Assessor: Gilly Hope Deadline: 7th June 2017 Unit: 37 - Presentation Techniques for Broadcasting Scenario: Using your filmed/audio work from across the year you have been commissioned to create a show reel. Include an introduction and explanation piece for each section of film. TASK 1 What is a showreel? Why are they important? A showreel (also known as a demo reel) is a short piece of video or film footage showcasing an actor or presenter's previous work. They are important because they can advertise the skills, qualities and accomplishments of an individual for a viewing audience to take in and assess.
Examples?
Proposal
It will be a simplistic approach, relying mostly on amateur maneuvers such as a single camera production that will hit off as my introduction, followed by footage of my clips from throughout this year of the course. The audience I have in mind is the class itself, as this showreel is intended solely to be shown for course purposes. Thus, the direction is intended to be linear, starting off with my earliest work and ending with my most recent.
Actuality footage will only be featured in the very beginning of my showreel, as I intend to talk over the footage shown and explain what I have accomplished this year. There isn't a lot to write about to be honest, as I have everything else to sort through such as actual production of the showreel as well as compile documentation.
TASK 2
Planning:
pre-production documentation - all documentation shall be placed right here and if necessary, in a folder/document to be handed in.
selection of location - locations include Bede Campus of Sunderland College. The only actuality footage used will be the opening of my showreel.
dress and appearance - casual and plain, using only what I wore on the day. I find it suitable for an amateur, college student's showreel.
props - no props were used or necessary. Only the camera and myself in front of it were needed for the opening.
appropriate equipment - camera and tripod along with a possible Tascam for voice-over recording.
Presentation:
rehearsal - actual presentation for my opening was done on pure improvisation and did not need a script. The case shall be otherwise when it comes to my voice-over recording.
recording - voice-over recording will have to be done in a sophisticated manner, most likely in the Arts Academy studio where I can hopefully complete professionally.
Script
1st clip: The earliest form of production that involved the use of cameras that I did was a mini-project we did with Alan Sill, simply entitled 'Bede College Trailer'. The task was simple: film whatever you want and then come back to edit the footage. I improvised from there and this was the final result.
2nd clip: My second experience with production and editing came in the form of a lyric video of 'It's Raining Men', by far the most painful experience in my life. It is admittedly poor and I think drags down the rest of the video; however, I took it as a lesson to improve upon my amateur editing skills.
3rd clip: The Turing Test is a scene from the movie Ex-Machinia, which we recreated with the gorgeous and handsome duo of Al Smith and Laura Beattie. This was with our lecturer Keith Lawler, and was an attempt to get an idea at how single camera productions and techniques work. I was the cameraman for this project.
4th clip: The Vox Pop interviews were apart of our assignment for Stephen Woods. Me and cameraman Brandon Ord went around Bede campus to interview individuals on their tastes in video games. This was part of research necessary to find our audience and demographic for our own pitched video game.
5th clip: My final production of the year. I, Kevin Middleton and Brandon Ord did a documentary on video game violence, and it is by far my best production, in my opinion. As always though, I could have added more actuality footage and include the interviews; still, there are two more versions as done by my team mates.
TASK 3
Process - Self Evaluation
Overall, the showreel itself is very amateur in it's making, which I think reflects my progress made throughout the year. It wasn't till this course that I could edit using Adobe Premiere or put work into camera. As for the actual showreel, it isn't the best. I find the voice over to be dull and boring, and the Tascam did me no favors. Nevertheless, it is complete.
Assessor: Gilly Hope Deadline: 24th May 2017 Unit: 27 - Factual Programme Production Techniques for TV Scenario: Your community TV station is due to launch. Your production company has been commissioned to produce a 5-7 minute short factual program for broadcast.
TASK 1
Build a portfolio of research and pre-production materials needed to effectively produce the program. Include the following:
Proposed ideas - what is the format? Genre? Style? Audience? Aim/motive?
Develop idea - what is the synopsis? Possible contributors? Storyboard?
Research - primary and secondary sources?
Legal and ethical considerations - filming in public? Clearances and permissions? Privacy? Libel and defamation?
Roles and responsibilities - schedules? Interviews? Contacts? Scouting? Risk assessments?
