STUDIO: Promo Rough Script v1

Words	Pictures	Timings
	Est shot – HIGH STREET SHOP, a well-dressed mannequin stands front and centre of the window.	00:03
	Two YOUNG PEOPLE walking down the street, passing the shop.	00:06
	They pause as they notice the mannequin.	00:08
	Sharing a sly smile, the pair enter the HIGH STREET SHOP.	00:11
	The mannequin is dragged from the window and the YOUNG PEOPLE run laughing from the store, carrying the mannequin between them.	00:19
	FADE TO:
	Two YOUNG PEOPLE walk confidently down a street. One of them now wearing the mannequin’s clothes.	00:23
“A brand new fashion show. ‘Steal the Style’		00:26
	They pass another shop window with a mannequin wearing a dress. The well-dressed YOUNG PERSON smiles widely at the other.	00:29
‘Coming Soon’		00:30

STUDIO: Drag research (UK/US drag)

The drag scene: new york vs london by amrou al-kadhi

https://i-d.vice.com/en_uk/article/3kqybj/the-drag-scene-new-york-vs-london 

• "self-referential theatricality that performs and deconstructs gender tropes rather than imitating them, giving the art form, I think, a comic and necessary politics. This is something at the foundation of the London drag scene"
• "Whilst London drag is inherently about performance, many New York queens take centre-stage in the city's glamorous nightclubs. 
• "A major element of the New York queer scene echoes structures of dominant culture you might think it would reject: VIP areas for the most famous queens and club kids, a self-governing queer paparazzi, and a genuine club A-list including figures such as Amanda Lepore (who still makes a living through nightclub appearances) .... The hierarchical format of Capitalist Celebrity Culture isn't abandoned, but intimately replicated just through a queer lens."
• "For decades, the New York queer scene has been intertwined with mainstream culture. Back in the 60s, ... Andy Warhol was determined to create spaces within mainstream culture where queer people could operate. He borrowed the language of American Capitalism and re-wrote it through a queer framework, giving New York queers a chance at mainstream ideals of success - their "15 minutes of fame". His legendary Factory - bang in the middle of midtown Manhattan - was a playground for queer "celebrities," who took starring roles in Andy's films and television programmes (that often infiltrated mainstream networks). His trademark Marilyn screen prints could also be seen to operate on this logic; in effect, Warhol stole a mainstream cultural image designed for straight male pleasure, and colourfully distorted it. Andy's Marilyn was as much drag queen as she was screen siren."
• "Although parody is involved, what seeps through is an overwhelming desire to simulate hetero-normative images of success, as a way to claim that those at the ball are also eligible."
• "although I was excited by the astounding production value of the New York scene I experienced, what I missed was irreverence, and the sense of an alternative cultural model to Capitalist success. Though this partially exists in New York, it forms the basis of London drag."
• "Coming out of a tradition of theatre - from Pantomime to Shakespeare - our drag queens love the stage. We hold dear that sense of irreverent theatricality that is at the core of Absolutely Fabulous. "
• Hence our prized drag establishments are not nightclubs, but venues with stages; The Royal Vauxhall Tavern, Molly Mogs, The Glory, The Bethnal Green Working Men's Club, The Admiral Duncan and the posthumous Madame Jojo's & Black Cap. And I see less of a trend towards "realness" and a perfectly polished image, as I see looks that lack "finesse" in a celebratory, political, and ultimately, theatrical way (Jonny Woo, Scottee, Jon Sizzle Etc…)

Alan Carr: Chatty Man,  S14-Ep11: British Queens vs American Queens (W/ Ru Paul)

http://www.channel4.com/programmes/alan-carr-chatty-man/videos/all/s14-ep11-british-queens-vs-american-queens/4268267005001

British:
"more nudge-nudge, wink-wink"
Takes the piss

American:

Sexier names
Glam

Studio: Steal the Style research ( Peaky Blinders)

Source: http://www.asos.com/men/fashion-feed/2017_11_12-sun/style-lessons-from-peaky-blinders/?channelref=paid%20search&affid=16833&_cclid=v3_e1a92137-417f-5510-b1cb-8b45a5ff4ed9&gclid=Cj0KCQiAzMDTBRDDARIsABX4AWx-5cbXqrNif0OJ7HSV9QEDj00Wfef-GbbTXXVLQ6vUy7VkAP_XhdUaAiu2EALw_wcB
https://clothesonfilm.com/peaky-blinders-qa-with-costume-designer-stephanie-collie/33288/

• Similar to Mad Men in influence on men's fashion

• Three piece suits, flat caps (and chain smoking?)

• Have a signature item. Find what you love and own it. - EG Flatcap

• 'Air tie'. A contemporary way to wear a suit without a tie and not look like a preachy politician, 'the ‘air tie’, which is to say buttoning your shirt up to the top even though you’re not wearing one.' Formal, grandad or even oxford shits will give you a 'peaky' look. 

• Accessorise. Sparingly. Thomas: Three piece suit, overcoat and pocket watch with visible brass chain. Arthur: bow-tie, straight pocket square.

• 'The Cut' - Another clearly influential part of peaky blinders style: short at the sides and long on top to compliment Cilian Murphy's bone structure. It wouldn't, however, suit a fuller or more rounded face.

• Colour. Peaky Blinders exists in the post-war grey of industrial Birmingham. With monochromatic suits of navy, browns and greys you can ass a spark of colour through your socks or pocket square etc. Arthur uses his tie, Thomas often uses his shirts. 

