Showing posts with label Alan Sile - Media Work. Show all posts
Showing posts with label Alan Sile - Media Work. Show all posts

Thursday, 27 April 2017

The Making of 'The Archives: Video Game Violence'

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.

Links:
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 July guideline on 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, AndrĂ© 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 University pointed out that many scholars working in the area of child violence added to the moral panic with 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
  1. 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.
  2. Discuss the origin of video game violence and how it sparked controversy.
  3. Interviews of individuals and their opinions on violence in video games.
  4. Cut to footage of AlSmithGaming and lead into the studies on video game violence and its impact.
  5. 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.
  6. Conclude the documentary with our take and end. 

Wednesday, 29 March 2017

Unit 27: Unit Content & Factual Program Example

UNIT CONTENT


- Understand issues relating to factual programming for television -

Issues:
  • accuracy
  • balance 
  • impartiality 
  • objectivity 
  • subjectivity 
  • opinion 
  • bias 
  • representation 
  • access 
  • privacy 
  • contract with viewer 

- Understand codes and conventions of factual programming for television -

News: 

  • studio news readers 
  • field reporters 
  • links to studio 
  • mode of address to viewer 
  • interviewing 
  • report structure 
  • actuality footage

Documentary: 

  • documentary formats (expository, observational, interactive, reflexive, performative)
  • realism
  • dramatization
  • improvisation


- Be able to plan and research a factual program for television -

Genres: 
  • news 
  • documentary, eg docudrama, docusoap, infotainment, ‘reality’ TV, educational, wildlife, special interest, makeover
  • magazine 
  • discussion 
  • review 
  • chat show 
Develop ideas:
  • program concept 
  • target audience 
  • development techniques, eg creation of narrative, scenario, synopsis, research process, interview questions 
Research:
  • primary sources, eg contacts, interviews 
  • secondary sources, eg broadcasts, reviews, internet, archives 
  • checking information 
Legal and ethical considerations:
  • filming in public 
  • clearances and permissions 
  • privacy 
  • libel and defamation 
  • requirements of the Broadcasting Act 1994 
  • BBC producers’ guidelines
  • Ofcom 
Planning:
  • production organization roles and responsibilities 
  • schedules 
  • interview and contacts appointments 
  • location recess 
  • budget (planned, evolving) 
  • risk assessments 
  • documentation 
Proposal:
  • subject idea 
  • format 
  • genre 
  • style 
  • audience 
  • intended aim 
  • budget 

- Be able to produce a factual program for television -


Production techniques: 
  • filming (general views, interviews, cut-aways) 
  • graphics 
  • scripted pieces to camera 
  • studio 
  • location 
  • public space 
  • sound (ambient sound, wild track, interviews, presenter’s descriptions, studio sound) 
Production management: 
  • monitoring progress 
  • identifying and solving problems 
  • production organisation, eg call sheets, equipment booking, location management, logistics management 
Editing: 
  • creating narrative 
  • conveying meaning 
  • illustrating topic 
Example of a Factual Program

As per wikipedia:

"Super Size Me is a 2004 American documentary film directed by and starring Morgan Spurlock, an American independent filmmaker. Spurlock's film follows a 30-day period from February 1 to March 2, 2003, during which he ate only McDonald's food. The film documents this lifestyle's drastic effect on Spurlock's physical and psychological well-being, and explores the fast food industry's corporate influence, including how it encourages poor nutrition for its own profit.
Spurlock ate at McDonald's restaurants three times per day, eating every item on the chain's menu at least once. Spurlock consumed an average of 20.9 megajoules or 5,000 kcal (the equivalent of 9.26 Big Macs) per day during the experiment. An intake of around 2,500 kcal within a healthy balanced diet is more generally recommended for a man to maintain his weight. As a result, the then-32-year-old Spurlock gained 11.1 kilograms (24 lb), a 13% body mass increase, increased his cholesterol to 230 mg/dL, and experienced mood swings, sexual dysfunction, and fat accumulation in his liver. It took Spurlock fourteen months to lose the weight gained from his experiment using a vegan diet supervised by his then-girlfriend, a chef who specializes in gourmet vegan dishes.
The reason for Spurlock's investigation was the increasing spread of obesity throughout U.S. society, which the Surgeon Generalhas declared "epidemic", and the corresponding lawsuit brought against McDonald's on behalf of two overweight girls, who, it was alleged, became obese as a result of eating McDonald's food (Pelman v. McDonald's Corp., 237 F. Supp. 2d 512). Spurlock argued that although the lawsuit against McDonald's failed (and subsequently many state legislatures have legislated against product liability actions against producers and distributors of "fast food") as well as the McLibel case, much of the same criticism leveled against the tobacco companies applies to fast food franchises whose product is both physiologically addictive and physically harmful."
Morgan Spurlock is, of course, still alive and well following the project. The impact the documentary had saw McDonald's drop it's supersize portions, and raised awareness of the growing obesity around the globe, specifically in the U.S.
Overall, the production was received well but sparked various criticisms and controversies. Below are examples. 