TASK 2
Film, edit and store the work. Be sure to complete the following:
Production techniques - filming, graphics, scripts, location and sound.
Production management - monitor progress, identifying and solving problems, organizing, booking equipment and ensuring return.
- END OF BRIEF -
This portfolio is currently being completed and compiled as part of a Word document.
Assessor: Stephen Woods Deadline: 19th May 2017 Unit: 3 - Research Techniques for the Creative Media Industries Scenario: Your media production company must undertake your own audience, market and production research. Present the results of the main research studies that you have completed for this unit.
TASK
Devise a coherent strategy and research methodology that will enable you to obtain the relevant info. Include a plan to undertake audience, market and production research. Your methodology will need to include both primary and secondary research methods to obtain both quantity and qualitative info.
Undertake the planned program of research
Collate and organize your research material and interpret the results
Gather all research material produced and make sure it is collated, organized and stored securely
Work on content of report and make sure that it covers all aspects
Cite sources where appropriate and submit to a file
Assessor: Keith Lawler Deadline: ?2017 Unit: 22 - Single Camera Techniques Scenario: You have been asked as a researcher on a new TV project about making TV productions. You will look at the format, narrative and technical aspects of three single camera productions. TASK 1 - FORMAT
What is meant by the format of a TV show? Analyze 3 single camera TV productions and explain:
What is the format? Series, serial or single drama?
What is the genre? Period, docudrama, crime, soap opera, comedy?
What makes you identify it? Costumes, locations, music?
TASK 2 - NARRATIVE
What is meant by the narrative structure of a TV show? Analyze 3 single camera TV productions and explain:
Narrative structure of the production; is it linear, non-linear, flashback, realist or anti-realist?
Does it have an open/closed ending? Explain why.
TASK 3 - TECHNICAL
Looking at the technical aspects of production:
Compare multi-cam techniques to single cam techniques. Give pros and cons.
Examine the technical aspect of the use of the camera, lighting, sound, editing, scripting, building a scene and story.
How do producers disguise the fact that they are using only the one camera? Consider camera and editing techniques.
- Give examples and explain comprehensively -
TASK 1
Everybody Hates Chris
Format: series. The narrative follows the character of Chris and his family, who are based-off of comedian Chris Rock's family and his childhood upbringing. Starting off as a social pariah, Chris' fortune seems to get better as the serious progresses, but not without him being chided along the way.
Genre: period sitcom. Set in a predominately black neighborhood filled with bullies, gangster and thieves, this ghetto of what is presumably New York is home to characters that represent the past of Rock's childhood.
Identification: a humorous narrator (voiced by Chris Rock himself) accompanies the story along much like The Wonder Years had done. The over exaggerated childhood yet humor brings in the comedic effect, yet never really fails to teach us though-provoking lessons. Chris, our protagonist, is an ambitious, normal, responsible, kindhearted, but unlucky, unpopular, untalented, nonathletic, nonacademic, hapless, awkward, nerdy, vulnerable and mischievous child. his youngest brother is more handsome and popular than him and he is constantly stressed by his parents. However, through it all, his luck gets better and the characters retain an almost self-aware and over-the-top humor to themselves, at the extent of Chris' suffering and punishment.
Single camera in Everybody Hates Chris sees a lot of close-ups on the individual characters in the show, mostly that of Chris himself or his family. This is usually accompanied by narration by Rock that offers some sort of context or background. In addition, you get to see the character's expressions and get a feel as to what they are feeling or going through.
Brooklyn Nine-Nine
Format: series. It follows a team of detectives and police officers within a New York police department. Antics ensure as the group of detectives fool around and complete crimes.
Genre: police sitcom. The show is set in a police department and follows several characters portraying police officers. Hilarity ensures down the road.
Identification: the setting is that of the NYPD which follows numerous, zany and often times wacky characters. Most are in appropriated uniform and hold a badge indicating their allegiance as detectives. The stern Captain of the team is a serious, stone-faced homosexual African-American who does not understand humor. The lead is a good yet smart ass detective accompanied by an equally naive yet enthusiastic female partner, with supporting roles being offered by the leads clumsy and nerdy best friend as well as an exercise freak detective and humorless, hard ass, Latino woman.
