Classic Fm - Magazine front cover && Website
- More wider context needed
- Refer more to aspects of SHEP
- More exploration of institution and idiologies
Wednesday, 22 April 2009
Monday, 15 December 2008
Essay Ques..
Using the comparison of these two texts as your starting point, explore the media issues and debates which they raise.
The exorcist is seen as one of the most powerful horror movies of the 1970s. It tells the story of a young girl who gets possessed by a demon. The main protagonist of the film, was a 12 year old girl: Linda Blair, due to the reason that she was so young, the BBFC had to ensure that it did not have any ‘indecent images’ of the young girl, under the Protection of children’s act 1978. Due to various reasons, such as underage viewing the film was unavailable for up to 11 years, however on the films 25 anniversary, the distributors decided to relaunch the film in UK cinemas.
The slow and tense music in both trailers and the use of low key lighting adds to the generic conventions of the film, which is mainly horror. However they contrast in the way that the new version made in 2004 has more fast paced shots, which creates tension and also due to the development of technology the 2004 version of the exorcist uses many special effects and techniques which they were not able to use in the 1970s. For example the title of the film are different in both trailers e.g. the 1970s version, the text is in red, which could have possible connotations of blood and evil, associated with the genre of the film, and the title slowly appears on the screen. However in the 2004 version, the font is different as well as the colour which is dark blue with black highlights, again connoting evil, and there is an effect of thunder. However, even though the two use different fonts and affects, they still conform to the genre of the film and have similar connotations.
Both texts include a male voice over, this can be linked to the fact that even thought the main protagonist of the film is female, as well as the other characters, e.g. the mother, the director still chooses to include a male voiceover, this shows the dominance of men and links back to today’s society, where patriarchy is suggested to be evident. Similarly in the film, the female is represented as the victim, this links to Gunter’s theory, where her stated that the female characters were more likely to be portrayed as the victim in the film, as well as being weak and in need of saving. This is evident from when we hear the female protagonist crying, and when the priest come, we hear the voice over claiming that “he is the only hope” which clearly suggests that women are in need for men. On the other hand in the new version of the film, we see some male characters being the victims, e.g. in the hospital where the man is possessed which could imply that now roles are changing and that it’s not only females who are victims.
When the 1970s version of the film was released, even with an 18 certificate it was considered as inappropriate, due to reasons such as, younger viewers can watch it within their homes. However the 2004 version was able to obtain a certificate as the film did not have the same impact as it did during the 1970s however it was still considered as one of the most powerful films.
Wednesday, 3 December 2008
cancorshiop vs classification
1. From where does the BBFC get its funding?
Charging film distributors
2. What types of texts do the BBFC classify?
films video games & dvd's
3. What are the problems / issues that the BBFC must deal with when classifying material?
Look at the types of things they classify, ability to account for all types of content, changing context etc.
Violence, Language, Sex, Sexual Violence, Drugs, Horror, Imitable Technique, Racial Issues
4. Note the range of classification categories and what they mean e.g. U, PG, 12A etc.
Universal Children- Suitable for all (children 7 and under)
Universal- All ages .
PG- Parental guidence
12A- suitable for 12 years and over
15- only ages 15 and over, as there may be use of strong language
18- no one under the age of 18 permitted to watch the film.
5. Look at how different themes /content within texts are classified. Make notes. Why might a DVD featuring content of skateboarders and BMX bikers performing dangerous stunts be classified as 18 but a film containing a sex scene and use of the ‘f’ word only get a 15 rating?
6. Why might a film be given a rating of 15 upon release at the cinema but 10 years later be classified as a 12?
because as time goes on, things such as kissing become more aceptable in society therefore they may change the ratings.
7. Who is responsible for classifying films in the USA? How has this changed over time? (Look back to the studio system of the 1940’s).
