In what way does your media product use, develop and challenge forms and conventions, mention real media product?
Switch falls into the genre of comedy with elements of action. The forms and conventions were thought about very carefully as forms and conventions play a huge role within the movie as our finishing product may not have followed the forms and conventions of a comedy movie. Comedy usually consist of recurring characters in a format in which there are one or more humorous story lines centred around a common environment, such as a family home or workplace in switch’s case on the street and in a hotel room, the definition gives me imagery of our film as we have two main protagonist who consists on making money and goes to extreme lengths as Frank and Charlie are not the brightest bulbs this is where the genre comedy kicks in, but the action only takes place later on in the movie when they result to selling fake drugs. Switch uses the codes and conventions in our opening sequence we have certain technical references to the movie ‘Snatch’ as we edited some of our frames to make the shots freeze for our title sequence and also by changing the speed of certain scenes this helped keep the element of comedy it starts out quick with the opening sequence of the Frank and Charlie running in the hallway and then slowly slows down with the scenes outside and fastens up again towards the climax then there mission is accomplished. But still including action which is where the sound is also similar as in the opening scene the sound is very upbeat which helps make the montage more effective. We also envisioned our split screens to be like ‘CSI’ this was challenged as usually split screens are used to show different scenes but instead chose to include the same scene but from different angles this was to signify the climax of the film when the drug deal takes place. Our film comprises of the typical duo category which reminded us of the film ‘Dumb and dumber’ as its funny for its jokes and for its visual comedy, there’s always one who’s more smart than the other in this case is frank which we viewed as the blind leading the blind. We also developed the idea of the film ‘Dumb and dumber’ by making Frank come up with all the cunning ideas for the schemes but always wants Charlie by his side taking part in these cunning schemes. In reminiscent of or film the film ‘Superbad’ had references to one of our scenes there is a change of costume Frank and Charlie are wearing suits, In ‘Superbad’ we also see the duo act changing costume. We developed this idea whilst in post-production we changed the scene from colour to black and white.
Switch uses the typical idea of girl’s scouts selling cookies to raise money which is usually for charity or for a good cause, but challenged the idea by using two grown men who are not very intelligent hence why they are selling cookies and not looking for a job and are too greedy to even consider charity. Our film also challenged technical forms and conventions by including a variety of different music which we experimented with when changing scenes e.g. making the volume louder or quieter and fading the music, this is so the scenes would run smoothly without any abrupt sounds this may have worked if we was making a horror film but as our film include comedy and action the fading worked to our advantage. The film ‘Pulp fiction’ reminds us of our non-linear editing as our film does not run in order which ‘pulp fiction’ neither does and also we include cuts to black screens and titles which would introduce the day and time which could be like ‘CSI’. However I also believe we developed forms and conventions of real media products by using things such as a text instead of dialogue throughout most of our film, the idea of using text came about when we first found out we were making silent movies but we didn’t just want to do the typical thing by adding text to the bottom of the page we developed this by adding black screens and text with a border which allowed us to capture the whole slapstick comedy idea and gave it a 1960’s feel which alone is challenging the typical forms and conventions of the genre comedy. switch challenged the comedy and action genre as i strongly believe that we used several scenes which enraptured the idea of several schemes and not conforming to the ability of Frank and Charlie but working as a strength to make our film more effective and follow, develop and challenge most aspects of our film. As a whole I am pleased with the entire film appearance and sound and was able to make similar links to the real media industry.
Wednesday, 15 December 2010
Sunday, 12 December 2010
Story ideas
Story ideas
In our group we came up with different stories that we thought would make a good film. we came up with many stories however when we told the class we got feedback that they were mostly too gloomy and that it would be hard to make a scary film therefore we have to brighten them up. one of our stories was of a girl that gives a boy a pen and then the boy gets all obsessed over her, however to make it more brighter I thought that we should tell the story from the the Boys' point of view and therefore he just likes her and just follows her because he loves her, but although he scares the girl he would never hurt her and he doesn't intend to scare her.
Another story that we thought would work is a story about a suicide note. A girl starts off writing the suicide note and we see flashbacks of all the events that she is writing on the note, and she wants to kill herself because she thinks that no one likes her and she is not even noticed anywhere, its as if she doesnt even exist. But when she is writing the note and she is thinking of all the events that happened in her life she realises that she was never actually alone because although not having any friends the common factor of all the flashbacks was her mother, everytime she was upset and crying her mother always stood by her.
We also thought of a story with a pregnant teenager who goes through so much as her family and friends are against the baby. Howverer then we thought that the story was too common and it wouldn't be as good as we would want it to be
In our group we came up with different stories that we thought would make a good film. we came up with many stories however when we told the class we got feedback that they were mostly too gloomy and that it would be hard to make a scary film therefore we have to brighten them up. one of our stories was of a girl that gives a boy a pen and then the boy gets all obsessed over her, however to make it more brighter I thought that we should tell the story from the the Boys' point of view and therefore he just likes her and just follows her because he loves her, but although he scares the girl he would never hurt her and he doesn't intend to scare her.
Another story that we thought would work is a story about a suicide note. A girl starts off writing the suicide note and we see flashbacks of all the events that she is writing on the note, and she wants to kill herself because she thinks that no one likes her and she is not even noticed anywhere, its as if she doesnt even exist. But when she is writing the note and she is thinking of all the events that happened in her life she realises that she was never actually alone because although not having any friends the common factor of all the flashbacks was her mother, everytime she was upset and crying her mother always stood by her.
We also thought of a story with a pregnant teenager who goes through so much as her family and friends are against the baby. Howverer then we thought that the story was too common and it wouldn't be as good as we would want it to be
Treatment: Switch
Title: SWITCH
Tagline: How far will you go for a bit of cash?
Pitch: 20 year old Charlie and 26 year old Frank are desperate for cash after seeing a car they want for sale at a hefty £6000. Not bieng the brightest bulbs they take out quick money making schemes that fail; one after the other. Until they resort to 'The Switch'.
Treatment: The film opens on Day 3 of the SWITCH with the pair running for their lives down a corridor (angry looking gangsters in the background). Then flashing back to Day 1 we see their initial reason for their thirst for cash as the two see a car for sale that they really want. Needing to gather £6000 fast and dealing with unemployment and a lack of qualifications they soon realise they have a problem.
Standing there pondering their options, Charlie pulls out a half eaten cookie from his pocket and Frank is instantly hit by an ingenious idea. (lightbulb animation) Selling cookies!
Frank feels that selling cookies will earn them a lot of quick cash and so they go door to door attempting to sell them. However, door after door the customers are not interested and Charlie gets punched in the eye by the last potential customer! (montage of doors slamming, point of view shots from door)
Seeing Charlie clucth at his eye in pain, Frank is inspire to stage a fake charity (lightbulb animation) conning money out of people who think they are helping 'blind' Charlie. Frank grabs the attention of the only man walking down the street whilst Charlie shakes his money pot at him. However, the man is not the slightest bit interested and flashes a dirty look whilst putting his hood up. Charlie, forgetting momentarily that he is blind, shakes his fist at the passer by and Frank hits him to encourage him to stay in role. As they watch the man walk away they hear a screeching sound of a car apporaching and see it pull up next to the man they encountered. They see what SEEMS to be an inappropriate drug deal and this is where Frank is hit by his best idea yet - The Switch. Frank is convinced that if they cut a slice of a drug deal they will have more than enough money to buy the car. So they go home and gather together a bundle of drugs. Flour and sugar. Believing that this is a sure in way to make some cash, they fix themselves up to look the part (switching costumes) and go to meet 'Big Pete' the hardest gangster on the estate.