Above link: https://web.archive.org/web/20071012135323/http://mcdonalds.co.uk/pages/global/supersize.html 


Above link: https://www.pastemagazine.com/articles/2004/07/super-size-me.html

Thursday, 9 March 2017

Factual Program Research (homework)

NEWS REPORTING

News, particularly that of the mainstream flavor, has long followed a set of codes and conventions that keep with the programs theme, setting and forward momentum. This enables a program to flow fluently without its audience being lost along the way.

News Reporting in the U.S.

Link - Donald Trump elected president
Codes & Conventions:
  • Wolf Blitzer of CNN standing in the forefront with a graphic declaring the finally result of the U.S. general election of 2016.
  • Commentates over footage of the Trump family at their HQ in New York. 
  • Dressed sharply and informative of the event, standing stoutly and announcing the result.
  • More action driven and focused based off of the focus on the family and the emphasis of the Trump win.
News Reporting in the U.K.

Link - US Election: Moment Ohio was called for Donald Trump - BBC News
Codes & Conventions:
  • A panel of broadcasters with practical background exhibiting graphics of polls.
  • All dressed appropriately and smartly, as expected with news broadcasters.
  • Commentaries over footage in addition to an interview being done. Multi-tasked.
  • Progressed more with informative news as well as a need to focus on what is next. 
DOCUDRAMAS

A drama is the deportation of an exciting, emotional, or unexpected event or circumstance. A documentary is a film or television or radio programme that provides a factual report on a particular subject. Combined, docudramas can be more often or not based on true events, the hypothetical or even fictitious projects.

Example of U.S. Docudrama

Link - The Day After
Codes & Conventions:
  • Bigger budget, Hollywood-like.
  • More recognizable cast.
  • Better special effects 
  • More up front and out there in is less subtle in story telling.
  • More hopeful of the future.
Example of U.K. Docudrama

Link - Threads
Codes & Conventions:
  • Lower budget, local actors + relatively unknown.
  • BBC made film with minimal budget.
  • Less special effects, more practical.
  • Subtle in it's story yet informative and factual.
  • Very grime outlook on the future for humanity.

Thursday, 2 March 2017

Unit 27: Factual Programme Techniques

LEARNING OUTCOMES
  1. Understand issues relating to factual programming for television.
  2. Understand codes and conventions of factual programming for television.
  3. Be able to plan and research a factual program for television.
  4. Be able to produce a factual program for television. 
UNIT CONTENT

Understand issues relating to factual programming for television:
  • Issues - accuracy; balance; impartiality; objectivity; subjectivity; opinion; bias; representation; access; privacy; contract with viewer etc.
Understand codes and conventions of factual programming for television:
  • News - studio news readers; field reporters; links to studio; mode of address to viewer; interviewing; experts and witnesses; report structure; actuality footage etc.
  • Documentary - documentary formats (expository, observational, interactive, reflexive, performative); realism; dramatisation; Ă«arrativisation etc.
Be able to plan and research a factual program for television:
  • Genres - news; documentary, eg docudrama, docusoap, infotainment, ‘reality’ TV, educational, wildlife, special interest, makeover; magazine; discussion; review; chat show.
  • Develop ideas - program concept; target audience; development techniques, eg creation of narrative, scenario, synopsis, research process, interview questions.
  • Research - primary sources, eg contacts, interviews; secondary sources, eg broadcasts, reviews, internet, archives; checking information.
  • Legal and ethical considerations - filming in public; clearances and permissions; privacy; libel and defamation; requirements of the Broadcasting Act 1994; BBC producers’ guidelines; Ofcom.
  • Planning - production organization  roles and responsibilities; schedules; interview and contacts appointments; location recess; budget (planned, evolving); risk assessments; documentation.
  • Proposal: subject idea; format; genre; style; audience; intended aim; budget.
Be able to produce a factual program for television:
  • Production techniques - filming (general views, interviews, cut-aways); graphics; scripted pieces to camera; studio; location; public space; sound (ambient sound, wild track, interviews, presenter’s descriptions, studio sound).
  • Production management - monitoring progress; identifying and solving problems; production organisation, eg call sheets, equipment booking, location management, logistics management
  • Editing: creating narrative; conveying meaning; illustrating topic.
Source: https://boadigital.files.wordpress.com/2011/09/unit-27-factual-programme-production-techniques-for-television.pdf