8. Research the following case studies exploring why they were brought to the attention of the BBFC:
a. Canis Canem Edit (2006, Rockstar)
b. Crash (1996, David Cronenberg)
David Cronenberg's film of J G Ballard's controversial 1973 novel had already aroused comment in the press before it was submitted to the BBFC. Its screening at the 1996 Cannes Film Festival had provoked the Evening Standard's film critic, the late Alexander Walker, to describe the film as 'beyond the bounds of depravity'. On the day of its UK premiere at the London Film Festival (where it was shown without a BBFC certificate but with the special permission of Westminster Council) the front page of the Daily Mail demanded 'Ban This Car Crash Sex Film'. This was to mark the beginning of an intensive and orchestrated campaign against the film by the Daily Mail and Evening Standard.
c. A Clockwork Orange (1971, Stanley Kubrick)
d. Fight Club (1999, David Fincher)
e. Lara Croft: Tomb Raider (2001, Simon West)
f. Sweet Sixteen (2002, Ken Loach)
g. The Last Temptation of Christ (1988, Martin Scorcese)
h. The Texas Chain Saw Massacre (1974, Tobe Hooper)
Charging film distributors
2. What types of texts do the BBFC classify?
films video games & dvd's
3. What are the problems / issues that the BBFC must deal with when classifying material?
Look at the types of things they classify, ability to account for all types of content, changing context etc.
Violence, Language, Sex, Sexual Violence, Drugs, Horror, Imitable Technique, Racial Issues
4. Note the range of classification categories and what they mean e.g. U, PG, 12A etc.
Universal Children- Suitable for all (children 7 and under)
Universal- All ages .
PG- Parental guidence
12A- suitable for 12 years and over
15- only ages 15 and over, as there may be use of strong language
18- no one under the age of 18 permitted to watch the film.
5. Look at how different themes /content within texts are classified. Make notes. Why might a DVD featuring content of skateboarders and BMX bikers performing dangerous stunts be classified as 18 but a film containing a sex scene and use of the ‘f’ word only get a 15 rating?
6. Why might a film be given a rating of 15 upon release at the cinema but 10 years later be classified as a 12?
because as time goes on, things such as kissing become more aceptable in society therefore they may change the ratings.
7. Who is responsible for classifying films in the USA? How has this changed over time? (Look back to the studio system of the 1940’s).
8. Research the following case studies exploring why they were brought to the attention of the BBFC:
a. Canis Canem Edit (2006, Rockstar)
b. Crash (1996, David Cronenberg)
David Cronenberg's film of J G Ballard's controversial 1973 novel had already aroused comment in the press before it was submitted to the BBFC. Its screening at the 1996 Cannes Film Festival had provoked the Evening Standard's film critic, the late Alexander Walker, to describe the film as 'beyond the bounds of depravity'. On the day of its UK premiere at the London Film Festival (where it was shown without a BBFC certificate but with the special permission of Westminster Council) the front page of the Daily Mail demanded 'Ban This Car Crash Sex Film'. This was to mark the beginning of an intensive and orchestrated campaign against the film by the Daily Mail and Evening Standard.
c. A Clockwork Orange (1971, Stanley Kubrick)
d. Fight Club (1999, David Fincher)
e. Lara Croft: Tomb Raider (2001, Simon West)
f. Sweet Sixteen (2002, Ken Loach)
g. The Last Temptation of Christ (1988, Martin Scorcese)
h. The Texas Chain Saw Massacre (1974, Tobe Hooper)
Sunday, 19 October 2008
Sony- Globalisation task. . .
Sony Corporation is a multinational conglomorate corporation.
- Head quartered in Minato Tokeyo, Japan, and one of the world's larges media conglomerates
- Revenue exceeding US$88.7 billion (as of 2008).
- Sony is one of the leading manufacturers of
- electronics.
- video
- communications
- video game consoles
- And information technology products for the consumer and professional markets.
Its name is derived from Sonus the Greek goddess of sound.
- Sony pictures entertainment
- Sony Pictures Entertainment is a leading creator and distributor of entertainment products, services and technology. Our global operations encompass motion picture production and distribution, television programming and syndication, home video acquisitions and distribution, operation of studio facilities, development of new entertainment technologies and distribution of filmed entertainment in over 67 countries.
- Channels. FilmFlex · Sony Entertainment Television Asia · Sony PicturesSony. © 2008 Sony Pictures Digital Inc. International ·
- Sony computer entertainment
- specializing in a variety of areas in the video game industry, mostly in video game consoles.