The meeting place and time is sorted and the two find themselves in a hotel room across the table from Big Pete who is willing to give them the money they need in exchange for the 'drugs'. The deal goes well, until Big Pete does a taste test and finds that the drugs taste a little sweeter than they should and their cover is blown. Frank literally blows the 'drug' in Big Pete's face and the two make a run for it. Running for their lives they get free and the film ends with both Frank and Charlie high fiving each other with the breifcase full of money in sight.
Credits roll with numerous pictures of the double act in their new car.
Poster Research
Before i started to research i thought about the types off films that were similar to "SWITCH" and i found that though out post production the film "Hangover" forever popped up in my head, So i researched "Hangover posters" and this poster came up i like it as it uses minimal text and the character is the centre of attention which is good to signify importance within relationship to the film. i also like the idea of using a caption line the purpose of this to give the audience a clue to what the film is about without giving it completely away.
i found some other posters which were similar to the first one i found i also like these ones as they kept the continuity of the posters similar just using different characters and different captions i found this very funny which is also a hint that the film is a very humorous film, i also found that the facial expressions of each character are completely different this gave a sense of the character personality which also created a humorous factor.
I also found this image which i love the border as it pulls everything together and give the film the look of a high production film, it also adds to the world of the film as it gives the feel of being cool and money with the idea of having light bulbs
which suggest hollywood.
I also thought about researching billboards for "Hangover" and managed to come across this image i thought the random objects within the poster gave clues which suggests the plot of the film, this is very significant in "SWITCH" as many schemes are planned within the film and are not the most obvious ways of making money.
Another movie that reminds me of "SWITCH" is "White Chick" as there is a double act and one character is more dumb than the other. This poster also includes a simplistic layout with the main characters in the centre of the poster.
Billboard poster
As i was making my third poster i was considering ways of how to make this third poster different from the rest and thought of making a Billboard poster.
Switch Poster
When taking the pictures for my posters i thought of similar body positions that related to our film as towards the end of our film Frank and Charlie both hi five each other which i think is a really important frame within our film as it establishes mission accomplished and shows success which isn't usual for Frank and Charlie.
Switch poster 2
This is my first poster i considered the plot of the story and thought carefully about the usage of my colour as i include a fade black border this represented secrecy as Frank and Charlie are forever planning schemes to be able to afford the one car, I also include red in the main title "SWITCH" as the titles in our movie are similar and i wanted to keep them in the same family this also relates to the effects i used as though out the film we used many effects.
Wednesday, 1 December 2010
Tuesday, 30 November 2010
Monday, 8 November 2010
Feedback from Switch rehearsal
We met at the school and walked down to the set which is about 5 minutes from the school and qued our characters when to say a line and when to walk this helped because we could now picture how the film would look espicially as i am the assistant camera person and in charge of continuity this now gave me insight on how fast and organised we need to be for our filming days automatically i knew what was going to happen next when it came to the script. We came across a couple of complications as the road we where planning to film on would get rather busy which would interupt with filming as a result we found a similar road which was close to our original road but was much more quite. Also we had timing issues which is a good reason for having rehearsal so that we could direct our cast when to say there lines so there would be no confusion and we can save a lot of time from this and another problem was that around 3:30 to 4:00 it started to get dark this means that all our day time shots will have to be either in the morning or early afternoon which is where i made minor adjustments to our shooting schedule.
Monday, 1 November 2010
Switch Titles
I researched different fonts and came across this website www.dafont.com that has great fonts for our movie'Switch'as our film is a slapstick comedy this website specifically had a font genre called comic which had a variety of different fonts, some very humorous and some a bit more serious heres some example which i thought would help the audience relate to the movie and understand the humor;
The first font is called Komika poster.
The second font is called Slapstick comic.
The Third font is called Badaboom.
The fourth font is called Que font.
The fifth font is called Shake and bake.
The first font is called Komika poster.
The second font is called Slapstick comic.
The Third font is called Badaboom.
The fourth font is called Que font.
The fifth font is called Shake and bake.
Sunday, 31 October 2010
Switch Draft script
SCENE 1
INT: Poorly lit hotel room
Black screen reads DAY 3, 4:00pm
The scene opens with a birds eye view of two groups of people opposite each other with a table in the middle, and two breifcases in front of them. Frank is sitting on one side with Charlie standing behind him whilst "Big Pete", who is in fact a skinny, scrawny little man, is sitting opposite with a muscly male character behind him. Both Frank and Big Pete exchange unsure and suspicious glances. Big Pete then slightly opens his briefcase revealing a mass amount of cash inside. As Frank's eyes light up, Pete slams the case shut. In retatliation to this, Frank opens his case slightly to present what appears to be bags upon bags of crack cocaine. Big Pete doesn't hesitate to reach out for the goods and so Frank suddenly slams the suitcase shut too. A few more tense looks are given by the characters as the characters slide their briefcases across the table to initiate a switch. As soon as the case of money is in Franks hands there is a cut away of Frank and Charlie sprinting down a corridor, leaving Big Pete standing helplessly at the doorway shaking his fists at the pair. Triumphant music is played and there are numerous two shots of the pair comically running away. Frank trying to hold on to his hat and the briefcase whilst Charlie is just trying to not fall over! They both look at each other, still running, and laugh at what the have just achieved.
A black screen then reads DAY 1: 11:08am
SCENE 2
EXT: Street in Estate in which they live
Frank and Charlie are walking down the street hands in their pockets kicking a can and wasting time as usual. When suddenly Frank spots a "FOR SALE" sign on a car window that he likes the look of. He goes towards it to get a better look and we see a close up of the sign selling the car for £6000. He ponders the idea of how to get money whilst rubbing his chin imagining how good it would be to have this car and finally have something to do with his days! Meanwhile, Charlie is uninterested and just looking at the car because Frank is. out of no where, Charlie pulls out a cookie and there is a slow motion extreme close up of him taking a bite. Like lightning, Frank is hit with, what he deems to be, a flawless idea! Clicking his fingers and expressing his excitement to Charlie he jumps around and points to the cookie as if the plan should be obvious! Frank runs off screen to put his plan into action whilst Charlie, still very confused, carries on eating his cookie. Frank walks back into the shot and as he drags Charlie out a black out comes in from the side.
SCENE 3
EXT: Street in Estate they live
"DING DONG!!" (sound of doorbell)
A door opens to find Frank and Charlie standing there wearing banners reading "cookies" and they are holding a box each. Frank holds out his hand (implying payment) as Charlie thrusts the box of cookies at the camera (act as a customer - point of view shot) The camera/ customer shakes his head and shuts the door. Another doorbell sounds and the same thing happens again in a different house. A third doorbell rings and this time when they answer the door, Frank and Charlie are on their knees begging for just one box of cookies to be bought, but the customer just doesn't want to know. The pleading expression on Charlie's face becomes even more desperate as he stands up and takes a step closer to the camera. This threatens the customer and he punches Charlie in the face. Once again Frank is struck by a brilliant idea (as this one failed) and as he clicks his fingers a black screen ends the scene.
