evalution re-write

For the layout of my front cover, I followed the main common conventions from the magazines “Kerrang, Classic Rock and NME”. These magazines all have one or two star vehicles at a medium close up shot. After I have researched these three magazines I then got a really good idea on how to base my layout for the cover. I followed the theory of ‘Stanley Hall’ (1904) because he says that youth show conflict and with creating a rock magazine this usually connotes death and violence. With the ideas I got from the three magazines I found out that most of them have a chaotic layout as they have loads of detail to them, however I have broke this convention because I have based mine to be simple and tidy so it is easy to read and view.

 

For the colour pallet I also looked at the three magazines “Kerrang, Classic Rock and NME” and by researching this it gave me a rough idea that most rock magazines use about 3-5 different colours for the front cover. So as I know that they use 3-5 different colours, I used this in my creation of my front cover and I have used mainly the colour black; however I have used red and white because these three colours fit well together. I then followed on using these three colours together for my contents and double page spread because during my research they used the same colours throughout the magazine. Black and red both connote rock and death, which fits well with the genre of rock.

 

For the main image I used a medium close up because this was a common convention when I looked at the following magazines Kerrang, Classic Rock and NME. I think my choice of star vehicle represents my target audience because he looks exactly like a rock star and he wore a leather jacket with his chest showing. This then shows that people wearing a leather jacket are usually people who ride bikes so it shows that they are cool but are also dangerous which links in with the rock genre. In short, I think my image and star vehicle choice successfully represent my target audience, because the star vehicle and mise-en-scene follows the stereotypes outlined in Stanley Hall (1904) theory, because he didn’t have a t-shirt underneath so Stanley Hall is saying that “magazines are getting attention from sexual desire and with the star vehicle looking rebellious and violent”. It could be argued my image breaks or challenges conventions because on most rock magazines there is more than one star vehicle, however I have just one star vehicle.

 

The typography and lexis choices on my magazine were based on what would appeal to and represent my target audience. Through looking at Kerrang, Classic Rock and NME magazines I discovered the common typography styles were simple but rock looking because the title was pointy. For the lexis I used words like “The unstoppable and The Unforgettable” and this shows a bit of alliteration, and gives the impression of that I rock magazines they are being a bit big headed about the lexis they are using.

My lexis and typography style link in with Hall’s theory again with violence being used and with the word ‘Death’ it shows rebalance and violence.

 

I also noticed all professional magazines included a bar code, price and issue number. I included these on my product following the conventions of keeping them small to disguise the price allowing my readers to get ‘hooked’ before they saw how much my £3.99 would set them back.

Youth Essay

In 1904 Stanley Hall argued that all youth propel are, “adolescence is inherently a time of storm and stress when all youth people go through some degree of emotional and behaviour upheaval.” The media language in the extract supports Hall’s theory in a number of ways, but also at times disrupts this and moves more towards the arguments concerning mixed metaphors of; “youth is fun and youth is trouble” that Hedbridge (1988) and Osgerby (1998) put forward concerning the media and youth stereotypes.

The extracts first of all starts with non-diegetic up beat music, with a series of short clips that reveal the modern day setting and the characters. The whole montage is link together with this non-diegetic up beat music. The non-diegetic music acts as a mixed metaphor when read alongside the images because the shots show the characters being trouble/rebellious while the sound makes the whole thing seem ‘fun’ which connotes that the extract links and supports Hedbridge and Osgebery’s idea of youth as a mixed metaphor.

In terms of the images themselves, there are a number of shots that tell the viewer a lot about the representation. One of the first shots in the extract was a series of clips; these shots were at a close up camera angle with a boy smoking drugs and teenagers kissing. This links in with Hall’s theory of youth being rebellious and shows that they don’t care about what they are doing. Also in these shot clips, there is a medium shot of teenagers on a trampoline, this connotes that they are having fun, which also links in with hall’s theory of youth. After these montages of short clips, it goes to an extreme close up of a boy in bed. Whilst in this camera shot there is a diegetic sound of bells, and an ambience sound of tweeting birds. This then connotes that it is the morning and this boy has just woken up. Then the camera zooms out to a high angle shot of the boy lying in bed, however the mise-en-scene of this is that on the duvet there is a naked man and women, which connotes that he is ‘sex mad’ which links in with Stanley Hall’s theory of youth being mad about sex. The scene around him lying in bed is that his room is very tidy. This breaks the stereotype of youth being lazy and messy because he has a very tidy room. After the high angle shot, it goes to a cut away shot of him getting out of bed, with R&B non-diegetic music, which connotes crime so again it goes in with hall’s theory. The next clip is another montage of him working out, the clips are at a medium close up, but the boy is in his boxers, so this links in with hall’s theory because he is not wearing much. Next there is an over the shoulder shot of the boy looking in the mirror after his workout. This connotes he is mad about him self and likes the way he looks, this links in with hall’s theory because he is impressed about him self; it also links in with Osgerby theory of youth stereotypes because most youth look at them self in the mirror. Then there is an ambience sound of his alarm on his watch, then he walks to the window, there is a 1-2 shot of his alarm clock to him walking to the window. Next there is an over the shoulder long shot of a middle aged women naked across the street. The shows that the boy is looking over to the women and being purvey, which connotes that he is sex mad which links in with hall’s theory. However, she is breaking the stereotypes because she is wants the boy to look over at her because she keeps looking over to him and smiling. There then is a medium long shot of a young girl that is wearing a low cut top and a mini skirt, this shows that she has been out all night and has a hangover because she looks rough; with this it links in with hall’s theory because she is out late and drinking and this is the stereotype of youths. Also it links in with Hedbridge’s theory because she is out having fun and causing trouble. The editing during the shots of Tony, the girl and the neighbour is parallel editing. The next part of the extract is when the boy tony is turning up the music to max to annoy his dad; this is also done because he needs to make a distraction for his sister to come in. By turning up his music this connotes he is rebellious and most teens play loud music, so this is linking in with hall’s theory because he is being rebellious. Next the dad comes in shouting and swearing. This connotes that the dad is as bad as the son because he is acting like him. This links in with Richard Butsch (1992) theory because he says that working class males in the media are presented as “incompetent and ineffectual, often a buffoon, well-intentioned but dumb. In almost all working-class series, the male is flawed, some more than others”. So this quote represents the age because the older women in the house across the street is acting like the teens and so is the dad that comes in swearing. Also to link in with his dad, he comes in to the room naked so this also links in with Richard Butsch’s theory of male representation. The last bit to add is that the boy has all his clothes neatly folded in his draw. This breaks the stereotype of youth representation because youth are usually really scruffy and have messy rooms, whereas in this extract his room is very tidy and he has neatly folded clothes.

