Friday, September 29, 2006

Psychoanalysis Homework!!!

CHARLIE AND THE CHOCOLATE FACTORY (2005, Tim Burton)

The film that I have chosen for a scene with psychoanalysis is: Charlie and the Chocolate Factory

The scene that i have chosen is when there is a flashback when Willy Wonka is remembering his lonely and isolated childhood experience.

In this scene, there is a flashback used, which indicates that the character is remembering the past, which also tells the audience to see what he is thinking.

Another, feature is when young Willy Wonka is getting told off by his strict and cold-hearted father, the director has shown him lookingdown at him, where the camera is tilted downwards for the audience to view willy wonka in that state, where he is getting scraed and frightened.

The mise-en-scene is very cold and stern, with isolated and a not warm house which makes the audience understand the characters psychological state.

Monday, September 25, 2006

Tim Burton (Auteur Theory)


A lot of things you see as a child remain with you…you spend a lot of your life trying to recapture the experience.
– Tim Burton
Biography
Timothy William Burton (born August 25, 1958) is an American film director, writer and designer known for his off-beat and quirky style. Especially in his stop-motion animated films, he is known for the exaggerated style of his characters, which still retain their serious, humanlike characteristics. He first came to note directing the Warner Brothers film Beetlejuice, which was followed by the blockbuster success of Batman in 1989. Following which he continued to make blockbusters as well as smaller dramas that continue to study loneliness in a style influenced by Gothic fairy tales.
Visual Style, cinematography, editing technique, mise-en-scene, use of sound
Before long young Burton was making horror films with a Super 8 camera, but he felt more like an artist than a filmmaker. He began drawing at an early age, but, it wasn't until he has spent some time at California Institute of the Arts, that he was given an opportunity that would change his life. Disney, after seeing Burton's artwork, hired him immediately. Amazingly, they didn't even have a job that specifically fit what he could do.
Themes and issues that are recurrent and identifiable in their works.
Burton uses special effects and visual tricks to create sights that have never been seen before. The movie takes place in an entirely artificial world, where a haunting gothic castle crouches on a mountain-top high above a storybook suburb, a goofy sitcom neighbourhood where all of the houses are shades of pastels and all of the inhabitants seem to be emotional clones of the Jetsons.
Their level of input into the work
Trademarks
A few of his trademarks:

Frequently uses the name Edward

Visual style and themes heavily influenced by Gothic horror films of the twenties and thirties, especially those of James Whale and F.W. Murnau, along with the films of German Expressionism.
The illustrations of Edward Gorey are another major influence.

Frequently works with actor Johnny Depp. The two collaborated in the films Edward Scissorhands, Ed Wood, Sleepy Hollow, Charlie and the Chocolate Factory, and Corpse Bride. Tim wanted to cast Johnny in his movie Mars Attacks (he wanted cast him in the role that eventually went to Michael J Fox .
Frequently shows dead dogs, clowns, sheep, twisted trees, jack-o'-lanterns, scarecrows, butterflies, and redheads in his films.
His films frequently have dinner table scenes.
His films often have gothic subtexts
Personalizes the production logo in the beginning of his films.
Opening credits usually utilize a tracking shot. They also tend to go either on, through, or into something.
His long standing collaboration with Danny Elfman, who scored all his films since Pee-wee's Big
Adventure, except Ed Wood, which featured the noted composer Howard Shore.
He often uses an uplifting ending theme for his theatrical trailers by Danny Elfman but is never used for the films.
His artwork, and lots of his films are notoriously influenced by the artist Edward Gorey, and his pen and ink drawings.
Often uses shadows for a scary, ominous effect.
His main characters tend to be outsiders, and are usually shy, with a pale complexion and unruly black hair, similar to his own.

Monday, September 18, 2006

Media News Story of this week

"This is the news story that i had found on the media guardian website, i decided to use this story as it is a real serious issue about the decline in newspapers and how its affecting the economy and also this story needs to be looked in-depth."


It may not be sexy, but measuring how many people read newspapers - and, especially, their digital offshoots - has become hugely significant. It also means that the way the analysis is carried out has become important too. There is an obvious disparity between the readership figures provided by the National Readership Survey (NRS) and the circulation figures provided by the Audit Bureau of Circulations (ABC).