SCENE 3
EXT: A street in the area they live
The scene opens with a black screen fade, revealing Charlie, bandaged round his eyes and clutching at a (help the blind) box. Frank is with him and almost like a trader of a market stall, trying to pull in punters to give them money. Long shots are then taken of the surrounding road and it is clear that there is no one around so they sit down. All of a sudden, a young man aged 20 or 30 comes along and Frank is instantly up and begging for cash for his poor friend. Charlie gets up with his arms out stretched as if he cannot see the young man, blindly suggesting he put money in the box. The man pulls up his hood and continues to walk. Charlie then throws the box on the floor, pulls down his bandage and shakes his fist at the unknown man. Frank immediately nudges him, insisting he puts the bandage back over his eyes and he shuffles quickly to do it. When he does he begins to walk with his hands out as if he really is blind. Whilst Charlie is walking around like that, Frank observes the man that they had just encountered. He crossed the road and is now talking into the window of a car. Frank clicks his fingers and the scene fades to black.
SCENE 4 (SCENE 1 again but now in order of the story, SCENE 4)
INT: Poorly lit hotel room
The scene opens with a birds eye view of two groups of people opposite each other with a table in the middle, and two breifcases in front of them. Frank is sitting on one side with Charlie standing behind him whilst "Big Pete", who is in fact a skinny, scrawny little man, is sitting opposite with a muscly male character behind him. Both Frank and Big Pete exchange unsure and suspicious glances. Big Pete then slightly opens his briefcase revealing a mass amount of cash inside. As Frank's eyes light up, Pete slams the case shut. In retatliation to this, Frank opens his case slightly to present what appears to be bags upon bags of crack cocaine. Big Pete doesn't hesitate to reach out for the goods and so Frank suddenly slams the suitcase shut too. A few more tense looks are given by the characters as the characters slide their briefcases across the table to initiate a switch. Frank opens the case fully and he is laughing and high fiving Charlie as they finally have the money needed for the car. Big Pete opens his case fully and with a smug smile takes out on of the bags. Frank and Charlie freeze as they watch Pete's actions closely. Slowly, Pete opens a bag and empties some of the contents into his hand... there is then a cut away to Frank losening his colar of his shirt and he gulps (sound of gulp). Pete licks the tip of his pinky finger and dabs it into the powder. As this happens, a black and white flashback is shown of Frank and Charlie laughing their heads off, filling plastic sandwich bags of flour. Then back to real time (slow motion) Pete tastes the powder on his finger. The film then goes back into normal paced filming and Frank aggressively blows the powder into Pete's face; blinding him temporarily. Frank and Charlie make a dash for the door and we then see the pair running out from the outside. Triumphant music is played and there are numerous two shots of the pair comically running away. Frank trying to hold on to his hat and the briefcase whilst Charlie is just trying to not fall over! They both look at each other, still running, and laugh at what the have just achieved. The scene 9and film) end with a freeze frame of them running and laughing at each other.
ROLL CREDITS
As the credits are being shown there are numerous pictures of them with the car they bought.
INT: Poorly lit hotel room
Black screen reads DAY 3, 4:00pm
The scene opens with a birds eye view of two groups of people opposite each other with a table in the middle, and two breifcases in front of them. Frank is sitting on one side with Charlie standing behind him whilst "Big Pete", who is in fact a skinny, scrawny little man, is sitting opposite with a muscly male character behind him. Both Frank and Big Pete exchange unsure and suspicious glances. Big Pete then slightly opens his briefcase revealing a mass amount of cash inside. As Frank's eyes light up, Pete slams the case shut. In retatliation to this, Frank opens his case slightly to present what appears to be bags upon bags of crack cocaine. Big Pete doesn't hesitate to reach out for the goods and so Frank suddenly slams the suitcase shut too. A few more tense looks are given by the characters as the characters slide their briefcases across the table to initiate a switch. As soon as the case of money is in Franks hands there is a cut away of Frank and Charlie sprinting down a corridor, leaving Big Pete standing helplessly at the doorway shaking his fists at the pair. Triumphant music is played and there are numerous two shots of the pair comically running away. Frank trying to hold on to his hat and the briefcase whilst Charlie is just trying to not fall over! They both look at each other, still running, and laugh at what the have just achieved.
A black screen then reads DAY 1: 11:08am
SCENE 2
EXT: Street in Estate in which they live
Frank and Charlie are walking down the street hands in their pockets kicking a can and wasting time as usual. When suddenly Frank spots a "FOR SALE" sign on a car window that he likes the look of. He goes towards it to get a better look and we see a close up of the sign selling the car for £6000. He ponders the idea of how to get money whilst rubbing his chin imagining how good it would be to have this car and finally have something to do with his days! Meanwhile, Charlie is uninterested and just looking at the car because Frank is. out of no where, Charlie pulls out a cookie and there is a slow motion extreme close up of him taking a bite. Like lightning, Frank is hit with, what he deems to be, a flawless idea! Clicking his fingers and expressing his excitement to Charlie he jumps around and points to the cookie as if the plan should be obvious! Frank runs off screen to put his plan into action whilst Charlie, still very confused, carries on eating his cookie. Frank walks back into the shot and as he drags Charlie out a black out comes in from the side.
SCENE 3
EXT: Street in Estate they live
"DING DONG!!" (sound of doorbell)
A door opens to find Frank and Charlie standing there wearing banners reading "cookies" and they are holding a box each. Frank holds out his hand (implying payment) as Charlie thrusts the box of cookies at the camera (act as a customer - point of view shot) The camera/ customer shakes his head and shuts the door. Another doorbell sounds and the same thing happens again in a different house. A third doorbell rings and this time when they answer the door, Frank and Charlie are on their knees begging for just one box of cookies to be bought, but the customer just doesn't want to know. The pleading expression on Charlie's face becomes even more desperate as he stands up and takes a step closer to the camera. This threatens the customer and he punches Charlie in the face. Once again Frank is struck by a brilliant idea (as this one failed) and as he clicks his fingers a black screen ends the scene.
SCENE 3
EXT: A street in the area they live
The scene opens with a black screen fade, revealing Charlie, bandaged round his eyes and clutching at a (help the blind) box. Frank is with him and almost like a trader of a market stall, trying to pull in punters to give them money. Long shots are then taken of the surrounding road and it is clear that there is no one around so they sit down. All of a sudden, a young man aged 20 or 30 comes along and Frank is instantly up and begging for cash for his poor friend. Charlie gets up with his arms out stretched as if he cannot see the young man, blindly suggesting he put money in the box. The man pulls up his hood and continues to walk. Charlie then throws the box on the floor, pulls down his bandage and shakes his fist at the unknown man. Frank immediately nudges him, insisting he puts the bandage back over his eyes and he shuffles quickly to do it. When he does he begins to walk with his hands out as if he really is blind. Whilst Charlie is walking around like that, Frank observes the man that they had just encountered. He crossed the road and is now talking into the window of a car. Frank clicks his fingers and the scene fades to black.