Examples of factual programs are shown in clips below.

Planet Earth - Documentary 


Newsnight - News


How Television Works - Educational


The Specials - Docusoap


Threads - Docudrama

Friday, 27 January 2017

Assignment 3: Guide to Development within TV & Film Industry

Assessor: Alan Sill
Hand-in deadline: 2nd February 2017 - via Turnitin
Unit: 8 - Understanding the TV and Film Industries
Scenario: You have been approached by a student magazine to produce a comprehensive guide to the television and film industry that provides information and debate. Within your guide you must include elucidated examples and consistently use subject terminology correctly. You must target the guide at students considering studying or working in the television and film industry.

TASK 1


You will comprehensively explain recent changes in technology within the industry and the impact of these developments, providing elucidated examples illustrated with appropriate images. This section will be entitled “Developing Technologies in Television and Film”. You must include the at least 8 of the following areas of developing technologies:

  • satellite and cable
  • analogue and digital
  • film-based
  • interactive
  • internet
  • high definition and ultra high definition
  • consumer products
  • streaming content
  • on-demand viewing
  • digital recorders
  • pay-per-view
TASK 2 - Getting to Grips with the Industry

You will:

  • Research ownership and funding of the TV and film industries 
  • Produce an powerpoint slideshow explaining their findings.
For each case study outline the following:
  • Ownership - public service; commercial; private; corporate; independent companies; global companies; vertical and horizontal integration; monopoly.
  • Funding - license fee; subscription; pay per view; sponsorship; advertising; product placement; private capital; financial aid; development funds. 


- Explain thoroughly and offer examples -
This assignment has been completed with both the help of Word and PowerPoint. Task 1 was completed via Word document, with Task 2 completed with the use of PowerPoint. They are to be submitted via Turnitin. 

Thursday, 5 January 2017

Assignment 2: Personal Career Development Material

TASK(s)

The following must be included for completion of this assignment:
  • Methods of Recruitment - fully explain how employers recruit.
  • Research presentation of employment and identify your skills and qualifications i.e. CV and personal statement, website etc. 
  • Career Plan - qualifications, skills and continuation of development must be included. 
- Use clear examples and explain thoroughly -

A majority of the material I will be using for the task may or may not be linked backed or referred to my assignment 2 tasks, as it has already covered a majority of what is needed for these tasks.

METHODS OF RECRUITMENT

As per my assignment 2 criteria and L.O., these are the following methods of recruitment:
  • national press; an organization for journalists and others professionally engaged in the production and dissemination of news.
  • trade press; work within a trade journal or professional magazine (and colloquially or disparagingly a trade rag), is a magazine whose target audience is people who work in a particular trade or industry.
  • internet; the world-wide web offers an abundance of opportunities. 
  • word of mouth; spoken communication as a means of transferring and learning new information.
  • personal contacts; emails, phone numbers and other means to get into contact or negotiations with those within the industry
  • internal promotion; being promoted within the field you work in and qualify for, to move up the career ladder so to speak
  • networking; interact with others to exchange information and develop professional or social contacts
  • trade fairs; attend these exhibitions from various media industrial organisations in order to make contacts and perhaps form a better networking system.
Methods of recruitment, of course, refers to how one can be applied within the media industry. 

PRESENTATION OF EMPLOYMENT

As for me, I have already applied to the following, as well as utilized these sites:
For verification of my LinkedIn and Media Volt accounts, see the images below.