- Sony music entertainment
- Is a major global rec controlled by the Sony corporations of America being one of the big four record companies.
- Sony Ericsson's
- Sony Ericsson's Mobile Communications is a global provider of mobile multimedia devices, including feature-rich phones, accessories and PC cards. Sony Ericsson's Mobile Communications was established in 2001 by telecommunications leader Ericsson's and consumer electronics powerhouse Sony Corporation. Global management is based in London, and R&D is in Sweden, UK, France, Netherlands, India, Japan, China and the US.
- Sony financial holding
- Is a holding company for Sony's financial services business. It owns and oversees the operation of Sony life insurance, Sony Assurance, Sony banks and others. Headquartered in Tokyo, Japan.
- As a semiconductor maker, Sony is among the World wide top 20 semiconductor sales leaders.
Friday, 19 September 2008
IPC MEDIA...
IPC Media is a leading UK consumer magazine publisher. Almost two in every three UK women and over 45% of UK men read an IPC magazine. That's almost 27 million UK adults.
IPC is owned by Time Inc., the publishing division of Time Warner Inc. The business is split into five distinct publishing divisions: IPC Connect, IPC Inspire, IPC Ignite, IPC Southbank and IPC TX. Alongside these is Marketforce, the UK's leading magazine distribution business.
IPC employs over 2,200 people, and it's their creativity, innovation, talent and commitment that drives its market-leading position in UK consumer publishing.
IPC History:
Media titles owned by IPC:
IPC Today...
-Sylvia Auton, chief executive officer, IPC Media
IPC is owned by Time Inc., the publishing division of Time Warner Inc. The business is split into five distinct publishing divisions: IPC Connect, IPC Inspire, IPC Ignite, IPC Southbank and IPC TX. Alongside these is Marketforce, the UK's leading magazine distribution business.
IPC employs over 2,200 people, and it's their creativity, innovation, talent and commitment that drives its market-leading position in UK consumer publishing.
IPC History:
- The International Publishing Corporation Ltd was formed in 1963 following the merger of the UK's three leading magazine publishers – George Newnes, Odhams Press and Fleetway Publications – who came together with the Mirror Group to form the International Publishing Corporation (IPC). And IPC Magazines was created five years later, in 1968.
- But those three original magazine businesses each had their own illustrious history, having been established in 1881, 1890 and 1880 respectively, with a number of the titles they launched in the late 19th Century still being published today under the IPC umbrella. And when The Field, launched in 1853, joined the IPC stable in 1994 following the acquisition of Harmsworth Magazines, it saw our family tree reach back even further.
Media titles owned by IPC:
Aeroplane (magazines)
Amateur Gardening (magazines)
Amateur Photographer (magazines)
Anglers Mail (magazines)
Bird Keeper (magazines)
Cage & Aviary Birds (magazines)
Caravan (magazines)
Chat (magazines)
Chat - It's Fate (magazines)
Classic Boat (magazines)
Country Homes & Interiors (magazines)
Country Life (magazines)
Cycle Sport (magazines)
Cycling Weekly (magazines)
Decanter (magazines)
Essentials (magazines)
Eventing (magazines)
The Field (magazines)
4x4 (magazines)
Golf Monthly (magazines)
Volkswagen Golf+ (magazines)
Guitar & Bass (magazines)
Hair (magazines)
Hi-Fi News (magazines)
Homes & Gardens (magazines)
Horse (magazines)
Horse and Hound (magazines)
Ideal Home (magazines)
In Style (magazines)
International Boat Industry (magazines)
Land Rover World (magazines)
Livingetc (magazines)
Loaded (magazines)
Look (magazines)
Marie Claire (magazines)
Mini World (magazines)
Model Collector (magazines)
Motor Boat & Yachting (magazines)
Motor Boats Monthly (magazines)
Motor Caravan Magazine (magazines)
Mountain Bike Rider (magazines)
NME (magazines)
NME Radio (radio) UK
Now (magazines)
Nuts (magazines)
Park Home & Holiday Caravan (magazines)
Pick Me Up (magazines)
Practical Boat Owner (magazines)
Prediction (magazines)
Racecar Engineering (magazines)
The Railway Magazine (magazines)
Rugby World (magazines)
Ships Monthly (magazines)
Shoot Monthly (magazines)
The Shooting Gazette (magazines)
Shooting Times (magazines)
Soaplife (magazines)
Sporting Gun (magazines)
Stamp Magazine (magazines)
SuperBike (magazines)
Teen Now (magazines)
Total Golf (magazines)
TV & Satellite Week (magazines)
TV Easy (magazines)
TV Times (magazines)
25 Beautiful Gardens (magazines)
25 Beautiful Homes (magazines)
25 Beautiful Kitchens (magazines)
Uncut (magazines)
Uncut DVD (magazines)
VolksWorld (magazines)
Wallpaper* (magazines)
Web User (magazines)
Wedding (magazines)
What Digital Camera (magazines)
What's On TV (magazines)
Woman (magazines)
Woman and Home (magazines)
Woman's Own (magazines)
Woman's Weekly (magazines)
Woman's Weekly Fiction (magazines)
Women and Golf (magazines)
World Soccer (magazines)
Yachting Monthly (magazines)
Yachting World (magazines)
IPC Today...