Single camera in Brooklyn Nine-Nine mostly has the camera pan between the characters in order to see their individual reaction to the ongoing events. It makes sure to differentiate the characters and see how they feel about the events around them, often resulting in comedic moments for those watching, which also helps to ground the characters in bizarre fashion. These shots are predominately taken from the same angle and only change when panning between two corners of the scene. They always remain mostly at mid-close up and contain themselves within the scene.
My Name Is Earl
Format: series. Earl Hickey attempts to make amends with the past and ensure he does good by the people he did bad beforehand. Each episode follows his journey towards becoming a better person.
Genre: sitcom. Earl is accompanied by his not-so-bright brother Randy in a effort towards becoming a better person and making amends with those he did bad by in the past.
Identification: the main lead is a well intent yet dimwitted individual, accompanied by his even more dimwitted brother. A lot of what occurs can sometimes baffle the viewer and may even escape reality, like the episode where a man builds a space ship to leave Earth after coming to the conclusion that human beings are mean people. Something this ridiculous is triggered by the theft of his car by the main character in the past.
Single camera in My Name Is Earl focuses on not only characters but the establishment of the surrounding setting, long enough to know that you know where you are in the world of the story, and that the narrative is comfortable with letting you know that. However, the camera, as with mostly any TV show or film, is character-oriented and focuses on their expressions and mannerisms, as well as motivations and goals moving forward with the story.
TASK 2
Everybody Hates Chris
What is the narrative structure?
The structure appears linear yet switches to different shenanigans either in the present or back to the past, mostly for comedic effect. Single camera ensures the scenes often remain the same with a focus on mid-close ups and and a tendency to switch back and forth comedic fantasy moments. The show does continue to progress with expository flashbacks being given to the audience, in order to given explanation to things when moving forward with the linear narrative.
Does it have an open or closed ending?
The show has somewhat a closed ending, with season four ending with Chris dropping out of high school in order to become a comedian, which paralleled the real life situation of Chris Rock dropping out in order to pursue his career. This makes it a somewhat satisfactory ending as the audience is aware things worked out well for Chris in the end.
Brooklyn Nine-Nine
What is the narrative structure?
The story appears linear, with episodes appearing to follow a day-by-day routine at the department and the investigations carried out by the characters out in the big, bad world. Often times the story cuts to random, hysterical scenes that may or may not have occurred in the past, usually to add visual shenanigans for jokes made by the characters that reference something that has already happened.
Does it have an open or closed ending?
The show is ongoing; however, each season at least ends in a somewhat open way, usually left to the imagination for comedic purposes and leave the audience with a smile. The series has been renewed for a fourth season.
My Name Is Earl
What is the narrative structure?
The narrative is linear with parts of the story given exposition flashbacks for the characters of Earl's past. However, the story is almost entirely linear, with a specific goal being traveled towards. Earl wants to finish his 'karma list' and follows through on numerous efforts; however, he and his brother and friends also face numerous challenges and obstacles along the way.
Does it have an open or closed ending?
The series abruptly ended after having ran four seasons. Show creator Greg Garcia commented on an AMA the following, concerning the desired ending of the show:
We never really got the chance to fully figure it out but the talk in the writers room was that Earl Jr’s Dad was going to be someone famous. Like Dave Chappelle or Lil John. Someone that came to town on tour and Joy slept with. But when we got canceled we never got the chance to figure it out. I was worried about doing a cliffhanger but I asked NBC if it was safe to do one at the end of the season and they told me it was. I guess it wasn’t. I had always had an ending to Earl and I’m sorry I didn’t get the chance to see it happen. You’ve got a show about a guy with a list so not seeing him finish it is a bummer. But the truth is, he wasn’t ever going to finish the list. The basic idea of the ending was that while he was stuck on a really hard list item he was going to start to get frustrated that he was never going to finish it. Then he runs into someone who had a list of their own and Earl was on it. They needed to make up for something bad they had done to Earl. He asks them where they got the idea of making a list and they tell him that someone came to them with a list and that person got the idea from someone else. Earl eventually realizes that his list started a chain reaction of people with list and that he’s finally put more good into the world than bad. So at that point he was going to tear up his list and go live his life. Walk into the sunset a free man. With good karma. It seems that the ending was designed to be a closed one, offering fans and audiences of the show a happy conclusion to Earl's story. Unfortunately, the cancellation of the show came when the creators could not come to the terms of their creative liberties being limited by 20th Century Fox Television. Thus, it ended with a 'To be continued' caption.