This both shows of my media qualifications and the skills I already have, utilizing technology to my advantage. By applying to these accounts I can connect and network within individuals already in the industry, in order to 

CAREER PLAN

A majority of this has already been covered via my Career Path in the Media Industry post, as the following explains: 

Career and life interests?

Reading and writing; I want to write anything i.e. books, novels, scripts etc. I also love to follow politics and the ongoing international affairs of our everyday lives.

Values - motivation?

Libertarian leftist, according to my Political Compass quiz. I want to do good by other people but also entertain and offer something to the world. I believe in honesty, truth and integrity, as well as morality and principles.

Key strengths, skills & knowledge?

Writing is something I have always been consider good at and I pride myself on my literature skills. My knowledge most comes from when I follow politics and other global stories.

Personality, temperament? 

I'd like to think I'm patient and work well under pressure, being able to be analytical and critical of my own work. I can be described as somewhat of an extrovert, able to work with others and communicate yet also keeps to himself and remain quiet.

Transferable skills?

I can utilize IT and other technological equipment, as well as provide good analysis when it comes to written work. I have good organizational skills when it comes to individual and team work. Photoshop, Premiere among other apps such as Word and PowerPoint are at my hands. In addition, I have five GCSEs.

Career options?

Writer/Author or perhaps even a scriptwriter. These are the options that could be open to me in the Media industry. I already have a blog set-up on this very site, utilized to add my political commentary.

Outside of media work I also use Blogger to document my political beliefs, and hope to blog further in the future on the issues of politics. See my very own "The Intrinsic Blog" for further details. 

Friday, 16 December 2016

Assignment 2: Personal Career Plan

TASK

The objective of this assignment is to create a physical folder containing all the learning materials and print outs created through this task. This will be split in three sections:

A. Methods of recruitment - how does one enter the media industry?
B. Skills and qualifications - what is required to be recruited in the industry?
C. Presentation for employment & career development - a CV is necessary as well as other materials required for Media employment.

Section A

Two tasks:
  1. Explain the following methods of recruitment i.e. ways to find, apply and get a job within the industry. This can be through the national press, trade press or Internet.
  2. These three methods need explaining: word of mouth; personal contacts; networking. 
These tasks has been undertaken via the website creator Wix.com, and a separate section called "RESEARCH" sees work put in. This will all be printed off for my portfolio.

Section B

Two tasks:
  1. Creative Skill Set - this is to be included as a necessary brief. 
  2. Education - the required qualifications and necessary achievements need to be researched i.e. training schemes/apprenticeships.  
Links:


Again, this section of tasks will be accomplished via Wix.com using the editing tools.

Section C

This section will cover:
  • the employment and career developments researched throughout this assignment, and will compile all materials together. 
  • in addition, a CV is required to be completed specifically for this assignment. 
  • a job application form must also be created, for either a fictitious or non-fictitious job within the media industry. 
The majority of this section will already be completed by serving evidence towards completing the previous tasks i.e. research into method of recruitment and putting towards skills and qualifications (CV, portfolio etc.).

Links:
ONLINE NETWORKING:
Other detailed info on freelancing in TV:

Friday, 9 December 2016

Assignment 2: Criteria & L.O.

Link: https://qualifications.pearson.com/content/dam/pdf/BTEC-Nationals/Creative-Media-Production/2010/Specification/Unit_8_Understanding_the_Television_and_Film_Industries.pdf

This assignment should cover the following:

  1. Know about ownership and funding in the television and film industries.
  2. Understand developing technologies in the television and film industries.
  3. Be able to prepare personal career development material.
Ownership and funding in the television and film industries

Ownership: public service; commercial; private; corporate; independent companies; global companies; vertical and horizontal integration; monopoly 

Funding: license fee; subscription; pay per view; sponsorship; advertising; product placement; private capital; financial aid; development funds

Understand developing technologies in the television and film industries

Developing technologies: eg satellite, cable, analogue, digital, film-based, interactive, internet, high definition, consumer products, streaming content, on-demand viewing, digital recorders, pay per view

Be able to prepare personal career development material

Methods of recruitment: 
  • national press; an organization for journalists and others professionally engaged in the production and dissemination of news.
  • trade press; work within a trade journal or professional magazine (and colloquially or disparagingly a trade rag), is a magazine whose target audience is people who work in a particular trade or industry.
  • internet; the world-wide web offers an abundance of opportunities. 
  • word of mouth; spoken communication as a means of transferring and learning new information.
  • personal contacts; emails, phone numbers and other means to get into contact or negotiations with those within the industry
  • internal promotion; being promoted within the field you work in and qualify for, to move up the career ladder so to speak
  • networking; interact with others to exchange information and develop professional or social contacts
  • trade fairs; attend these exhibitions from various media industrial organisations in order to make contacts and perhaps form a better networking system.