SCENE 4 (SCENE 1 again but now in order of the story, SCENE 4)
INT: Poorly lit hotel room
The scene opens with a birds eye view of two groups of people opposite each other with a table in the middle, and two breifcases in front of them. Frank is sitting on one side with Charlie standing behind him whilst "Big Pete", who is in fact a skinny, scrawny little man, is sitting opposite with a muscly male character behind him. Both Frank and Big Pete exchange unsure and suspicious glances. Big Pete then slightly opens his briefcase revealing a mass amount of cash inside. As Frank's eyes light up, Pete slams the case shut. In retatliation to this, Frank opens his case slightly to present what appears to be bags upon bags of crack cocaine. Big Pete doesn't hesitate to reach out for the goods and so Frank suddenly slams the suitcase shut too. A few more tense looks are given by the characters as the characters slide their briefcases across the table to initiate a switch. Frank opens the case fully and he is laughing and high fiving Charlie as they finally have the money needed for the car. Big Pete opens his case fully and with a smug smile takes out on of the bags. Frank and Charlie freeze as they watch Pete's actions closely. Slowly, Pete opens a bag and empties some of the contents into his hand... there is then a cut away to Frank losening his colar of his shirt and he gulps (sound of gulp). Pete licks the tip of his pinky finger and dabs it into the powder. As this happens, a black and white flashback is shown of Frank and Charlie laughing their heads off, filling plastic sandwich bags of flour. Then back to real time (slow motion) Pete tastes the powder on his finger. The film then goes back into normal paced filming and Frank aggressively blows the powder into Pete's face; blinding him temporarily. Frank and Charlie make a dash for the door and we then see the pair running out from the outside. Triumphant music is played and there are numerous two shots of the pair comically running away. Frank trying to hold on to his hat and the briefcase whilst Charlie is just trying to not fall over! They both look at each other, still running, and laugh at what the have just achieved. The scene 9and film) end with a freeze frame of them running and laughing at each other.
ROLL CREDITS
As the credits are being shown there are numerous pictures of them with the car they bought.
Final Script
SCENE 1
INT: Hotel room.
Black screen with title reading DAY 3: 3.28pm
Frank and Charlie sit uncomfortably at a table clutching a briefcase. As the camera turns a large gangster type, Big Pete, is revealed with his bodyguard holding his suitcase.
(No audio)Big Pete: so what ave' you got for me lads.(Frank and Charlie look at each other
Frank: What ave' you got for us (trying to act hard)
Big Pete looks at his bodyguards and they all burst out in hysterical laughter at the lads attempts, who also join in with a nervous laugh. Big Pete and his body guards all stop at once, leaving Frank and Charlie still laughing. They stop. Big Pete grabs the suitcase and opens it on the table to reveal that it's full of money. Charlie reaches over to touch the money, but Big Pete slams it shut before he can and demands a looks in their suitcase. Franks nods at Charlie to open the suitcase (away from camera) as Big Pete reaches over to grab the suitcase, Charlie, thinking it is normal procedure, also slams the suitcase shut.
Cut away to empty corridor, and Frank and Charlie come sprinting out of the far door. As they run down the corridor towards camera, we see both Big Pete and bodyguards in back wiping their faces and chasing the pair furiously. Extreme close ups of running feet in corridor and down the stairs with action soundtrack playing over the top.
SCENE 2 -For Sale
EXT: Estate
Black title screen: DAY 1 11.38am
Frank and Charlie are walking down the street and they begin to mess about pushing each other, as Charlie continues Frank stops beside a car. A poster in the car window reads: "CAR FOR SALE £6000". Charlie goes backs to Frank and they both nod at each other, realising that this is the car that they have always wanted. The two jump up and down and hi5 each other, but Frank stops jumping noticing the price of the car. He points at the price of the car to Charlie and they turn out their pockets hoping they have enough on them. They don’t. (Close up of the contents of their pockets: coppers, buttons, gum and a kinder egg and a half eaten cookie. Seeing the cookie Charlie nibbles it as they put the contents back into their pocket. Frank is at first annoyed at Charlie’s disregards for the price of the car as he is more interested in his stale cookie so he knocks it out of Charlie hand, then realises it’s the source of his first cunning idea.
Light bulb graphic as Franks face lights up whilst thinking of his idea.
He picks up the cookie and gives it back to Charlie, then walks out of frame to start on his scheme. Charlie is left in frame and looks around to see if anyone is watching, and then shamelessly continues to nibble the dirty cookie, and he is dragged out of frame by Franks arm.
End.
SCENE 3 - Cookie sales
EXT: Estate
(Doorbell) A door opens from the inside and reveals Frank and Charlie on the doorstep with a tray of cookies stretched out. The pair smiling broadly yet creepily and are wearing homemade sash spelling 'Brownies' across their dingy clothes.
Both: COOKIES! (SMILING)They rustle the tray towards the camera and the door slams shut on them.
Split screen of three doors. Each frame showing Frank and Charlie attempting to sell cookies and one after the other the door slams.
Fade to black
Charlie and Frank walk down the street tired and disappointed from their lack of sales. Frank turns to look at Charlie and sees him nibbling the cookie. Charlie offers Frank one. Frank gets annoyed and flicks him in the eye (flicking sound) and turns to walk aways. Charlie tries to follow him still blinded walks into a lamppost. Frank looks back. (Light bulb animation)
Charlie and Frank walk past the camera. Close up of Franks face.
Scene 4
EXT. Residential Estate
Title screen reads DAY 2: 11.51am
The camera zooms out from Franks face to reveal Charlie bandaged up for the Blind man scam.
(Sound of money pot)
Bucket reads ‘Help the blind boy’ cutaway to Empty Street (cricket sound)
Frankie and Charlie seem to have given up and Frank sees someone coming in the distance. Frank hits Charlie to get back into roll. As the man approaches Frank hold the bucket up to him but his attempt fails as the man just sniggers and walks past.
Frank and Charlie are annoyed at the mans gestures. Frank shouts back at the man. Charlie copies. The man stops turns and flinches at them whilst scowling. Frank and Charlie both jump back. As Charlie continues to act blind Frank watches where the man as he walks up to a car and exchanges packages at the car window. Frank squints and sees large wad of cash. Frank is shocked at large amount of money frank grabs Charlie and follows man. Frank and Charlie are well hidden as they follow the man around street corners and into a swanky hotel.
Arrive at room 28. Still well hidden they notice the man drop a package as he walks into a suite. Frank rushes to pick it up and opens it to find a bag of drugs inside; believing that this is what got the man his big wad of cash. (Light bulb animation) Frank gets his final idea. The door to the suite then opens behind Frank and the same man is standing there looking at the pair.
MAN: You two? You been followin’ me?!
FRANK: (nervously) na, na, na we’re here for the same reason you are…
MAN: You here to see Big Pete?
FRANK: Erm, yeah.
MAN: What you got?
Frank reveals the package he just picked up and the man looks inside, surprised that Frank has drugs.
FRANK: There’s plenty more where that came from.
MAN: Come back tomorrow and you better deliver. Try and scrub up a bit too yeah?
(Camera shows Franks appearance)
SCENE 5 (Replay of scene 1)
INT: Hotel corridor/room.
Black screen with title reading DAY 3: 3.28pm
(Sound of ‘groovy’ 70s music) Frank and Charlie strut down the corridor in their new suits, Charlie holding the briefcase full of “goods” as Frank signals to let him do all the talking. The door opens and the man (bodyguard type) is standing there. Man laughs as he shakes his head at their outfits and the pair enters the room.
Frank and Charlie sit uncomfortably at a table clutching a briefcase. As the camera turns a large gangster type, Big Pete, is revealed with his bodyguard holding his suitcase.
