drive

• film provides lack of depth and it is disjunctive in emotion, 'the kid' shows no empathy towards killing the gangsters - hyperreal viewpoint towards the realness of death.
• representation of LA - birds eye view and de-populated, 
• baudrillards simulacra: previous knowledge gained from the media that LA is very populous and glamorous. 
• fairytale element - slowmo and golden glow, ie. in elevator scene. 
• contrasts representation of LA in film, 
• exaggerated hyperreality - audience decodes from previous cultural knowledge. 
• Mise en scene manipulates audiences perception of time, - difficult to recognise; contradicting features e.g. modern race cars / retro cars. 
• no direct indicator of time = confusion = pomo
• ambiguity - uninformed throughout film.
• creates new parallel universe 

• mixture of genres - form of bricolage 
• river scene - romance - idealistic view - utopian view 
• opening credits = hot pink in title sequence references 'risky business' teen comedy drama in 1983. this colour also links to electric pop scene 
• the colour undermines 'the kids' masculinity, pink is associated with women, could be showing that the kid has a softer side. 
• Intertextuality - video game medium i.e. grant theft auto, LA violence, birds eye view, unnatural shot, hyperreal world. 
• Levi strauss concept of bricolage; deletion of dialogue, leaves audience deciphering meaning through facial expressions / body language. 
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Narrative

What is the narrative structure of the production?
how do specific elements of the production relate to the narrative structure?
does the proaction adhere or subvert narrative conventions?
how does the narrative support the establishment of the chosen genre of the production?
how have narrative techniques been used? refer to enigma, multi strand, restricted, unrestricted, non linear etc.

"narrative is way of organising data into a cause and effect chain of events with a beginning, middle, and end" (edward branigan)

"narrative is an important source of reassurance in this hostile universe" (kruger et al)

Intro

what is the traditional type of narrative for your genre / type of product? how did you find this out? 

what other real texts did you look at that helped you work this out? 

have you used linear / non linear narrative, where and why? 

Main

How have you used the following to signify / communicate the narrative of your film / music video? 

• camera - give several examples of real shot / movements you used
• editing - give several examples of real transitions / effects you used. 
• sound - give several examples of real sounds, music dialogue you used. 
• mise en scene - give several examples of real locations, costumes, and props. 
• narrative enigma, where have you included this in your opening sequence and why is it important?

conclusion 

Explain what audiences thought of your narrative, was it clear? could it have been better? how? 

Theorists 

Thinks that in music videos the narrative often links to the lyrics and the tempo of the music, how did you do this? - Andrew goodwin.

Question 1

A question that requires students to describe and evaluate the development of their skills over the course of their as production work and  a2 production work.

-digital technology
- creativity
- research and planning
- post-production.
- using conventions of real media texts.

Marshall McLuhan

in 1964 he coined the phrase 'the medium is the message'
by this he means the way any message is communicated is more important than the message itself.

Roseau's 6 contradictions in postmodernism theory

1. its anti -theoretical position is essentially a theoretical stance.
2. postmodernism stresses the irrational instruments of reason are freely employed to advance to its perspective.
3. the postmodernists prescription to focus on the marginal itself an evaluative emphasis of precisely of the sorts that it attacks.
4. its stresses intertextuality but often treats texts in isolation.
5. By rejecting modern criteria for assessing theory, then cannot argue that there is no valid criteria for judgement.
6. they also criticise the inconsistency of modernism but refuse to be held to norms of consistency itself.

Examples of hyperreality

- films in which characters and settings are either digitally enhanced or created entirely from CGI e.g. the film 300 was filmed entirely in front of a blue screen.

- a well manicured garden (nature as hyperreal)

- professional sports athletes as super, invincible versions of human beings.

- Many fake places around the world, e.g. disney land, Las vegas.

- TV and film in general, especially reality TV, due to its creation of a world of fantasy and its dependence that the viewer will engage with these fantasy worlds, the current trend is to glamorise the mundane using histrionics.

- A retail store that looks completely stocked and perfect due to facing, creating a world of endless identical products.

- A high end sex doll used as a simulacrum of an unattainable partner.

- A newly made building or item designed to look old, or to recreate or reproduce an older artefact, by simulating the feeling of age or ageing.

Baudrillard - theorist

 Developed the ideas of McLuhan to the point where it is possible to deny that the message under the medium has any substance at all. Therefore the audience comes to perceive through the media a world that appears real but is not.

In some ways this reflects what Rene Magritte painted in 1928, in his work called the 'treachery of images' (quite clearly a painting of a pipe) the caption of the painting is 'This is not a pipe' (in french), our eyes tell us it is a pipe because we are used to decoding images, colour and perspective, but it is not a pipe as it cannot be smoked.

Baudrillard and simulacra 
- copies of historical events and landmarks
- fantasyland at disneyland - copies various disney films and books e.g peter pan.
- Umberto Eco said that "we enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its peak and afterwards reality will always be inferior to it"

Disneyland and simulacra and simulation
- both Umberto Eco and Jean Baudrillard refer to disneyland as an exemplar of hyperreality. Eco believes that disneyland with its setting such as mainstreet and full sized houses has been made to look "absolutely realistic" "taking visitors imaginations to a fantastic past"

- this false reality creates an illusion and makes it more desirable for people to buy this reality, the fake animals like alligators and hippos are all available to people in disneyland for everyone to see. The "fake nature" of disneyland satisfies our imagination and daydream fantasies in real life, therefore they seem more admirable and attractive.

- In his work simulacra and simulation, baudrillard argues that the 'imaginary world" of disneyland  magnetises people inside and has been presented as "imaginary" to make people believe that all its surrounding are real. But he believes that the los angeles area is not real, therefore making this hyperreal.

Baudrilard and hypereality
-Hyperreality is an exaggeration of something that existed into something that is so perfect its a fantasy e.g. disneyland.
- he believed that the media reality is the reality today, e.g. we all want an xmas tree, but everyone wants the perfect ones they see on the adverts
- you see photoshopped women in magazines, so that you have a fantasy women that is very far removed from what real women are like.


- in the postmodern world, media texts make visible and challenge ideas of truth and reality removing the illusion that films, music videos, or any media text can ever accurately or neutrally reproduce reality or truth
- there are competing versions of truth and postmodern films explore this.