Skills and qualifications: 
  • education and training, eg full-time, part-time, Level 2, Level 3, graduate; 
  • skills analysis (personal skills, technological skills, training needs, personal development plan); 
  • sources of information, eg Sector Skills Councils, trade unions, careers services 

Transferable skills: 
  • personal attributes, eg knowledge and skills, commitment, efficiency, reliability, punctuality, 
  • self-presentation; 
  • functional skills (ICT, Mathematics, English) 

Presentation for employment: 
  • portfolio; 
  • showreel; 
  • personal website; 
  • curriculum vitae (CV); 
  • application letters; 
  • interviewing skills; 
  • presentation skills; 
  • self-presentation (linguistic codes, dress codes, interpersonal skills); 
  • references 

Career development: 
  • training on the job; 
  • continuing professional development; 
  • self-training

Thursday, 8 December 2016

Assignment 2: Career Path in the Media Industry

Career Development Planning & Self Awareness

Career and life interests?

Reading and writing; I want to write anything i.e. books, novels, scripts etc. I also love to follow politics and the ongoing international affairs of our everyday lives.

Values - motivation?

Libertarian leftist, according to my Political Compass quiz. I want to do good by other people but also entertain and offer something to the world. I believe in honesty, truth and integrity, as well as morality and principles.

Key strengths, skills & knowledge?

Writing is something I have always been consider good at and I pride myself on my literature skills. My knowledge most comes from when I follow politics and other global stories.

Personality, temperament? 

I'd like to think I'm patient and work well under pressure, being able to be analytical and critical of my own work. I can be described as somewhat of an extrovert, able to work with others and communicate yet also keeps to himself and remain quiet.

Transferable skills?

I can utilize IT and other technological equipment, as well as provide good analysis when it comes to written work. I have good organizational skills when it comes to individual and team work. Photoshop, Premiere among other apps such as Word and Powerpoint are at my hands. In addition, I have five GCSEs.

Career options?

Writer/Author or perhaps even a scriptwriter. These are the options that could be open to me in the Media industry. I already have a blog set-up on this very site, utilized to add my political commentary.

Methods of Recruitment

Link: http://www.indeed.co.uk - a job hunter site.

An example would be a Senior Producer job role, shown below.


Others would include:
  1. Post-Production Runner
  2. PR Director
  3. Presenter
  4. Gaming Editor
  5. Senior Designer 
All of these pages have been printed off for research involving the current assignment.

This website too also offers job roles: http://www.mediavolt.co.uk

Website for my career path: http://www.wix.com 

In addition, I have set up a Linkedin account in order to get first hand experience at networking in media: https://www.linkedin.com 

Friday, 25 November 2016

Assignment 1: TV & Film Industry Booklet

Assessor: Alan Sill
Hand-in Deadline: 25th November, 1:15 pm (via Turnitin or email)
Unit: 8 - Understanding the Television and Film Industries
Scenario: "You have been approached by a student magazine to produce a comprehensive guide to the TV and film industry that provides information and debate. Within your guide you must include examples and consistently use subject terminology correctly."

TASK

In the first section of the article you will include:
  • a flowchart showing the responsibilities of those within the industry and how career paths can be built between jobs.
  • research the range of job roles within management, creative and technical areas in the TV and film industry.
  • cover what the roles involve, where they fit within the larger picture of the industry, responsibilities of the roles, and career pathways leading to and from the roles.
  • ensure that you include comprehensive information about working practices in the TV and film industry. 
  • must carry out thorough research into contractual issues and ethical and legal ones in the TV and film industries. 
  • findings of this research one to create the next section of "A Guide to the TV and Film Industries in 2016".
  • consider the use of diagrams, charts and pictures to illustrate research. 
For the making of this article, I shall be using Microsoft Word in order to successfully layout and print the material. Significant sites for information regarding the research:
The finished assignment will be emailed to Alan Sill via Sunderland College Moodle account. 