TASK 3
Multi-Camera Productions: Pros & Cons
reduces risks of continuity errors
multiple shots can be incorporated without the movement of the camera
higher production values
two cameras mean that if one breaks then at least you have the other
reduces the time of shooting and may not require multiple start and stop re-shoots
could prove expensive
bigger crew may be necessary
two cameras could increase risk of catching one another in a shot
two cameramen or more required
small scale settings could prove cumbersome
Single Camera Productions: Pros & Cons
cheaper to make
simpler to film
small-scale setting need only apply
only a small crew is needed
with only one camera, it reduces the risk of catching other cameras in a shot
only one cameraman required
continuity errors may occur
possibly low production values
requires a change of angles and space between scenes
it is a long process and movement of camera between shots is necessary
one camera means that if it breaks then it requires another
can put a strain on actors as well as the rest of the cast and crew
Technical Aspects
Camera - use of a camera when filming ensures footage is stored safely and securely. As for its importance to story and purpose, it helps use catch shots that the human eye may not be capable of doing or even storing. These moments in time, acted out or not, are captured like lightning in a jar. This makes films and TV something else, something far more different then any other entertainment medium. It can notice things that we don't and make them just as important as all else going on around us.
Lighting - be it light or dark, lighting can affect the mood of a scene, change the atmosphere and switch tones for the environment, characters or story being told. Darkness is often associated with evil or fear, a sense of this shroud blanketing you in its fog. Light tends to be used as a motif of good. Light shines where there is shadow and brings hope. Often times they can be used to contrast one another, but lighting can also simply used for the technical importance of making show a room on set is not too bright or dimly-lit.
Sound - this is the diegetic (what the characters hear i.e. radio or voice) or non-diegetic (the sound that only the viewer hears i.e. soundtrack) sound a viewer hears when watching a TV show or film.
Editing - the art form of putting together or even ripping apart pieces of footage and placing the pieces back together, in order to unlock the desired direction of a scene and movie. Editing involves the snipping of different scenes together and the appropriate time in which scenes cut back and forth. Whether it is a change in scenery or the cut in camera angles, this is all done with the magic of editing. It serves as the true back bone when finalizing a production for release.
Scripting - when it comes to scripting, it must always follow and outline, keep the audience in mind, remember past story details and, ultimately, reward the viewer for their participation, be it though entertainment or information. A good script often contains dialogue that develops characters you can invest in emotionally and gradually build them along the way with the story. This makes it so that obstacles become more challenging and you feel like this could be it for the characters.
Building a scene - stagecraft is often the definition used to describe 'building a scene'. It includes constructing and rigging scenery; hanging and focusing of lighting; design and procurement of costumes; make-up; stage management; audio engineering; and procurement of props. All these pieces are meant to come together in order to make a functioning, appropriate scene desired by director.
Building a story - a story requires purpose first and foremost. Why tell this story? What does it mean to you? What will it mean to others? How are you going to tell it? When are you going to tell it? Who will tell it? Second after this should come the world-building and then the characters involved in your story. Building a story requires an over-arching sense of purpose and fulfillment by the end, so that there is at least a conclusion for the characters and the audience.
Producers Using Single Camera
A producer can use multiple techniques in order to disguise the fact they have just the one camera in production. Most of the time, cuts between characters when using only the one character can be both cumbersome and troubling, as continuity errors are a constant fear. As such, actors must maintain their pose and posture while wearing the same clothes and maintain the same mannerisms. In addition, props must be appropriated and made to ensure they are in the same position as they were when cutting back and forth.
Because of single camera and the potential errors that could occur, some scenes being shot during production could take multiple re-shoots in order to perfect, which may span for days, weeks or even months. Single camera also means a director can take his time in constructing a scene suitable for the film's direction, tone or atmosphere.