- IPC Magazines is renamed IPC Media in 2000, a new identity to go hand-in-hand with a strategy based on being a brand-centric business.
- Time Inc. acquires IPC Media for a cool £1.15bn in October 2001 – the biggest magazine deal ever seen in the UK and the biggest transatlantic media deal of our time.
- ignite! launches Nuts, the world's first men's weekly magazine, in January 2004. Backed by an £8 million marketing investment, it's the biggest launch in IPC's history.
- After 30 years in King's Reach Tower, IPC announces in May 2004 that it is to move into brand new offices next to the Tate Modern in 2007.
- IPC Connect unveils the new generation Real Life weekly for women – Pick Me Up in January 2005. The launch is backed by a £6million marketing investment and with the largest sampling exercise in UK magazine history.
- In Feb 2007 IPC Connect launches LOOK – the UK’s first glossy high street fashion and celebrity style weekly magazine. In a joint venture with Groupe Marie Claire, and backed by an £18m investment, LOOK is IPC’s biggest ever launch.
-Sylvia Auton, chief executive officer, IPC Media
-Fiona Dent, managing director, IPC TX
-Sylvia Evans, finance director, IPC Media
-Eric Fuller, managing director, IPC Ignite
-Stephen Hirst, managing director, Marketforce
-Dee Mair, HR director, IPC Media
-Caroline McDevitt, managing director, IPC Advertising
-Jackie Newcombe, managing director, IPC Southbank
-Neil Robinson, digital director, IPC Media
-Evelyn Webster, managing director, IPC Connect
-Paul Williams, managing director, IPC Inspire
Presentation On Ed Richards...
Job:
Ed Richards is the chief executive, Ofcom, which is the independent regulator and competition authority for the UK communications industries, with responsibilities across television, radio, telecommunications and wireless communications services.
Age: 41
Industry: regulation
Staff: 776
Salary: £308,930 (including bonus, benefits and pension payments)
2006 ranking: 77
Ed Richards was appointed Ofcom Chief Executive in October 2006. He was previously Chief Operating Officer where his responsibilities included:
Strategy
Research
Consumer policy
Business planning
Finance
Human resources
Ofcom’s functions in the Nations and Regions.
Prior to Ofcom Ed was Senior Policy Advisor to the Prime Minister for Media, telecoms, internet and e-govt.
Before that he was Controller of Corporate Strategy at the BBC.
He also worked in consulting at London Economics Ltd, as an advisor to Gordon Brown MP and began his career as a researcher with Diverse Production Ltd, where he worked on programmes for Channel 4
Richards is one of this year's biggest risers, up nearly 70 places to number eight. He was lower last year because he had not yet been appointed to replace Carter as head of Ofcom.
Ed Richards said: "This is a fascinating job in a fascinating and fast changing area. We have a strong organisation, committed people and a track record that we intend to build on. I am thoroughly looking forward to the challenges."
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