Composition 2/4

COMPOSITION CHECKLIST:

• Is there one dominant object?
• Is the eye lead through the picture to the centre of interest?
• Is the eye kept in the picture? (Remember Degas' Absinthe Drinker).
• Is the centre of interest in a good position?
• Does the greatest tonal range appear at the Centre of interest?
• Are travelling objects moving into the picture?
• Is the picture in balance?

Rule of Thirds:

The rule of thirds is a "rule of thumb" or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs. The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would

These points are generally agreed to be the basic rules for composition:

• Horizontal emphasis within a composition is considered to be calm, passive, pleasing to the eye.
• A wide open landscape with distant hills or the far horizon of a seascape.
• Diagonal is dynamic and will stress movement.
• Detail of complex machinery, piles of tumbled masonry.
• Vertical shapes and lines make for strength and stability,
• The receding columns of a cathedral or mature trees in a forest.
• Symmetry is balanced and visually comforting, implying order.
• Asymmetrical compositions will create a visual dynamic.
• Visual rhythm (with no particular emphasis) can lead a viewer’s eye around the composition.
• Overcrowding will create a kind of visual claustrophobia.
• Jagged shapes create tension.

Movement

Movement shows actions, or alternatively, the path the viewer's eye follows throughout an artwork. Movement is caused by using elements under the rules of the principles in picture to give the feeling of action and to guide the viewer's eyes throughout the artwork. In movement your art should flow, because you are controlling the viewers eye. You control what they see and how they see it, much like a path leading across the page to the item you really want to be seen by the viewer.

Unity

Unity is the wholeness that is achieved through the effective use of the elements and principles of art. The arrangement of elements and principles to create a feeling of completeness.[2]

Harmony

Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to a piece of artwork.

Color Harmony or Color Theory is also considered a principle through the application of the design element of color.

Variety

Variety (also known as alternation) is the quality or state of having different forms or types. The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size and color.[2]

Balance

Balance is arranging elements so that no one part of a work overpowers, or seems heavier than any other part. The three different kinds of balance are symmetrical, asymmetrical, and radial. Symmetrical (or formal) balance is when both sides of an artwork, if split down the middle, appear to be the same. The human body is an example of symmetrical balance. The asymmetrical balance is the balance that does not weigh equally on both sides. Radial balance is equal in length from the middle. An example is the sun.[2]

Contrast

Contrast is created by using elements that conflict with one another. Often, contrast is created using complementary colors or extremely light and dark values. Contrast creates interest in a piece and often draws the eye to certain areas.[2]

Proportion

Proportion is a measurement of the size and quantity of elements within a composition. In ancient arts, proportions of forms were enlarged to show importance. This is why Egyptian gods and political figures appear so much larger than common people. The ancient Greeks found fame with their accurately-proportioned sculptures of the human form. Beginning with the Renaissance, artists recognized the connection between proportion and the illusion of 3-dimensional space.

Pattern/Rhythm

Pattern and rhythm (also known as repetition) is showing consistency with colors or lines. Putting a red spiral at the bottom left and top right, for example, will cause the eye to move from one spiral, to the other, and everything in between. It is indicating movement by the repetition of elements. Rhythm can make an artwork seem active.[2]

Magazine contents page analysis

Analysing contents pages from Kyle150

Script formatting

Presenting your work appropriately suggests a professional approach and an understanding of the medium and format for which you are writing.

Deciding which format to use will be determined by the type of script you are writing. Formats are dictated by technology, and there are good reasons for using them. A correctly formatted script makes an executive's life easier and a writer's life simpler - especially during the long process of rewriting.

Front Page

 SCREENPLAY FORMAT 

by 

Matt Carless 1. 

"SCREENPLAY FORMAT" 

Every script should have a title page with one contact address only in the left hand corner. 

Always include a phone number and an e-mail address if you  have one spec script.

If you have an agent, the address and number  can go here. left hand corner. 

A draft number or date is not required on a spec script. 

Page 1

FADE IN: 

EXT. LOCATION #1 - DAY 

This is how to begin your film or television screenplay. Scene headings are typed in capitals and must indicate: interior or exterior, the location, and day or night. 

Scene action is double-spaced under the heading in upper and lower case text with double-spacing between paragraphs. 

Scene action should only deal with what is happening on the screen and must never stray into superfluous novelistic text related to character thoughts or back-story. 

A general rule of thumb is to limit a paragraph of scene action to four or five lines. Consider each paragraph as a significant beat of action within your scene. 

INT. LOCATION #2 - NIGHT 

Begin a new scene with the heading triple-spaced from the preceding scene. Always follow a scene heading with a line of scene action. 

CHARACTER #1 

Character cues appear in capitals indented to around the middle of the page, but not centred. The first letter of each cue is always in alignment. 

CHARACTER #2 

A character is designated by either their first or last name, but a role designation may be used instead with personal titles abbreviated. The designated name should remain consistent throughout the script. 