Single camera production is ideal for short movies or cheap productions, which usually have shorter scripts and less expensive casts and crew, due to a minimum of people needed. A small budget would be the only appropriate approach.
When it comes to editing and cutting down footage, an editor can choose which scenes that wish to include and not to include, as well as snip out certain parts from a scene and put together others in order to successfully construct a scene. Any bloops and errors can also been cut out.
The Plan We will be focusing on video game controversies, primarily violence in video games and how it influences people. Footage will contain both original and borrowed content.
These links will be cited within the documentary itself, in order to back up our findings. These are primary sources. In addition to original footage, we will be using public content exhibiting video game violence and the debates surrounding it.
Members
Brandon Ord
Kevin-Lee Middleton
Matthew Tulip
Info from Links According to CNN:
The American Psychological Association observed in an August 2015 policy statement(PDF) that research demonstrated a link "between violent video game use and both increases in aggressive behavior ... and decreases in prosocial behavior, empathy, and moral engagement." In its Julyguidelineon media violence,the American Academy of Pediatrics warned that violent media set a poor example for kids. Video games, the academy noted, "should not use human or other living targets or award points for killing, because this teaches children to associate pleasure and success with their ability to cause pain and suffering to others." Overall, the academy's summary of the results from more than 400 studies revealed a "significant" link between being exposed to violent media (in general) and aggressive behavior, aggressive thoughts and angry feelings. According to ProCon.org:
The debate over violent video games can be traced back to the 1976 release of the game Death Race.The object of the game was to run over screaming "gremlins" with a car, at which point they would turn into tombstones. Controversy erupted because the "gremlins" resembled stick-figure humans, and it was reported that the working title of the game was Pedestrian. After protestors dragged Death Race machines out of arcades and burned them in parking lots, production of the game ceased. In 1993, public outcry following the release of violent video games Mortal Kombat and Night Trap prompted Congress to hold hearings on regulating the sale of video games. During the hearings, California Attorney General Dan Lungren testified that violent video games have "a desensitizing impact on young, impressionable minds." Threatened with the creation of a federal regulatory commission, the video game industry voluntarily established the Entertainment Software Rating Board (ESRB) on Sep. 1, 1994 to create a ratings system. Based on the video game's content, the ESRB assigns one of the following ratings: "Early Childhood," "Everyone," "Everyone 10+," "Teen," "Mature," "Adults Only," or "Rating Pending" (only for use in advertising for games not yet rated). In a Pew Research Center 2008 survey, 50% of boys and 14% of girls aged 12-17 listed a game with a "Mature" or "Adults Only" rating in their current top three favorite games. According to BBC: More than 200 academics have signed an open letter criticizing controversial new research suggesting a link between violent video games and aggression. The findings were released by the American Psychological Association. It set up a taskforce that reviewed hundreds of studies and papers published between 2005 and 2013. The American Psychological Association concluded while there was "no single risk factor" to blame for aggression, violent video games did contribute. "The research demonstrates a consistent relation between violent video game use and increases in aggressive behaviour, aggressive cognitions and aggressive affect, and decreases in pro-social behaviour, empathy and sensitivity to aggression," said the report. "It is the accumulation of risk factors that tends to lead to aggressive or violent behaviour. The research reviewed here demonstrates that violent video game use is one such risk factor." However, a large group of academics said they felt the methodology of the research was deeply flawed as a significant part of material included in the study had not been subjected to peer review. "I fully acknowledge that exposure to repeated violence may have short-term effects - you would be a fool to deny that - but the long-term consequences of crime and actual violent behaviour, there is just no evidence linking violent video games with that," Dr Mark Coulson, associate professor of psychology at Middlesex University and one of the signatories of the letter told the BBC. "If you play three hours of Call of Duty you might feel a little bit pumped, but you are not going to go out and mug someone." The question about whether violent games inspire violent behaviour "in real life" is a subject that strongly divides opinion. ,,, The APA taskforce used meta-analysis - combining the results of lots of studies in order to look for patterns and correlations, rather than carrying out any new research itself. It conducted a comprehensive review of academic work around the subject, some of which dated back to 2005. "While there is some variation among the individual studies, a strong and consistent general pattern has emerged from many years of research that provides confidence in our general conclusions," said task force chairman Mark Applebaum. However, this