(No audio)Big Pete: You got the stuff?(Frank and Charlie look at each other)
Frank: Yeah we got it (trying to act hard)
Big Pete looks at his bodyguards and they all burst out in hysterical laughter at the lads attempts, who also join in with a nervous laugh. Big Pete and his body guards all stop at once, leaving Frank and Charlie still laughing. They stop. Big Pete grabs the suitcase and opens it on the table to reveal that it's full of money. Charlie reaches over to touch the money, but Big Pete slams it shut before he can and demands a looks in their suitcase. Frank nods at Charlie to open the suitcase (away from camera) as Big Pete reaches over to grab the suitcase, Charlie, thinking it is normal procedure, also slams the suitcase shut. Suspicious glances are exchanged as they slowly slide the briefcases across the table to one another. As soon as Frank has hold of the briefcase full of money, he and Charlie open it celebrating and high fiving. Frank stops dead and darts a look at Big Pete, who has also opened his briefcase, and emptied the contents of a bag into his hand for a taste test. As Big Pete dips his Pinky finger in the “drugs” and raises it towards his mouth there is a FLASHBACK – Showing Frank and Charlie laughing and filling sandwich bags with flour and sugar (make clear to audience). The scene then snaps back to real time and Big Pete’s’ finger reaches his mouth. Frank panics. Close ups of Pete’s face as he tastes the flour (slow motion). Frank then has a shocked and worried expression, he gasps. The slow motion images stop and Frank blows the “drugs” in Big Pete’s face, grabs the money and scrambles out the room.
Cut away to empty corridor, and Frank and Charlie come sprinting out of the door. (Triumphant music) As they run down the corridor towards camera, we see both Big Pete and bodyguards in background wiping their faces and chasing the pair furiously. Extreme close ups of running feet in corridor and down the stairs. Frank and Charlie manage to out run the bodyguard. In an act of celebration, they jump and high five each other. Images freezes, slowly fades to black and the credits roll. Images are then shown of them buying the car and being in it etc.
END
INT: Hotel room.
Black screen with title reading DAY 3: 3.28pm
Frank and Charlie sit uncomfortably at a table clutching a briefcase. As the camera turns a large gangster type, Big Pete, is revealed with his bodyguard holding his suitcase.
(No audio)Big Pete: so what ave' you got for me lads.(Frank and Charlie look at each other
Frank: What ave' you got for us (trying to act hard)
Big Pete looks at his bodyguards and they all burst out in hysterical laughter at the lads attempts, who also join in with a nervous laugh. Big Pete and his body guards all stop at once, leaving Frank and Charlie still laughing. They stop. Big Pete grabs the suitcase and opens it on the table to reveal that it's full of money. Charlie reaches over to touch the money, but Big Pete slams it shut before he can and demands a looks in their suitcase. Franks nods at Charlie to open the suitcase (away from camera) as Big Pete reaches over to grab the suitcase, Charlie, thinking it is normal procedure, also slams the suitcase shut.
Cut away to empty corridor, and Frank and Charlie come sprinting out of the far door. As they run down the corridor towards camera, we see both Big Pete and bodyguards in back wiping their faces and chasing the pair furiously. Extreme close ups of running feet in corridor and down the stairs with action soundtrack playing over the top.
SCENE 2 -For Sale
EXT: Estate
Black title screen: DAY 1 11.38am
Frank and Charlie are walking down the street and they begin to mess about pushing each other, as Charlie continues Frank stops beside a car. A poster in the car window reads: "CAR FOR SALE £6000". Charlie goes backs to Frank and they both nod at each other, realising that this is the car that they have always wanted. The two jump up and down and hi5 each other, but Frank stops jumping noticing the price of the car. He points at the price of the car to Charlie and they turn out their pockets hoping they have enough on them. They don’t. (Close up of the contents of their pockets: coppers, buttons, gum and a kinder egg and a half eaten cookie. Seeing the cookie Charlie nibbles it as they put the contents back into their pocket. Frank is at first annoyed at Charlie’s disregards for the price of the car as he is more interested in his stale cookie so he knocks it out of Charlie hand, then realises it’s the source of his first cunning idea.
Light bulb graphic as Franks face lights up whilst thinking of his idea.
He picks up the cookie and gives it back to Charlie, then walks out of frame to start on his scheme. Charlie is left in frame and looks around to see if anyone is watching, and then shamelessly continues to nibble the dirty cookie, and he is dragged out of frame by Franks arm.
End.
SCENE 3 - Cookie sales
EXT: Estate
(Doorbell) A door opens from the inside and reveals Frank and Charlie on the doorstep with a tray of cookies stretched out. The pair smiling broadly yet creepily and are wearing homemade sash spelling 'Brownies' across their dingy clothes.
Both: COOKIES! (SMILING)They rustle the tray towards the camera and the door slams shut on them.
Split screen of three doors. Each frame showing Frank and Charlie attempting to sell cookies and one after the other the door slams.
Fade to black
Charlie and Frank walk down the street tired and disappointed from their lack of sales. Frank turns to look at Charlie and sees him nibbling the cookie. Charlie offers Frank one. Frank gets annoyed and flicks him in the eye (flicking sound) and turns to walk aways. Charlie tries to follow him still blinded walks into a lamppost. Frank looks back. (Light bulb animation)
Charlie and Frank walk past the camera. Close up of Franks face.
Scene 4
EXT. Residential Estate
Title screen reads DAY 2: 11.51am
The camera zooms out from Franks face to reveal Charlie bandaged up for the Blind man scam.
(Sound of money pot)
Bucket reads ‘Help the blind boy’ cutaway to Empty Street (cricket sound)
Frankie and Charlie seem to have given up and Frank sees someone coming in the distance. Frank hits Charlie to get back into roll. As the man approaches Frank hold the bucket up to him but his attempt fails as the man just sniggers and walks past.
Frank and Charlie are annoyed at the mans gestures. Frank shouts back at the man. Charlie copies. The man stops turns and flinches at them whilst scowling. Frank and Charlie both jump back. As Charlie continues to act blind Frank watches where the man as he walks up to a car and exchanges packages at the car window. Frank squints and sees large wad of cash. Frank is shocked at large amount of money frank grabs Charlie and follows man. Frank and Charlie are well hidden as they follow the man around street corners and into a swanky hotel.
Arrive at room 28. Still well hidden they notice the man drop a package as he walks into a suite. Frank rushes to pick it up and opens it to find a bag of drugs inside; believing that this is what got the man his big wad of cash. (Light bulb animation) Frank gets his final idea. The door to the suite then opens behind Frank and the same man is standing there looking at the pair.
MAN: You two? You been followin’ me?!
FRANK: (nervously) na, na, na we’re here for the same reason you are…
MAN: You here to see Big Pete?
FRANK: Erm, yeah.
MAN: What you got?
Frank reveals the package he just picked up and the man looks inside, surprised that Frank has drugs.
FRANK: There’s plenty more where that came from.
MAN: Come back tomorrow and you better deliver. Try and scrub up a bit too yeah?
(Camera shows Franks appearance)
SCENE 5 (Replay of scene 1)
INT: Hotel corridor/room.
Black screen with title reading DAY 3: 3.28pm
(Sound of ‘groovy’ 70s music) Frank and Charlie strut down the corridor in their new suits, Charlie holding the briefcase full of “goods” as Frank signals to let him do all the talking. The door opens and the man (bodyguard type) is standing there. Man laughs as he shakes his head at their outfits and the pair enters the room.