Key Theories

Key Theories

Youth

Stanley Hall (1904) “adolescence is inherently a time of storm and stress when all youth people go through some degree of emotional and behaviour upheaval.”

Dick Hedbridge (1988) “youth is fun and youth is trouble.”

Bill Osbery (1998) “mixed metaphors appear when stereotyping youth. Dual stereotyping of youth creates these mixed metaphors.”

The Commercial History of British and American Cinema timeline

1) What genre of films was being made?

2) What were the top films of the decade?

3) How has technology impacted the industry each decade?

4) Where did funding come from and what impact did this have?

5) Where were films being made?

6) Profits/box office figures?

7) Awards won?

7) Any other useful relevant facts.


1930s
 

In 1933 J. Arthur Rank, who had started by making religious films, founded British National. In 1935 he went into partnership with Woolf to take over Pinewood Studios. Boom turned to slump in 1937. The year before, the British film industry had over produced, making 220 pictures. During the 1930's two other valuable assets came along; the British Film Institute and the National Film Archives.

1940s 

The Second World War caused a minor miracle to happen to movie making in the Britain. With many of the employees being engaged in war work, available manpower was reduced to one third and half of the studio space was requisitioned, only sixty films were produced annually. he majority was war related, The Stars Look Down; 49th Parallel; Convoy and This Happy Breed. 1949 was a bad year financially partly due to a series of good, but big budget movies. The Red Shoes; Hamlet; Fallen Idol; Great Expectations and Oliver Twist.


1950s 


Television was just beginning to have an effect on the film industry. During the 1950' and early 60's Films had to learn to be more exportable and welcome to foreign audiences. Many achieved both of these criteria among them works by David Lean and Carol Reed. Then in 1947, Ealing's comedy Hue and Cry, was a surprise hit. An entertaining story of a criminal gang foiled by an enthusiastic army of schoolboys, the film met a public desire for relief after years of fighting and continuing hardships. There were important newcomers in the acting field that had international appeal, Jack Hawkins, Kenneth More, Richard Todd, Richard Burton and Peter Finch. ilms like The Lady Killers; Genevieve; The Cruel Sea and The Colditz Story helped to keep the UK's reputation high. Funding was also kept up by well made popular, but erring on schoolboy bathroom humour series. Which included the Doctor and the Carry On series.

1960s 


British New Wave or Free Cinema describes a group of films made between 1959 and 1963 which portray a more gritty realism. They were influenced by the Angry Young Men of the mid-50s along with the documentary films of everyday life commissioned by the Post Office during and after the Second World War, and are often associated with kitchen sink drama. Other significant films in this movement include Saturday Night and Sunday Morning (1960), A Kind of Loving (1962), and This Sporting Life (1963). Overseas filmmakers began to come to London too, including Roman Polanski and Michelangelo Antonioni. Blacklisted in America Joseph Losey had a significant influence on UK Cinema in the 60s as did Stanley Kubrick, especially in the decade to follow. The sixties were perhaps the ‘holding era’ for British cinema with expansive 50’s directors like Lean really held the reins and the industry charged on. Commercially the bond movies were highly successful and Basil Dearden also directed quality films.

1970s 

With the film industry in both Britain and the United States entering into recession, American studios cut back on domestic production, and in many cases withdrew from financing British films altogether. Major films were still being made at this time, including Anne of the Thousand Days (1969), Battle of Britain (1969), and David Lean's Ryan's Daughter (1970), but as the decade wore on financing became increasingly hard to come by. The British horror boom of the 1960s also finally came to an end by the mid-1970s, with the leading producers Hammer and Amicus leaving the genre altogether in the face of competition from America. Films like ‘The Texas Chainsaw Massacre’ (1974) made Hammer's vampire films seem increasingly tame and outdated, despite attempts to spice up the formula with added nudity and gore.




1980s 


The 1980s began with the worst recession the British film industry had ever seen. In 1980 only 31 UK films were made, down 50% on the previous year, and the lowest output since 1914. This decade also started the downward trend in self-financing British movies; the Americans began to take over and really never looked back. 

1990s -