MEDIA as Analysis of Preliminary Video

The Male Gaze Analysis

The first gaze that I see in the video that I have cut is when Justin does a “narcissistic” look crossed with an “invitation” gaze. This means that Justin looks indifferent, self-sufficient, arrogant, slightly insolent, haughty, aloof, confident, reserved; slightly or fully closed eyes. The emphasis is mainly on the eyes, his mouth is shut, his head is to one side, looking back to the camera. His gaze is suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.

The second gaze that I see is from Justin again, but this time, he is using a “seductive” gaze. He is staring straight at Ciara, biting his lip and staring with his eyes half open at hers. He looks confident, arrogant, slightly insolent, seductive, dreamy, heavy-lidded and sexual.

The third gaze that I see is that of Ciara looking back at Justin during his second gaze. Ciara is doing a cross between the “sexual” gaze and the “super-smiler”. Ciara has her teeth showing but does not have a cheesy grin. She is quite heavy-lidded with her head thrust forward, she looks arrogant, confident, self sufficient and mildly seductive.

The fourth gaze is Ciara being quite “soft/introverted”, yet “seductive” and “sexual”. She has her mouth open, eyes half closed but looking upwards as if through her eyebrows. She looks confident, arrogant, seductive, sexual, almost showing herself off by pouting a little. Her behaviour suggests availability.

My fifth and final gaze that I see is the one of Justin, which is the last shot in my video. Justin is looking downwards, but towards the camera, whilst Ciara is kissing him. Justin looks slightly subdued but satisfied, he looks confident and arrogant as he is not facing her and he looks quite cool/level. His eyes are half open and he looks heavy-lidded, he is not smiling, but has quite a straight face. Justin appears to be quite uninterested in Ciara’s behaviour at this point.

Flowchart On The Production Of Films

MEDIA as Flowchart on Production Process

The Male Gaze

1. Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.
2. Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.
3. Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.
4. Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.

In a study of advertisements in women’s magazines, Trevor Millum offers these categories of female expressions:

1. Soft/introverted: eyes often shut or half-closed, the mouth slightly open/pouting, rarely smiling; an inward-looking trance-like reverie, removed from earthly things.
2. Cool/level: indifferent, self-sufficient, arrogant, slightly insolent, haughty, aloof, confident, reserved; wide eyes, full lips straight or slightly parted, and obtrusive hair, often blonde. The eyes usually look the reader in the eye, as perhaps the woman regards herself in the mirror.
3. Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.
4. Narcissistic: similarities to the cool/level and soft/introverted looks, rather closer to the latter: a satisfied smile, closed or half-closed eyes, self-enclosed, oblivious, content - ‘activity directed inward’.
5. Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.
6. Kittenlike: coy, naïve (perhaps in a deliberate, studied way), a friendlier and more girlish version of the cool/level look, sometimes almost twee.
7. Maternal: motherly, matronly, mature, wise, experienced and kind, carrying a sort of authority; shorter hair, slight smile and gentle eyes - mouth may sometimes be stern, but eyes twinkle.
8. Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.
9. Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.
10. Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed. (Millum 1975, 97-8)

What Causes Institutions To Thrive As A Film Business

MEDIA as Discuss the Issues and Patterns Which Enables Your Institution to Thrive as a Film Business

I saw this and loved its originality

TV Drama-Generic Conventions

You will find that TV dramas all have the following ingredients:

Characters – even particular kinds of characters: eg, at its most simple, ‘good’ and ‘bad’ characters.

Stories – they all tell stories, whether those stories involve adventure, crime or romance and they often, but not always, end happily.

The stories are told against familiar backdrops: – eg, homes, police stations and offices (for crime dramas), hospitals (for medical dramas) – most of which are created in studios. However, most dramas also use outside locations to create particular effects.

Camerawork – particular kinds of shots are used: eg, sequences involving establishing shots followed by mid-shots of characters, shot/reverse shots to show character interaction and, in particular,close-ups to show the characters’ emotions.

Stories use dialogue to tell the stories. Occasionally, monologues are built in (as voiceovers, a character telling a story).

Music is used to punctuate the action, create effects (suspense, tension) and underline emotional moments.

Particular subgenres tend to have items which make them immediately identifiable – police cars, blue lights, operating theatres and scalpels, triage/reception areas in hospitals. Icons of the genre, they symbolise the (sub)genre.