This has always been the case but it's never really troubled publishers and editors in the past. They have largely placed their faith in the "hard numbers" of sales rather than the readership totals revealed through opinion poll sampling. But they all know that things have to change because of the urgent need to paint a coherent picture of a paper's total "reach", aggregating print readership and online users, and this cannot be obtained through a straightforward audit.
I'm going to look at the methodology of audience measurement later this week, but today - with the release of the latest set of (NRS) statistics - let's consider what they tell us about the current state of the print industry. The year-long comparisons, showing the differences between readership sizes in the 12 months June 2005-June 2006 compared to those between June 2004-June 2005, provide the best glimpse of long-term trends.


Unsurprisingly, the majority of national titles have lost substantial numbers of readers, but that requires some context. Despite the generally depressing state of affairs, the total readership of the 10 national daily titles in the first six months of this year was 26.96m. That means a reasonable slice of the 47.97m estimated adult population of Britain reads a paper on a daily basis, and that figure is boosted by 2.75m reading Scottish dailies and many hundreds of thousands reading provincial mornings or evenings. So I always try to keep that in the front of my mind when analysing the increasingly poor performance of print.

The worst results recorded were for the Financial Times, down by 22% (within its UK audience); the Daily Star (-12%); the Daily Express (-11%); and the Daily Mirror (-10%). The Daily Telegraph lost 6% of its readers and the Daily Mail lost 4%, though it was still able to boast the second-largest daily readership with 5.45m regular readers. The Sun, despite a 1% drop, remained way ahead with a readership of 8.07m. Then there were the success stories: The Independent recorded a 24% increase, lifting it from 617,000 readers to 766,000; The Times went up by 3% to 1.79m, taking it within 300,000 of the Daily Telegraph, (and, incidentally, making it more popular than the Daily Star); while The Guardian increased by 1%.
The reason for the trio of successes is obvious. All of them changed format and benefited from uplifts in sales and greater public interest stimulated by publicity and increased promotional activity. It will be fascinating to see if they can maintain that upward trend over the course of the next 12 months. Somehow, I doubt it.


A similar pattern was apparent among the Sunday national titles. The two shape-changers (Independent on Sunday and Observer) recorded rises of 9% and 8% respectively. The only other paper to add extra readers was the Sunday Times (2%). All the other titles lost readers, with the Sunday Telegraph (-8%) doing worst of all. Again, the benefits of novelty and promotion will surely wear off before this year is out. What these figures reveal is that the pace of change (meaning print decline) is speeding up. Readership tends to be more volatile than circulation but that is not the case here. The same story is told by both.

The readership trends for magazines are fascinating too, confirming the vibrancy of some sectors - such as women's weeklies - and the continuing decline of others. It would seem that magazines are finding it more difficult also to attract an online following as successfully as newspapers, though we need much more evidence. It is clear, for instance, that the readers of certain specialist magazines that are bought as much for their adverts as their editorial are turning in ever greater numbers to the net. Note, for example, the slump of the car periodicals: Auto Express (-27%); Autocar (25%); Autosport (-9%); and Auto Trader (-8%). Exchange & Mart, fell by 18%, and the situation is getting worse by the month for a mag that cannot compete with online offerings.

The TV magazine market is crowded and competitive, with a variety of ups and downs reflecting shifting loyalties. The four largest all lost substantially - What's on TV (-9%), Radio Times (-6%), TV Quick (-8%), and TV Times (-10%) - while the newer Total TV Guide rose by 41% and TV Easy made its first entrance into the chart. Among the women's weeklies, Closer enjoyed a 22% increase, New! advanced by 17%, Heat rose by 10% and OK! leapt by a further 9% to boast 2.54m readers while its rival Hello! slipped back by 7% to 2.09m. The women's monthlies also revealed decline, with slight falls for Cosmo, Marie Claire, Elle and Prima, though Glamour recorded a 5% rise and Good Housekeeping eased up a little.

There was a noticeable readership decline for the overall monthly market, especially for the men's mags. Down went the market leader FHM (-14%), followed by Loaded (-19%), Maxim (-19%), Esquire (-13%) and GQ (-13%). Again, car magazines also proved less popular, as did most of the mags dedicated to sports and leisure pursuits.

In sum, these latest set of NRS results point to the continuing decline of the print market as a whole. That is not a surprise, though the scale does imply that the decline has been speeding up. But I reiterate: these measurements, despite the polling sophistication employed, no longer provide an accurate assessment of the pulling power of newspapers and magazines. Unless the industry agrees to a new form of measuring its combined print and online audience then it will not be serving itself properly. Advertisers urgently need that currency to have confidence in the future of our media brands.