Frank and Charlie sit uncomfortably at a table clutching a briefcase. As the camera turns a large gangster type, Big Pete, is revealed with his bodyguard holding his suitcase.
(No audio)Big Pete: You got the stuff?(Frank and Charlie look at each other)
Frank: Yeah we got it (trying to act hard)
Big Pete looks at his bodyguards and they all burst out in hysterical laughter at the lads attempts, who also join in with a nervous laugh. Big Pete and his body guards all stop at once, leaving Frank and Charlie still laughing. They stop. Big Pete grabs the suitcase and opens it on the table to reveal that it's full of money. Charlie reaches over to touch the money, but Big Pete slams it shut before he can and demands a looks in their suitcase. Frank nods at Charlie to open the suitcase (away from camera) as Big Pete reaches over to grab the suitcase, Charlie, thinking it is normal procedure, also slams the suitcase shut. Suspicious glances are exchanged as they slowly slide the briefcases across the table to one another. As soon as Frank has hold of the briefcase full of money, he and Charlie open it celebrating and high fiving. Frank stops dead and darts a look at Big Pete, who has also opened his briefcase, and emptied the contents of a bag into his hand for a taste test. As Big Pete dips his Pinky finger in the “drugs” and raises it towards his mouth there is a FLASHBACK – Showing Frank and Charlie laughing and filling sandwich bags with flour and sugar (make clear to audience). The scene then snaps back to real time and Big Pete’s’ finger reaches his mouth. Frank panics. Close ups of Pete’s face as he tastes the flour (slow motion). Frank then has a shocked and worried expression, he gasps. The slow motion images stop and Frank blows the “drugs” in Big Pete’s face, grabs the money and scrambles out the room.
Cut away to empty corridor, and Frank and Charlie come sprinting out of the door. (Triumphant music) As they run down the corridor towards camera, we see both Big Pete and bodyguards in background wiping their faces and chasing the pair furiously. Extreme close ups of running feet in corridor and down the stairs. Frank and Charlie manage to out run the bodyguard. In an act of celebration, they jump and high five each other. Images freezes, slowly fades to black and the credits roll. Images are then shown of them buying the car and being in it etc.
END
Monday, 4 October 2010
Treatment 1- When your gone.
Tagline:Does true love truly die?
Steve returns home from a hard day at work hoping to see his wife and daughter waiting for him at the front door, reality sets in and realises that his wife and son past away a month ago. Every night he would cook a meal and set out a table for three, his lack of consciousness and refusal of acceptance would lead him to living in an alternative reality.
Steve returns home from a hard day at work hoping to see his wife and daughter waiting for him at the front door, reality sets in and realises that his wife and son past away a month ago. Every night he would cook a meal and set out a table for three, his lack of consciousness and refusal of acceptance would lead him to living in an alternative reality.
Thursday, 23 September 2010
Dark Knight Advertisement Poster
Heres a series of advertisement posters for Dark Knight the same font, colours are used.
Empire review; Eat Pray Love
Heres a Empire review of the new movie Eat Pray Love, This research was to get an insight on the format of reviews so when it comes to making my review for my film it can look professional.
Sunday, 19 September 2010
Friday, 17 September 2010
River thames creative image 1
This photo was taken by the river thames in beckton, i like the way i captured the reflection of the light in the river and how the buildings blend into the sky.
Liverpool Street Building creative image 2
This shot was taken in liverpool street, i found this building fasinating as the windows look like doors which relates to "THE FALL" and the idea of escapism and reminded me that as we grow life gets harder and the only person you can really rely on is yourself.
Brick Lane creative image 3
This photograph was taken down brick lane, the image of the man standing on the dog contradicts the concept of "A man is a dogs best friend". The picture also represents the power and authority a man holds over his family as men are normally the main form of income and also are normally the main figure that the other family members would look to for safety and protection.
Triangle building creative image 4
The triangle windows create a tile affect as if the building is a flat surface leading towards the sky
Thursday, 16 September 2010
Wednesday, 15 September 2010
Law Abiding Citizens
http://www.youtube.com/watch?v=uTk7w7vG1dI Youtube would not allow me to embed this link onto my page therefore the address is attached.
Seven Pounds
When i was first given the task to ask myself what does "THE FALL" mean to me instantly i thought of death as a process of struggle which also made me think about suicide as "THE FALL" could be someones mental state. I had imagery of "THE FALL" being at your lowest point where the only escape to peace is death this could be due to a loss of someone or something, as in the video above "Will Smith" who play the main character "Ben Thomas" loses his will to live and blames himself for his wifes death and six other victims therefore he feels he needs to redeem himself by giving seven other people another chance to live but by doing so ends with the emotional death of his own.
Monday, 13 September 2010
Tom and the Twenties- Silent movie
As we are are looking at silent movies in A2 Media Studies i used this opportunity to upload one that uses text and is also in black and white grain effect.
The fall (Trailer)
In media we watched the fall as the film tells the story in a creative and beautiful way, there are a lot of dramatic scenes which i thoroughly enjoyed watching as the movie was unpredictable and exciting.
Physical theatre
Physical theatre is used to describe any mode of performance that pursues storytelling or drama through primarily and secondarily physical and mental means. There are several quite distinct but indistinct traditions of performance which all describe themselves using the term "physical theatre", which has led to a lot of confusion as to what the definition of physical theatre actually is.
Physical theatre may utilize pre-text, but the primary focus is on the physical work of the actors, expressed through the use of their bodies. It is a highly visual form of theatre. The action in physical theatre may have a psychological base, or symbolic resonance, or point to an emotional centre, or have a clear storyline miming, or any combination of the above, and it may grow out of codified forms, improvisational work, or invented gestural language, among other means of creation. However, the means of expression are always primarily physical rather than textual.
Some analysts believe that physical theatre was influenced by Bertolt Brecht Dympha Callery suggests that despite the problematic use of the definition of physical theatre, some common characteristics may occur - though she stresses that these examples should not be seen as either exhaustive or that all are necessary all the time.
These include:
Physical theatre may utilize pre-text, but the primary focus is on the physical work of the actors, expressed through the use of their bodies. It is a highly visual form of theatre. The action in physical theatre may have a psychological base, or symbolic resonance, or point to an emotional centre, or have a clear storyline miming, or any combination of the above, and it may grow out of codified forms, improvisational work, or invented gestural language, among other means of creation. However, the means of expression are always primarily physical rather than textual.
Some analysts believe that physical theatre was influenced by Bertolt Brecht Dympha Callery suggests that despite the problematic use of the definition of physical theatre, some common characteristics may occur - though she stresses that these examples should not be seen as either exhaustive or that all are necessary all the time.
These include:
Method Acting
Method acting is another way of telling a story but through action and emotions a phrase that loosely refers to a family of techniques by which actors try to create in themselves the thoughts and emotions of their characters in an effort to develop lifelike performances. It can be contrasted with more classical forms of acting, in which actors simulate thoughts and emotions through external means, such as vocal intonation or facial expression. Though not all Method actors use the same approach, the "method" in Method acting usually refers to the practice, advocated by Lee Strasberg, by which actors draw upon their own emotions and memories in their portrayals, aided by a set of exercises and practices including sense memory and affective memory.
