reasearch for game trailers (module 1 revision)

Grand Theft Auto 5 Trailer Analysis:

M - Lots of fades used, then moving on to a lot of fast paced cuts, connoting or foreshadowing how the game will be a fast paced action game.

In - Game trailer, advert, Rockstar North (producer of the game).

G - Game, Action/adventure.

Rep - The character/protagonist is represented to be powerful through low angle shots, however the city (new york) is also represented as powerful, through the low angle shots of the skyscrapers, connoting a powerful character in a powerful city, causing a reaction, a conflict between the two. The civilians within the game are represented to be vulnerable, through the birds eye shot of them.

A - Even though the game is rated 18, it is targeted at 15-25year old, who are fans of all the GTA games, they have a high disposable income.

I -

N - Enigma codes (Barhtes) are raised, such questions are asked like:

1. Who is the character & what is his role?
2. What is he going to do in the game?
3. What is his story? -Link- What made him come to this city?
4. What is the storyline?
   

Guitar Hero 3 Trailer Analysis:

Fifa 08 Trailer Analysis

Need For Speed Pro Street trailer Analysis:

Lego Star Wars: Comlete Saga Trailer Analysis:

Link to Practical Production Blog

Here is the link to my practical production blog, it is also my mates Avneet, Rosanne & Maninder. http://www.underdogs2008.blogspot.com

Representation Of Black People In Coach Carter

Black people are represented to be the following in coach carter:

1. Hooligans - the violence that we see


2. Lower class citizens - the houses are run-down and of a low quality, yet we can also see this from the characters attitude.


3. Gang Members - the groups of men


4. Druggies - the smoking, also we see one of the characters dealing drugs for his cousin


5. Uneducated citizens - most of the characters do not attend school


6. Poor - the quality of the houses, once again the characters attitudes, one of the quotes that is ironic and represents the stereotype of being poor, 'we ain't that broke!'

Most of these representations are due to the surrounding area, possibly due to the low quality housing that is built in area's that are called the ghetto, which are infamously renowned for there bad qualities or standards of living, such as burnt down cars on the streets; graffiti on the walls; derelict buildings; etc. In a way the story line is similar to the film 'Bullet Boy', people trying to leave a certain lifestyle. However in the film we see a new type of representation, a black man who is a coach for the school basketball team, Mr.Carter who is played by Samuel Jackson, he is portrayed as the protagonist of the movie, or the hero, he also represents a role model for black males. He motivates and adopts rules into the school in order to break down certain stereotypes of black male youths, in some ways he succeeds.

Reasearch On Two Different Movies

Film : Babylon:

Director
Franco Rosso
Production Company
Diversity Music
National Film Finance Corporation
Chrysalis Group
Lee Electric (Lighting)
Producer
Gavrik Losey
Script
Martin Stellman
Franco Rosso
Photography
Chris Menges
Music
Dennis Bovell
Brinsley Forde ("Blue" David); Karl Howman (Ronnie); Trevor Laird ("Beefy"); Brian Bovell ("Spark"); Victor Romero Evans ("Lover")

A young Rastafarian toaster (rapper) with Reggae Sound System Ital Lion, hopes to rise above the trials of his daily life and succeed at a Sound System competition.

London circa 1980. Margaret Thatcher is newly installed in 10 Downing Street, causing fits of gloom in the theatre, film and television world. Punk rock is making a noisy exit from the music scene, to be succeeded by the easier-on-the-ear mod and ska revival. Then along comes Babylon (1980 d. Franco Rosso). Notwithstanding the X certificate, and the questionable use of subtitles, Babylon was an instant classic, akin to that other legendary reggae music film, The Harder They Come (Jamaica, d. Perry Henzell, 1972).
Babylon is a potent mix of music and social commentary, flawlessly photographed by the celebrated Chris Menges (Local Hero, 1983; The Killing Fields, 1984; The Mission, 1986) and with an extraordinary 'starry' cast headed by actor-musician Brinsley Forde (Brinsley Dan) as 'Blue', the alienated young man at the heart of the story. British born of Guyanese parents, Forde was a successful child actor (The Magnificent Six and ½, ITV, 1968-71 and The Double Deckers, BBC, 1970-71), later joining British reggae group Aswad.
Screenwriter Martin Stellman (Quadrophenia, d. Franc Roddam, 1979) and director Franco Rosso (Dread, Beat An'Blood, tx. BBC, 7/6/79) have crafted a superb, truthful film that stands up more than twenty years later.
Set predominantly in South London, it presents a portrait of the young black community in London different from the tabloid stereotype. These black people are not muggers, rapists or chronic thieves. They are ordinary young black guys at the sharp end of inner city survival with dreams and fears of ordinary young people in general. Except of course that just like the subletted garage where they house their equipment and play their tunes, their lives are hemmed in by the predictability of poverty, disillusion and the randomness of violence that can erupt at any time.
The final scene, in which police raid the dancehall while Blue and the sound system defiantly plays on, is both frightening and euphoric.


Film: Territories

Director -Isaac Julien
Production Company
Sankofa Film And Video

St. Martin's College Of Art

R.P.M. Film Studios
Textual extracts
Edward Braithwaite

Michelle Cliff

Paul Gilroy

Kobena Mercer
Cast: Maureen Blackwood, Andrea Julien, Kevin Graal, Nadine Marsh-Edwards, Antonia Thomas (Voices Off-Screen); Colin Newman, Bertram, Bruno, Pedro, Peoples War Sound System (Players)

An experimental documentary about black culture. Critiques the ways traditional media represent black people and portrays the Notting Hill Carnival as an event about resistance.

Isaac Julien's Territories uses experimental forms to look at life in Britain in 1984, focusing on the experience of the Black British. The film recognises that the different power dynamics that determine this experience are difficult to reduce to straightforward explanations and instead uses the term 'territories' to reflect the multiple agendas and experiences at work. These agendas - or 'territories' - involve race, class and sexuality.
The film explores these ideas in different ways. In part one it considers the example of carnival, noting how mainstream culture reduces this complex cultural event by labeling it as a remainder or reminder of an ancient retrogressive custom. Julien's film instead suggests that carnival provides an opportunity for the issues of race and class to be worked through and explored by the carnival participants on each and every occasion. This point is illustrated with a brief history of the Notting Hill Carnival, including a series of police clashes in the carnivals of 1976 and in the year of the film's production. Another example is the implementation of compulsory police passes for carnival-goers - here ideological restrictions are turned into physical limitations. (Similar feelings were explored in the contemporary documentary 'Struggles for Black Community: Ladbroke Grove/Notting Hill', People to People, Channel 4, tx. 29/8/1984.)
The film reinforces its message by breaking up its own narrative through change and repetition, and by acknowledging both racial and sexual perspectives. It presents images of two black men giving loving embraces, refers to the 'his-stories' and 'her-stories' contained in history and has both a man and a woman deliver the same narration. This identification of different perspectives breaks the monologue of a male dominated history and emphasises the conflict of voices that make up the world in which we live. The matter of gender also disrupts the male 'territories' of the film's director.
A similar effect is created through the mixing of sound and image, both in their own realms and with each other. In the second part of the film, different images, including archival footage, plus different music, are repeated and cut against each other, like a DJ mixing records, to fracture the monolithic colonising voice. This self-referential juxtaposition also illustrates the supportive role of film in the agendas of race, class and sexuality. In this respect, Territories identifies and critiques the fact that language itself also carries 'territories' or agendas.