Film Industry assessment learner response

-

  Assessment learner response:

Complete the following tasks:


1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

WWW- Q2 and Q3 are very strong here: top level responses that show good knowledge of the CSP.

EBI- Q1 just needs a little revision to get the regulation of the film industry correct (BBFC)

          -In Q3, Covid was definitely a huge issue for the film industry but BBTL if anything was               actually helped by lockdown and streaming numbers.


2) Read the mark scheme for this assessment carefully. Write down the number of marks you achieved for the three questions: _/3; _/6; _/9. If you didn't achieve full marks in a question, write a bullet point on what you may have missed.

Q1- 1/3
● Responsible for advising on content of films released in UK, providing age ratings, being
guided by public opinion on appropriate content in films etc.

● Film is regulated to protect young people from content that may be considered harmful such
as violence, sex/nudity, bad language and matters of taste/decency.

Q2- 5/6
● Social media promotion inexpensive or free; creates word-of-mouth marketing; effective in
reaching educated, digitally-literate younger audience.

Q3- 7/9
● Blinded By The Light cost $15m to make – money raised between Bend It Films (huge success with Bend It Like Beckham), Levantine Films (huge success with Hidden Figures) and
Ingenious Media investment company.

● Blinded By The Light generated great excitement at the Sundance Film Festival which
resulted in an all-night auction that saw New Line Cinema pay $15m to distribute the film.


3) For Question 2 on the promotion of Blinded By The Light, use the mark scheme to identify at least one strategy used to promote the film that you didn't mention in your answer and why it was used. The key lesson from this question was to make specific reference to the CSP in your answer and ensure each explanation was different.

● Music / existing fans of Bruce Springsteen: Link to Springsteen’s music may attract fans of his music – he has sold more than 150 million albums worldwide.


4) Now look at Question 3 - focusing on Hesmondhalgh's point that making media products is a 'risky business'. Write three bullet points from the mark scheme that you could have added to your answer. Try and include a specific reference to the CSP where you can and ensure you understand the key contexts to Hesmondhalgh's quote. Additional reference to Hesmondhalgh's ideas would help here too - you may want to look back at our work on Hesmondhalgh and the Cultural Industries.

● Blinded By The Light cost $15m to make – money raised between Bend It Films (huge success with Bend It Like Beckham), Levantine Films (huge success with Hidden Figures) and
Ingenious Media investment company.

● Blinded By The Light generated great excitement at the Sundance Film Festival which
resulted in an all-night auction that saw New Line Cinema pay $15m to distribute the film.

● Unfortunately, despite good reviews and positive word-of-mouth from audiences and online
(rated 89% on Rotten Tomatoes) it only pulled in $18m at the box office, barely covering the
production budget and nowhere near covering marketing costs.


Comments

Post a Comment

Popular posts from this blog

Postmodernism in music video: Blog tasks

-
  Media Magazine Theory Drop - Postmodernism 1) How does the article define postmodernism in the first page of the article? If modernism is beginning to question authority, then postmodernism is making fun of authority to its face. Postmodernism takes this concept of questioning traditional structures, representations  and expectations and pushes things a step further. 2) What did media theorist and Semiotician Roland Barthes suggest in his essay 'The Death of the Author'? In 1967 the French literary critic Roland Barthes released his essay The Death of the Author. In it, he challenged tradition when he said that a writer’s opinions, intentions or interpretation of their own work are no more valid than anyone else’s. To give a simple example, this means that just because Ridley Scott thinks Deckard is a replicant, doesn’t mean that you, the viewer, have to think  this if you don’t want to. Readers are  free to interpret a work however they choose, irrespective of what the cre
Read more

Summer Project: coursework planning:

-
Summer project tasks 1) Research: TV crime drama extract analysis  How To Get Away With Murder: Narrative and genre In terms of the tv crime drama genre it is mainly viewed by the older generation however because the show involves a narrative of law students it gained a lot of attraction from college/law  students across the world, which skyrocketed the viewer age.  show starts off with an introduction to a criminal law course, throughout the seasons the audience is able to identify the irony between the law class and what they have to go through in order to actually get away with murder. The narrative is then communicated to the audience through varies flashbacks at the start of each season and working its way through to the very last episode of the said season to showcase the whole event in one piece rather than in fragments. By doing so audience are left into a cliffhanger each episode causing them to binge watch the show as the crime drama genre has always been some what a game the
Read more

The Specials - Ghost Town: Blog tasks

-
  Background and historical contexts 1)  Why does the writer link the song to cinematic soundtracks and music hall tradition? Formed in 1977 and arguably the most influential band of the UK’s  2 Tone Ska  scene, “Ghost Town”, a skewed ska oddity, was written by Jerry Dammers, The Specials’ keyboardist and released in June 1981. It was their last song before splitting up and reforming as The Special AKA and stayed at the top of the UK charts for three weeks. It’s an odd, eerie song, nodding to pop convention and sitting wilfully outside of it. It’s included, in passing, in Dorian Lynskey’s beautifully written book on protest songs,  “33 Revolutions Per Minute” , but unlike the band’s “Free Nelson Mandela” does not merit its own chapter. Perhaps because “Ghost Town” cannot be “placed”. It’s not explicitly against any one event. It does not exhort its listeners into any one particular political view. It is not part of any one social movement for change. It is, rather, a stealth protest s
Read more