggests the underground nature of uk independent films

Target audience- UK, anyone, no warnings or bad language and no insight of what the film is from this poster

Composition- depth of field- character is positioned on the side- not important. Majority of print is covered by critic reviews and the red words create a positive positioning of the film, the film title is in graffiti making it more memorable to the film and the sequence shown in the actual film.  Director name at the top- most important thing.

Generic elements- no particular setting is established as it’s a concrete wall and we see a figure lifting his arm up- gesture code suggests a victory or justice so we can assume that the objective set out in the plot has been achieved.

Teaser elements- gesture code- creates suspicion for audience as to what he has achieved. The critic reviews can create an enigma as the audience don’t necessarily know what they are talking about but because the reviews are all positive they assume that the film is good.

Stars/directors- no actor names are listed- reflects the nature of independent films where directors are normally the main selling point of the film

Usp- the large amount of critic reviews shown- eye-catching for the audience. The critic awards in the bottom right corner.

Social networking- n/a

Target audience- teenage upwards- graffiti is associated with loitering and negative behaviour perhaps negatively portraying the film and not suitable for children to see although the film isn’t actually like that.

EMBEDDED EVIDENCE OF MAINSTREAM AND INDEPENDENT FILMS

• 'I, DANIEL BLAKE'

• 'STRAIGHT OUTTA COMPTON'

TRAILERS

'STRAIGHT OUTTA COMPTON'

'I, DANIEL BLAKE'