Media Section A Exam
At A2, I made a trailer for the film Broken Dreams as part of a promo pack consisting of a trailer, film poster and film magazine.
My trailer shows the audience a young teenager in which he is trying to 'break' into the footballing world and is constantly being offered trials to top teams all over Europe. However from the several experiences he has had with trials his time comes to show what he has in his locker. However he 'Breaks' his leg. he's told he's never going to play football again and his dream has been 'broken'. The rest of the trailer shows the rehabilitation process in which we see the trailer end with no suggestion to whether he returns or fails.
My film genre is an action/ drama as there are genre codes and conventions that shape the narrative, such as spectacle. There are several shots such as the left to right pan of Wembley Stadium, this coneys spectacle as it is appealing to the audiences eye. I also feel as though the soundtrack used in the trailer forms a inspirational/ motivational feeling which will connect with the audience making them want to watch the film once released in cinemas. The majority of the film trailer was edited in slo motion. I intentionally did this as I feel slow motion in general gives off an increased dramatic sense to something. I feel as though it has worked effectively in my trailer.
Narrative is handled significantly differently in a trailer from the way that it is done because a trailer consists of fast paced editing which gives off a different feeling to the consumer, it is also important to not give away the plot otherwise the audience will not view the production. It is clear in my trailer as we can see that each individual shot ranges from between 2-4 seconds, where as in previous films that I have produced shots range from 4 seconds to 10 seconds. Although it is relatively difficult to tell the plot to an audience without giving away the twists I feel as though I have successfully completed the task. For Bordwell and Thompson narrative is a chain events in chronological order that shape the plot of a film. Bordwell and Thompson's theory refers to how trailers are normally shown in chronologically.
A trailer must convey to its target audience who the central characters are very rapidly and efficiently, in particular, major narrative frameworks such the protagonists and antagonists. The central protagonist and his/ her concerns, the central thrust of the plot. The protagonist in my film is repeatedly shown throughout my trailer through different camera shots. The 2nd main character who is the physiotherapist is shown a lot however not as much as the main protagonist, this is done in order to show the audience who the main characters are in order of importance so that they can understand what the film is about and get to know the characters.
This theoretical framework fits with the way that I have handled my narrative because……?
It reflects what Roland Barthes called the action code of narrative/ the enigma code of narrative because although I have presented a solid plot to the film through y trailer it still leaves a mystery for the audience to discover through the inter titles and shots at the end of the trailer which asks two rhetorical questions which are 'will he return?' and or 'will he fail?'
A trailer must establish rapid the values and beliefs of the central characters, to draw in the audience. For Levi-Strauss, this means establishing a set of binary oppositions that are clear, such as, in my film trailer, the tensions between the footballers career ending, and the hope of somehow still becoming a professional footballer. This also links to Roland Barthes theory of the enigma code as there is still a mystery to be solved.
Character ‘types’ are often used as part of the narrative framework as a short cut to help audience grasp complex narrative. In a film, this often means stereotypes (such as Alfie Wolstenholme) a teenager footballer. For Propp, all narrative had a set of recurring character types. Alfie Wolstenholme has a clear character as the tracksuits he always wears represents a stereotypical teenager, in terms of clothing.
Sound and vision editing are important in shaping the narrative structure of a trailer: the audience has only a couple of minutes to identify who the central characters are and what there aims and plans are. I achieved this in my narrative by privileging my central character (Alfie Wolstenholme) in the frame and through the use of a close up for instance when the protagonist walks out of the tunnel at the football stadium or the left to right pan of Alfie Wolstenholme walking with a football in his hand. Through these shots it is easily identifiable for the audience to understand that the film is about sport and through the sounds it allows the audience to also identify that it has motivational/ inspirational feel to the film.
I also used sound carefully- there is precious little room for diegetic sound in terms of dialogue for trailers, so I decided that professional football commentary should be used for a voiceover, in order for the narrative to be more easily understood for the audience. Another way in which I formed a strong narrative was with the use of inter titles which are clearly positioned in the centre of the frame. The inter titles give the audience little information however make the narrative more understandable.
Quick Revision on Section A
Mention key skills such as photography, learning how to frame and crop images, which can be transferred into film making skills. I have created two outside of school films to allow my film making skills to improve.
Conventions
At AS I created ............ and at A2 I created a ............
AS includes: title sequence, enigma, continuity editing, because I was making a thriller I had to include enigma codes. Visual codes are also crucial in film openings. Venue, lighting, costumes.
At A2 I made a promotional package for a new sports drama 'rights of passage' similar to Bend it Like Beckham called Broken Dreams. This means I had to make a film poster, film magazine and a film trailer. I knew that at A2 I was creating a promo package that included a cohesive feel, through the inventions of visual codes and synergy. Graphics and titles were important, font delivered the genre, broken font.
A2 media mise-en-scene was used much more effectively, AS included filming in an abandoned science building, however at A2 I was filming at a professional football stadium, using a variety of different props, such as dressing rooms, football gear, football pitch which created a huge amount of realism. low angle shot of the protagonist suggests he's in a superior position, linking to the loser to legend tagline, which therefore suggests the film is a feel good film.
Thick and think music, develops over the course of the trailer, it increases in intensity, allows sympathy towards protagonist, however a sign of hope portrayed through the music, therefore a hint of success may be possible for the protagonist.
Theoretical Frameworks- Roland Barthes- I learnt the value of visual codes, (Chelsea football ground, Chelsea football strip, changing rooms, blue and white arch, with mascot, clear to see the protagonist as he is emerging from the arch between the referees, central figure.
BD channels BILB depicting a young footballer aspiring to a premier league club. I set out to create a convincing representation of Chelsea FC: Training sessions, games, locker room chat. I captured these through different types of camera work with an establishing shot of Wembley stadium using a drone cam, for high angle shots, as well as tracking shots on the game. Low angle shots to catch the young footballers footwork. My mise-en-scene had to convey authenticity took very hard work to arrange, because I had to contact ex professional players to play in the match with me to make it loo as though the skills on display were at a very high level.
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