Friday, 18 November 2016

Funding In The TV & Film Industry

How a media company funds itself and what type of company ownership it has is important to the survival and durability of that company, as it can determine how much that company can make profits and for how long. We have already covered the different types of media ownership, such as:
  • Privately owned - a company whose shares may not be offered to the public for sale and which operates under legal requirements less strict than those for a public company.
  • Independently owned - a business that is free from outside control. It usually means a privately owned establishment, as opposed to a public limited company, the latter of which is owned by investment shares traded in the stock market. In many cases, independent businesses are sole proprietorship companies.
Key words/terminology to know:
  1. Ownership - the act, state, or right of possessing something.
  2. Funding - money provided, especially by an organization or government, for a particular purpose.
  3. License Fee - An amount of money paid by an individual or business to a government agency for the privilege of performing a certain service or engaging in a certain line of business OR a sum paid to use a copyrighted item, such as a photograph or logo, that is owned by someone else i.e. BBC. 
  4. Subscription - an arrangement to receive something, typically a publication, regularly by paying in advance i.e. SKY.
  5. PPV - a television service in which viewers are required to pay a fee in order to watch a specific program i.e. UFC, WWE.
  6. Sponsorship - financial support received from a sponsor i.e. Product placement. 
  7. Advertising - the activity or profession of producing advertisements for commercial products or services.
  8. Public Service - is a service which is provided by government to people living within its jurisdiction, either directly (through the public sector) or by financing provision of services i.e. BBC. 
  9. Independent Companies - a business that is free from outside control. It usually means a privately owned establishment, as opposed to a public limited company, the latter of which is owned by investment shares traded in the stock market. In many cases, independent businesses are sole proprietorship companies i.e. Love Productions. 
  10. Internet TV - is generally-available content distributed over the Internet. Unlike IPTV (Internet Protocol television), which is distributed over proprietary networks, Internet TV is available wherever a broadband connection exists. The two terms are often confused.
  11. Broadcaster - a person or organization, as a network or station, that broadcasts radio or television programs i.e. BBC, Channel 4.
  12. Private Company - a company whose shares may not be offered to the public for sale and which operates under legal requirements less strict than those for a public company i.e. ITV.
Private Investors 

In the film industry private investors often put forward their own money to pay for a production. An example is George Harrison, who put money into the famous Monty Python skits and The Beatles. Independent production companies can also invest in productions and put forward money. Other company owners may also put forward money to pay for productions they may believe will work. Investors like this will often ask fora percentage of the returns as part of their investment i.e. ROI ('Return On Investment'). 

Capital Investment 

Money invested in a TV/film production with an expectation of income, and recovered through earnings generated by the output of the product. It is generally understood to be used for overall expenses rather than for day-to-day operations (working capital) or other expenses. An example would be ITV's I'm a Celebrity. It is expected that earnings be made for several years over the product, should it be successful. People who invest this way may have an agreement with a company by which they recover their funds by a certain time (often after the products release). This could also include beneficial interest, shares in the production and ownership over creative rights. 

Financial Aid

A way of funding that is given in the form of grants, loans and scholarships. This would pay for the expenses and costs of a product while being paid i.e. National Lottery funding films, as well as the BFI (British Film Institute). It would also be used to pay for an individuals expenses and costs incurred whilst they are working on a film. 

Development Funds

This is when money is raised after a project has been pitched. This money can be given in the form of a loan or grant (not paid back). Film pitches, GoFundMe, Kickstarter and Indiegogo are examples of this. 


How much money does the average film cost?

There is no such thing as an average film cost of a film. They vary greatly dependent on a variety of factors, such as:
  • the production requirements (do they require hundreds of casts, elaborate sets, technical props, special FX and stunts).
  • rights - do they have the rights to the screenplay? This would cost money.
  • the previous success of the production company - do they have a reputation? Do they have independent finance to contribute or do they have a financial backer?
  • the amount of crew required.
  • the length of production.
  • the distribution and exhibition costs.
These all play into how much an overall production would cost. 