CHARACTER #1 

Dialogue appears directly under the character name in normal upper and lower case text. Similarly, it is not centred. 

(pause) 

Split dialogue between pages only if at least two lines appear on the first page, and only after a sentence. 

(MORE) 2. 

CHARACTER #1 (CONT'D) 

Begin the following page with a new character cue like this. 

CHARACTER #2 

(beat) 

Parenthetical instructions appear in lower case text enclosed within brackets on a separate line in the body of the dialogue. 

(pause) 

Never leave a parenthetical hanging at the bottom of a page when breaking a character's speech. Move it to the top of the next page under the character name. 

If scene action interrupts a character's speech on the same page... 

CHARACTER #2 (CONT'D) 

Then you must begin a new character cue when continuing the dialogue, but including (CONT'D) isn't essential. Dialogue must always be preceded by a character name and never appear on its own. 

INT. LOCATION #1 - DAY 

On occasions, it may be necessary to indicate two characters speaking simultaneously. This should be used sparingly, but if you need to do it this is how. CHARACTER #1  Show your first character speaking on the left.

CHARACTER #2  While the character on the right tries to get a word in edgeways.

The Role of Media, Marxist perspective.

Capitalism. A definition:

An economic and political system in which a country's trade and industry are controlled by private owners for profit, rather than by the state.

Marxism. A definition:

The political and economic philosophy of Karl Marx and Friedrich Engels in which the concept of class struggle plays a central role in understanding society's allegedly inevitable development from bourgeois oppression under capitalism to a socialist and ultimately classless society.

While Karl Marx only knew the press before it was a mass medium, it is still possible to analyse modern media according to his ideas. Even though Marxism is widely thought to have failed as a guide to social change.
The media as an industry conforms to a general capitalist type through its factors of production. 

These are likely to be in the monopolistic ownership of the capital owning class and be organised to serve the interest of that class. This is done through the exploitation of workers (ignoring the true value of labour) and consumers (making excess profits).

Media works ideologically by disseminating the ideas and world views of the ruling class, denying access to alternative ideas that might lead to change or to a growing consciousness of the working classes with regards to its interests.

The main contribution of the media is to stimulate and then satisfy false needs. This leads to the assimilation of groups who have no real material interest in common into a 'one dimensional' society.

False consciousness

1.

A Marxist theory that people are unable to see things, especially 

exploitation, oppression, and social relations, as they really are; the 

inability of the human mind to develop a sophisticated awareness of how it is developed and shaped by circumstances.

2.

Any belief or view that prevents a person from being able to understand 

the true nature of a situation.

Marxist theory of media:

• Mass media is owned by the bourgeois class
• Media is operated in their interest
• Media promotes working class false consciousness
• Media access denied to political opposition.

Task:

Bearing in mind the Marxist theory of media;

Watch the video clip below and analyse with consideration given to the representation of Britain (National Identity).
List the visual codes, Audio codes and geographical markers.
Write 200 words describing what the opening ceremony is saying about being British. What would other nationalities think about this?

Intertextuality, definition.

Relating to or deriving meaning from the interdependent ways in which texts stand in relation to each other.

BBC 1 News

Fox News

The Olympic Opening Ceremony

• 
  

• Directed by Danny Boyle who is English.

Visual Codes

• James Bond (intertextual reference) Daniel Craig is a British actor and James Bond is a prolific film that is well knows for being British.
• Gold colours signify wealth. Red and Gold are 'royal colours'.
• Queens guards are used.
• Black Hackney cab
• Police officers
• Throne room
• Suits
• Famous Corgi dogs
• The Queen
• British flags
• Flags from other nations sugessts that Britian is accepting of others and multi-cultural nation.
• Close up of the words 'Happy and Glorious' sums up the British nation.
• People from all ethnicities and class. Again suggesting is accepting and 'one country'.

Audio Codes

• Speech - Received Pronunciation by characters and commentator.
• Classical music used which signifies Britain as being sophisticated and an upper class nation It also reminds the audience of the historical nature of the country and reminds them of royalty.
• Chimes of the clock which signifies tradition and a reminder of the Big Ben.
• Dam Busters music is used. The Dam Busters was about world war II and the British attacking the German Dams - This is a reminder to the world that Britain is a superior nation as they 'go into battle' in the helicopter. The music was composed by British composer Eric Coates.
• Crowds cheering which suggests that the public are proud to be be British and that they are celebrating the culture.

There are various landmarks (geographical markers) that are used:

• Buckingham Palace
• Big Ben
• London Eye
• River Thames
• Lion statue in Trafalgar Square
• Churchill statue
• London Bridge
• Houses of Parliament.

Other important points about the representation of Britain (National Identity)

• Brazilian Children being shown around - They are in awe of the country and everything around them is so much better than their country. Could also suggest that Britian is a multi-cultural society and an acepting nation.