Method actors are often characterized as immersing themselves in their characters to the extent that they continue to portray them even offstage or off-camera for the duration of a project. However, this is a popular misconception. While some actors have employed this approach, it is generally not taught as part of the Method.
Method acting has been described as "revolutionizing American theater." While classical acting instruction "had focused on developing external talents," the Method was "the first systematized training that also developed internal abilities (sensory, psychological, emotional)."[1]
Method acting continues to evolve, with many contemporary acting teachers, schools, and colleges teaching an integrated approach that draws from several different schools of thought about acting.
Method actors are often characterized as immersing themselves in their characters to the extent that they continue to portray them even offstage or off-camera for the duration of a project. However, this is a popular misconception. While some actors have employed this approach, it is generally not taught as part of the Method.
Method acting has been described as "revolutionizing American theater." While classical acting instruction "had focused on developing external talents," the Method was "the first systematized training that also developed internal abilities (sensory, psychological, emotional)."[1]
Method acting continues to evolve, with many contemporary acting teachers, schools, and colleges teaching an integrated approach that draws from several different schools of thought about acting.
Brandy feat Ray J Another Day In Paradise (Stargate Remix)
I chose this song as another example of storytelling thoughout a song and a creative and interesting way of gaining awareness.
Black eyed peas- Where is the love
I uploaded this video as the song includes a message whilst telling a story.(Where is the love)
Radio drama
Radio drama is a form of audio storytelling broadcast on radio. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the story.
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama lost some of its popularity, and in some countries, has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums.
As of 2006, radio drama has had a minimal presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and BBC Radio 7. Drama is aired daily on Radio 4 in the form of afternoon plays, a Friday evening play, short dramas included in the daily Woman's Hour program, Saturday plays and Sunday classic serials. On Radio 3 there is Sunday evening drama and, in the slot reserved for experimental drama, The Wire. The drama output on Radio 7, which consists predominantly of archived programs, is chiefly composed of comedy, thrillers and science fiction. Podcasting has also offered the means of creating new radio dramas, in addition to the distribution of vintage programs.
The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama" with one notable distinction: audio drama or audio theatre is not intended specifically for broadcast on radio. Audio drama, whether newly produced or OTR classics, can be found on CDs, cassette tapes, podcasts, webcasts and conventional broadcast radio. "Radio drama documentaries" are also called "feature".
Thanks to advances in digital recording and internet distribution, radio drama is experiencing a revival.
A example of Radio Drama:
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama lost some of its popularity, and in some countries, has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums.
As of 2006, radio drama has had a minimal presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and BBC Radio 7. Drama is aired daily on Radio 4 in the form of afternoon plays, a Friday evening play, short dramas included in the daily Woman's Hour program, Saturday plays and Sunday classic serials. On Radio 3 there is Sunday evening drama and, in the slot reserved for experimental drama, The Wire. The drama output on Radio 7, which consists predominantly of archived programs, is chiefly composed of comedy, thrillers and science fiction. Podcasting has also offered the means of creating new radio dramas, in addition to the distribution of vintage programs.
The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama" with one notable distinction: audio drama or audio theatre is not intended specifically for broadcast on radio. Audio drama, whether newly produced or OTR classics, can be found on CDs, cassette tapes, podcasts, webcasts and conventional broadcast radio. "Radio drama documentaries" are also called "feature".
Thanks to advances in digital recording and internet distribution, radio drama is experiencing a revival.
A example of Radio Drama:
Festivals
Storytelling festivals feature the work of several storytellers. Elements of the oral storytelling art form include visualization (the seeing of images in the mind's eye), and vocal and bodily gestures. In many ways, the art of storytelling draws upon other art forms such as acting, oral interpretation, and performance studies.
Several storytelling organizations started in the US during the 1970s. National Association for the Perpetuation and Preservation of Storytelling (NAPPS), now the National Storytelling Network and the International Storytelling Center. NSN is a professional organization that helps to organize resources for tellers and festival planners. The ISC runs the National Storytelling Festival in Jonesborough, TN.[6] Australia followed their American counterparts with the establishment of storytelling guilds in the late 1970s. Australian storytelling today has individuals and groups across the country.
As of 2009, there are dozens of storytelling festivals and hundreds of professional storytellers around the world, and an international celebration of the art on World storytelling day.
Several storytelling organizations started in the US during the 1970s. National Association for the Perpetuation and Preservation of Storytelling (NAPPS), now the National Storytelling Network and the International Storytelling Center. NSN is a professional organization that helps to organize resources for tellers and festival planners. The ISC runs the National Storytelling Festival in Jonesborough, TN.[6] Australia followed their American counterparts with the establishment of storytelling guilds in the late 1970s. Australian storytelling today has individuals and groups across the country.
As of 2009, there are dozens of storytelling festivals and hundreds of professional storytellers around the world, and an international celebration of the art on World storytelling day.
Aesthetics
The art of narrative is by definition an aesthetic enterprise, and there are a number of aesthetic elements that typically interact in well-developed stories. Such elements include the essential idea of narrative structure, with identifiable beginnings, middles and ends or exposition-development-climax-resolution-denouement, normally constructed into coherent plot lines; a strong focus on temporality that includes retention of the past, attention to present action and protention/future anticipation; a substantial focus on characters and characterization which is “arguably the most important single component of the novel”[4]; a given heterogloss of different voices dialogically at play—“the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers possesses a narrator or narrator-like voice, which by definition “addresses” and “interacts with” reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and other at other times much more visible, “arguing” for and against various positions; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (see Hayden White, Metahistory for expansion of this idea); is often enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc. to other literatures; and commonly demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince becoming in character and community.
Finding your story-weird and wacky stories
LA LLORONA (really creepy story)from Mexico
Sesame Street - African Story about the Sun and the Moon
Vampires Suck Trailer- REALLY FUNNY!
Crazy Simpson-Scary Stories
Sesame Street - African Story about the Sun and the Moon
Vampires Suck Trailer- REALLY FUNNY!
Crazy Simpson-Scary Stories
Laura Simms (USA)
Laura Simms is an internationally renowned storyteller and performance artist. Born in Brooklyn, she has been a major force in the renaissance of storytelling as an art in America since 1968. Her stories range from traditional fairytale, myth epic and folklore from Egypt, Persia, South Africa and Tibet, to contemporary true-life tales. Laura’s major performance works have included, ‘The Seven Princesses’, a retelling of Nizami’s stories within story; ‘Women and Wild Animals’ a collage of ancient myth, poetry and fairytale in honour of the earth and the feminine principle; and ‘Persephone Ascending’ a retelling of the myth of Demeter and Persephone with true life stories. Her work is spontaneous poetry and narrative, often accompanied by uncanny vocalisations, gesture and characterisation.
Riveting child and adult audiences alike, Laura has performed extensively in theatres, colleges, festivals and schools throughout the USA, Europe, Taiwan and New Zealand. She is currently involved with long-term projects supporting Romany culture in Romania. Laura is much respected as a scholar of oral traditions and teacher of storytelling. Her audio and audio-visual recordings have gained many awards.
Punaram Nishad (India)
Pandvani is perhaps the most powerful and highly developed form of contemporary Performance Storytelling in the world. It has evolved over centuries in Madhya Pradesh and Punaram Nishad is considered one of the greatest exponents of this art. He was the first pupil of the late Jhadu Ram Dewangan – father of the modern school of Pandvani singing.