approach was criticised by the group of experts, which said such correlations sometimes had other explanations. For example, boys were more likely to play video games than girls but they were also more likely to be aggressive in general. Dr Coulson also cautioned about work included in the study that may not have been subject to peer review, where it is critiqued by the wider academic community. "Obviously there is a lot of stuff out there that doesn't get into peer review journals," he said. "If you look at all the literature in this area you are bound to get a sensationalist conclusion." According to Scientific America: A few studies tried to draw distinctions between good and bad games. In a 2010 experiment, Tobias Greitemeyer, then at the University of Sussex in England, and Silvia Osswald of Ludwig Maximilian University in Germany asked subjects to play one of three video games—either a “prosocial” game, an “aggressive” game or the “neutral” game Tetris. After eight minutes, an experimenter reached for a stack of questionnaires but “accidentally” knocked a cup of pencils off the table and onto the floor. Participants who had played the prosocial game were twice as likely to help pick up the pencils as those who played the neutral or aggressive game. Others have tried to tease out the aftereffects of playing violent games. In a 2012 study, André Melzer of the University of Luxembourg, along with Mario Gollwitzer of Philipps University Marburg in Germany, found that inexperienced players felt a need to “cleanse” themselves after playing a violent video game (the so-called Macbeth effect: “Out, damned spot!”). Researchers asked subjects to play either a driving game or the mayhem-heavy Grand Theft Auto for 15 minutes, then pick gifts from an assortment, half “hygienic” (shower gel, deodorant, toothpaste) and half nonhygienic (gummy bears, Post-it notes, a box of tea). Inexperienced players who played Grand Theft Auto were more likely to pick out hygienic products than were experienced players or inexperienced players who had played the driving game. But neither of those studies make the case that these games lead to real-word violence. Although drawing conclusions about small population subgroups—such as kids at risk of violence—from broad population trends can be dicey, it is still worth noting that as violent video games proliferated in recent years, the number of violent youthful offenders fell—by more than half between 1994 and 2010, according to the U.S. Department of Justice. Even if violent video games are not turning people into killers, we might still wonder if they are harming our kids in subtler ways. As psychologist Douglas A. Gentile of Iowa State University puts it, whatever we practice repeatedly affects the brain. If we practice aggressive ways of thinking, feeling and reacting, he writes, “then we will get better at those.” In a 2008 survey on the gaming habits of about 2,500 young people, Gentile and his father, psychologist J. Ronald Gentile, found that children and adolescents who played more violent games were likelier to report “aggressive cognitions and behaviors.” They concluded that violent video games “appear to be exemplary teachers of aggression.” According to the Telegraph:
Playing violent video games is no more likely to be damaging to young children’s behaviour than those considered harmless, an Oxford University study suggests. Research involving British primary schoolchildren found that the length of time young people spend playing games, rather than their content, could have an effect on their behaviour or school performance – and even then only slightly so. But it concluded that fears that a generation of young people are growing up with their development impaired by exposure to violent video games are no more likely to be borne out than previous “moral panics” over television and other media. The study, published in the journal Psychology of Popular Media Culture, found that children who play online games involving linking up with other players were less slightly likely to have problems relating to other children than those who played alone. According to the Guardian:
‘Violent videogames cause an increase in aggression long after the game has been turned off’ is the headline for one 2010 study, which draws this conclusion by linking a 20-minute gaming session with an abstract aggression test 24 hours later, and differentiating between players who had ‘thought’ about the game in the interim and those who hadn’t. This is a tenuous experimental setup in the first place and one that fails to account for any number of other factors, so to draw firm causal conclusions – never mind extrapolate (as the authors did at the time) that it is “reasonable to assume that our lab results will generalise to the ‘real world’” – is fanciful. The problem is not just on academia’s side: the media almost never stops to challenge a tasty headline linking games and real-world violence. This use of games as panic fodder is not benign, but percolates into real-world flash points that have consequences. The problem with violent video games and aggression is that defining and categorising both is an inexact science. The Children of the 90s study began in 1991, so the ‘shoot-em-ups’ this paper was looking at when those kids were eight or nine might be the likes of Goldeneye 007, Medal of Honor, Quake III and so on. These games are from a different and often incomparable era to the modern first-person shooter, a Call of Duty or Halo, which is much more realistic visually and in most cases includes a competitive online element.