'The Blair Witch Project' (1999) cost a tiny $60,000 to make (Haxan Films). This was in part due to the production decisions made:
  • filmed in one location (the woods - minimal location required).
  • they used unknown actors (low costs).
  • used primitive filming equipment (hand-held cams, natural lighting).
  • minimized crew costs - actors filmed much of the film itself as it was documentary styled.
  • the trailed used minimal footage or effects.
It grossed $248.6 million at the box office, making it one of the most successful independent movies of all time. 

Comparing The Inbetweeners Movie (£3.5 million), X-Men: The Last Stand (£210 million) and Kidulthood's budgets (£600,000), one would have to evaluate why it would cost so much. That would be because of the differentiating costs for film crew, cast, the special effects needed and the backing of production companies that are necessary. 

X-Men of course would be the highest costing as it had to pay for big name actors such as Hugh Jackman and Patrick Stewart, as well as afford all the necessary special effects for and action-based superhero movie. Production companies included Marvel Entertainment, which executed the two previous X-Men movies, already profiting off-of those movies and building up a reputation. 

The Inbetweeners Movie falls in the middle as it no doubt made profits off its already successful TV series (further encouraging a sequel). This helped it already have popularity among viewers and enticed its audience to go and see it. It's actors of course or not as big as those featured in X-Men but are payed moderately and costs for crew and location (abroad) would be necessary. 

Kidulthood also benefitted from a niche audience and was backed by Revolver Entertainment, who have worked in collusion with the BBC in the past. Very local being based in London and uses relatively low-key actors and actresses. Location being very close to home make for easier production of movie and eases the budget.

Film Financing 

The producer (e.g. the studio or production company) must secure funding before the production of the film, before filming starts. The problems with this is that it is hard to predict how much (if any) money a film will make. There are various legal and procedural problems in securing rights to a film property. Some of these issues may include:
  • Copyright - the exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material.
  • Plagiarism - the practice of taking someone else's work or ideas and passing them off as one's own.
  • Contracts - written or spoken agreements, especially one concerning employment, sales, or tenancy, that is intended to be enforceable by law.
  • Clauses - a particular and separate article, stipulation, or proviso in a treaty, bill, or contract.
Government Grants

Grants are provided by Government Schemes designed to encourage creativity and new talent. A film production can benefit a country in a number of ways:
  • employment opportunities 
  • development of culture
  • advertising a location to an international audience, encouraging travel and tourism
Difference between a grant and loan? A loan is payed back overtime while a grant is not; it is granted, not loaned.

Tax Schemes

There are benefits to a country in having a major film release shot on their shores. The UK introduced the Producer's Tax Credit in 2007 to help entice film producers to the UK. It offers a direct cash subsidy to producers choosing to shoot in the UK. This has helped to bring in large scale productions to the UK. These film tax credits can only be applied when the correct procedural processes have been completed.

Tax Shelters

In the UK, they allow those who invest in UK films to pay less tax, provided the film be shot in Britain and employs a far proportion of British actors and crew. As a result of this, many American films choose to shoot at British studios such as Pinewood and Shepparton. This also helped to attract large scale US productions to the UK. The UK Tax Shelter for Film Investment in 2007. 

Pre-Sales

Involves the producers selling the right to distribute the film before it is made - this is the most common method of film financing. In order to secure their investment, distributors will expect certain elements that are likely to guarantee success. These may include 'marquee' names or some kind of change to a film to make it more commercially tenable. If a 'star' leaves the film for any reason, this would often result in the funding for a film being pulled, as with Terry Gilliam's The Man Who Killed Don Quixote' (2002). It is still stuck in development hell to this day, with actors constantly pulling out of production and funding requirements never being met. 

Pre-sales are usually done by territory i.e. Europe, Australia etc. They can also be made of DVD or TV distribution rights. This is especially likely to be the case if the movie studio distributing the film is part of the same conglomerate as a TV station. 

The following movies attracted investments and helped secure the funding for production:
  1. Titanic - $200,000,000 
  2. Spiderman 2 - $200,000,000
  3. Waterworld - $175,000,000
  4. The Wild, Wild West - $175,000,000
  5. Van Helsing - $170,000,000
  6. Terminator 3 - $170,000,000
  7. Troy - $150,000,000


Highest-Grossing Films of All Time