Backed by four musicians he sings, tells, dances, mimes, chants and acts stories from the great Hindu epic, the Mahabharata. The full cycle is usually told over eighteen evenings in three hour-long sessions. The musicians and Pandvani singers work in a tight, fast moving, call and response relationship. Punaram accompanies himself with a single stringed Tambura and the musicians play Tabla and Kanguri (drums), Kartals (tiny cymbals) and a portable harmonium. (See also Ritu Verna, below). Punaram does not speak English and his performance in a regional dialect of Hindi would need mediating by a UK resident storyteller.
Gcina Mhlophe (South Africa)
Gcina Mhlophe is South Africa’s most celebrated oral storyteller. She has worked since the early 1980s, as an actress and director for theatre, film and television, as a writer of plays, poetry and story (which are published extensively) and as a performance poet and storyteller. She is also involved in training and directing storytellers and other narrative based artists.
Gcina passionately combines ancient and contemporary stories, poetry and songs into programmes of great emotional depth. Her performances reflect a profound cultural re-awakening within South Africa and it is thanks largely to her efforts that African Storytelling is now experiencing a huge resurgence in the country.
Gcina tours both within South Africa and internationally. In 2004 alone she was visiting lecturer at University of Cape Town, conducting Storytelling workshops with second year drama students; she visited schools and universities in Brazil on the invitation of the RSA High Commissioner; participated in the hosting of iBbY Congress in South Africa; undertook an Italian tour to promote the 'Story of Mazanendaba' and toured the UK for the promotion of South African literature, as part of the celebration of 'Ten Years of Democracy'.
In 2005 Gcina performed her show 'Touch the Past, Feel the Future' as part of the 'Thrones of Freedom' series of storytelling for adults, at the Barbican Centre in London.
Gcina has won numerous literature, storytelling and heritage awards, including a 'Lifetime Achievement Award' for her 'Contributions to Traditional Arts' in 2004, and she sports two honorary doctorates for literature, from the London Open University, and the University of Natal, RSA. Gcina Speaks Zulu, Xhosa, English, Sotho
Robert Greygrass (USA First Nation)
Robert grew up in Hayward, California - far from his mother's Lakota and Cherokee roots. He experienced many of the problems facing urban Indians. As a young adult seeking a better way of life, he started to explore his Lakota heritage and began to turn his life around. What followed were years of traditional spiritual practices; sweats, vision quests, Sundance, listening to the Elders, learning the language, history, stories, and years of activism with the American Indian Cultural Centre. Along the way he rediscovered his love for acting and storytelling. Robert has worked with at-risk youth on reservations, in schools, summer camps and shelters, for over fifteen years. He has lectured and performed in festivals, theatres, universities, community colleges throughout the U.S.A. Robert performs in English.
Murat Cobanoglu (Turkey)
Murat Cobanoglu is an Ashik – or minstrel – he works in tandem with Seref Tasliova (see Below). Murat was born in Kars, on the Russian-Turkish border in 1940. His grandfather and father were both famous Ashiks. Murat’s mother died when he was just three years old, and with his father often away performing, his childhood was not a happy one. When he was fourteen he was taking a herd of cattle up to the high grazing grounds and stopped for a rest by a spring. He drank water from the spring and fell into a deep sleep. In his dreams, a beautiful girl offered him a cup of sweet drink. When Murat awoke, it was the following morning and his head was full of strange rhythms and ringing words.
Many Ashiks have this dream, in which they are given the potion of divine love by a muse: they receive the gift of making spontaneous poetry which is till believed to be a supernatural power. Ashiks having had this experience are known as ‘Badeli Ashiks’: ‘they who have drunk from the cup’.
Murat took up his father’s saz and soon excelled himself. He became a champion performer, winning all the major contests, particularly in the bouts of ‘atishma’: improvised verbal verse combat.
He holds twenty gold medals and has performed at the Presidential residence. He is the founder of the Ashik’s society in Kars and works to revive and sustain, through teaching others, the bardic traditions of his home town. Murat does not speak English and his performance in Turkish would need mediating by a UK resident storyteller.
Jo Bruchac (USA First Nation)
Jo Bruchac was born in the foothills of the Adirondacks near Saratoga Springs, in northern New York State. He is part Slovak and half Abnaki. He tells stories from the Native American heritage. As well as being a powerful storyteller, Jo is deeply involved with encouraging new writing by diverse ethnic groups in the States. He pioneered poetry writing in prisons and, with his wife, edits and publishes literary reviews. Hs own poetry has an international reputation, and many collections of his stories have appeared, illustrated by the Mohawk artist, Kahionhes. He is also an award-winning novelist. Joe performs in English and his native tongue.
Mike Burns (Eire domiciled Canada)
Currently residing in French speaking Montreal, Mike Burns grew up in a family of storytellers in the south west of Ireland and has been a teller himself since the age of nine. He is equally in demand at Hurleys Irish pub or Montreal’s Maison de la Culture. In 1997 Mike was published in an anthology of Canadian storytellers, Ghostwise, and in May 2003 published a book with audio accompaniment in French, Raconte Moi Que Tu As Vu L’Irlande. He is equally at home telling in Gaelic, English or French.
Mimi Barthelmy (Haiti domiciled France)
Mimi was born in Haiti and after studying in France, lived for many years in Latin America, Sri Lanka and North Africa. Firstly becoming involved in theatre, Mimi soon began to tell stories using the Haitian oral tradition, which is in Creole. In her fables she intertwines the two languages, French and Creole, to transmit her experiences and feelings. Since the end of the 1980s Mimi has been composing her own stories and telling them alongside traditional narratives, either on her own, or with musicians, in cultural centres, libraries, prisons and hospitals, She has also performed in numerous festivals in France, Haiti and elsewhere in the ‘francophonic’ world. Mimi presides over many judging panels for storytelling. In 2000 she herself received the prestigious ‘Chevalier de L’Ordre National du Merite’ and in 2001 received the ‘Officier de L’Ordre des Arts et des Lettres’. Mimi does not speak English and her performance in French and Creole would need mediating by a UK resident storyteller.
Traffic
As i sat and watch the sun go down, i gazed through the window to see a stream of red lights which were car break lights. I imagined my eyes were the lense of a camera this way i used depth of field and my surroundings suddenly erased, i only focused on the red lights, This involved a lot of concerntration as this is not something you'll usually see. Beautiful.
Sunday, 12 September 2010
A2 Summer Homework
Within A2 Media we are focusing on Creative, Inspirational and Innovative content.
What is The Fall?
Personally my intial understanding of The Fall was from the christian view to the transition of the first humans from a state of innocent obedience to God, to a state of guilty disobedience to God. Adam and Eve live at first with God in a paradise, but are then deceived or tempted by the serpent to eat fruit from the Tree of Knowledge of Good and Evil, which had been forbidden them by God. After doing so they become ashamed of their nakedness, and God consequently expelled them from paradise. The sinfullness to that estate wherein man fell consists in the guilt of Adam and Eve's (first man and woman) first sin: the want of original righteousness which is iniquity and the corruption of their whole nature which is commonly called original sin or iniquity together with all actual transgressions which proceed from it. The Fall is not mentioned by name in the Bible, but the story of disobedience and expulsion is recounted in both Testaments in different ways.
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