According to Psychology Today:
When the U.S. Supreme Court handed down a decision on the Brown v. Entertainment Merchants Association case on June 27, 2011, that ruling not only established that video games were covered under the First Amendment but that video game content could not be regulated by governments. Part of the reason for the court ruling was that psychological research linking violent games and violence was “unpersuasive”. Though psychological research is often used in the courtroom in issues relating to child safety, the lack of consistent findings connecting video games to violent behaviour in children helped sway the court against regulation. At the same time, there was a sharp rise in research studies examining the link between child violence and video games though the results were rarely consistent. In an excellent overview of video game studies recently published in American Psychologist,author Christopher J. Ferguson of Texas A&M International Universitypointed out that many scholars working in the area of child violence added to the moralpanicwith studies that were often flawed. While psychological studies designed to correct for these problems continued to show a link, other studies turned up no relationship at all between video game violence and antisocial behaviour in children. The debate over video games has led to a serious split between different groups of researchers which was as much about politics as research findings. Whatever the status of the research so far, the only clear outcome is that the divide between pro- and anti-video game activists seems as wide as ever and both sides are citing research to support their arguments. In some cases, they are even looking at the same research studies and coming away with opposite interpretations of the findings.
- This info will be cited and used within the documentary -
Conclusion
All members of the group tend to agree with the sentiment that video game violence does not necessarily lead to real life violence. We ourselves play games with violence and are not excessively influenced by the blood and gore we see. Thus, the conclusion to our documentary will be that we are against the idea of video game violence impacting and influencing the individual into a violent manner that would have long term consequences. This makes our format a subjective take on the issue.
Steps
Opens with actuality footage of ? playing a game and voice-over accompanying the scene, introducing us to the who, what, when, where and why of the documentary and what it wishes to address.
Discuss the origin of video game violence and how it sparked controversy.
Interviews of individuals and their opinions on violence in video games.
Cut to footage of AlSmithGaming and lead into the studies on video game violence and its impact.
Offer counter-points to the idea of violence in video games causes negative impacts on an individual enough to make them want to take the violence to the next level.
Unit: 27 - Factual Programme Production Techniques for TV
Scenario: Your community TV station is due to launch soon. VPA. TV (your production company) has been asked to prove your understanding of the different codes, conventions and issues relating to factual programming for TV. Produce a report on factual programming genres, news and documentaries.
TASK(s)
Chapter 1 - Genres:
Investigate and analyze the codes, conventions and issues of factual program genres.
Genres include educational; magazine; discussion; review; chat show; special interest or 'reality' TV.
Look at accuracy; balance; impartiality; objectivity; subjectivity;; opinion; bias; representation; access; privacy, and contract with the viewer.
Chapter 2 - News:
Analysis a news bulletin and explain the codes and conventions of a news program.
Include news readers; field reporters; links to studio; mode of address to the viewer; interviewing; experts and witnesses; report structure; actuality footage.
Chapter 3 - Documentary:
Watch a documentary and then explain the codes and conventions.
Look at documentary format i.e. expository, observational, interactive, reflexive, performative.
Discuss realism; dramatization and narrativisation.
- Identify issues the producers would face -
To be completed via Word document and uploaded onto Turnitin.
Assessor: Steve Woods Hand-in Deadline: 28th April 2017 Scenario: You have applied for a job as a researcher with a local media company. As part of the selection process they have asked you to produce a report for them on the nature and purpose of research in the creative media industries.
TASKS
In your own words fully explain the main types, methods and sources of research that can be used for a research project, and the main purposes of research undertaken within the creative media industries.
You must research the following:
Types of research - quantitative and qualitative.
Methods and sources of research - secondary, primary, data gathering agencies and self generated.
Purposes of research - audience, market, production research.
This assignment will be completed via Word document and uploaded on Google Drive.