• An easy and less showy way to mix things up is to experiment with pattern and cloth. 

• Classics are classics for a reason.

• Costume designer Stephanie Collie (Lock, Stock and Two Smoking Barrels, The Look of Love)

• recreating the era in a "heightened way" - Hollywoodised version of 1919

• Accurate but contemporised for accessibility

• 'Crooks Like Us' by Peter Doyle - used for haircuts 

• Arthur's bow tie makes him stand out so you think he's leader

• can’t go wrong with a tweed suit”.

• "It’s all about wearing a good suit with confidence and not being afraid to be individual, to add little touches. For the Peaky Blinders, the clothes were about them showing their worth. They would go without to have that fantastic suit because for them it is all about status. It shows where they stand in their neighbourhood."

STUDIO: Steal The Style Research ('How to Look Good Naked')

How To Look Good Naked

• First Aired Ch4 2006
• Hosted by Gok Wan 
• Encouraged average people, insecure with their bodies, to strip for the camera
• Unique for never pushing cosmetic surgery or weight loss - Very body positive 

Format:

• Aims to build self esteem of one guest each episode - varying activities (placing self in size line-up)
• Photographs guests, placing images in very public spaces - Eg side of building 
• Interviews members of public - very positive feedback 
• 'Looking Good Naked' tests weight loss myths and gives top-tips from fashion bloggers etc
• Old underwear is burned and replaced with more flattering garments
• Show ends with guest walking catwalk 

• Lots of quick zooms
• Gives easy-to-use tips based on body type - for all types and ties in to guest's
• Includes tips relevance to catwalk fashion
• Gives prices and stores of clothes
• Consistently reassures against surgery etc

Host: Gok Wan

• Trained in performing arts
• 10 years fashion experience as of first season
• Very positive, supporting, stylish 
• Wrote first book to accompany show: "How to Look Good Naked: Shop for Your Shape and Look Amazing!, that was published in April 2007"
• Fashion journalist and occasional TV appearances before hosting show
• Bullied in school for being gay, mixed race and overweight 
• Suffered from anorexia 

LIVE: Pitch

FEEDBACK:

• Great, original idea
• Loved the style 
• Would have worked better as a kid's show

LIVE: Research (Sunday Night at the London Palladium)

http://www.televisionheaven.co.uk/london_palladium.htm)

• Debuted first weekend of UK commercial television
• Immediately established self as highest show of the week 
• Climbed straight to the top of TV ratings
• Became talking point for millions on Monday mornings
• "prompted one Church of England vicar-the Rev. D.P. Davies, of Holy Trinity Church, West End, Woking, Surrey-to start his Sunday evening service half an hour earlier, so that his congregation could get home in time to see the show"
• Brought globally loved acts and grown stars to living rooms - music, dance and comedy 

Dior Dancers - Sunday Night at the London Palladium -- 17.4.1960

•  One shot maintained almost throughout, cut wider once or twice to maintain action
• Fairly wide shot, occasionally closer but still not a CU
• Camera seems more rehearsed and motivated than modern versions of show

Format:
Opening titles
Tiller Girls (Chorus dance troupe) - Clown
Lesser acts
Game show - involve audience?
Main acts
Closing - All guests on revolving stage - Take a bow


Tonight at the London Palladium - Friday 8 Dec 11.20pm (Series 1 - Episode 4 60 mins)

• Steady LS typical of show
• Steady CU always available
• CA to audience
• Cameras are-set, not pre-rehearsed
• Audience included more toward mid-show point - keeps interest up

CAMERA APPEARS PRE-SET TO A SPECIFIC FORMULA, NOT PRE-REHEARSED TO BEST SHOW OFF ACTS

Critical Perspectives (Introduction Lecture - 19/01)

Formalism: The elements that make up and structure the films form
Style:

•  Mise-en-scene 

Editing:

• Continuity editing (Hitchcock)
• Discontinuity editing (Soviet Montage - Sergei)
• Art House Cinema (Jean Luc Goddard)
• Avant-Garde/Experimental (Stan Brakhage)

Cinematography:

• Framing
• Composition
• Frame Rate

• Narration (Narratology - Bordwell, David - Narration in the Fiction Film(1985)
• Story and plot
• Characterisation

Sound: 

• Michel Chion
• Nolan (Batman fight scene, Dunkirk)

Realism and Social Realism: 

• Documentary Modes (Poetic, Expository, Observational, Participatory, Reflexive, Performative)
• Poetic Realism (e.g. deep focus photography, long takes in Citizen Kane)
• Neo-Realism (eg. non-proffesional actors, documentary affects handheld cameras, no editing - Rec) 
• British Realist (New Wave 1959-63)
• Social Realism (Social problem films Ken Loach, Mike Leigh)
• Sociology of Urban spaces, class systems etc

Auteurship

• Francois Truffaut (Auteur Policy, 400 blows)
• Andrew Sarris (Auteur Theory, three concentric circles)
• Rolan Barthes (Death of the auteur - viewer as author) 
• Auteur Structuralism (Wollen - Authorship as unconsciously channelling social conventions)
• Post-Auteur (As a head of collaboration with actors, producers, screenwriter, branding)

Genre Theory: 

• Formal Elements:
• Iconography
• Tone
• Narrative
• Plot
• Themes
• Archetypes

• Rick Altman
• Thomas Schatz
• Steve Neal

• Categories
• Subgenres and Hybridity
• Canon formation, Revisionism and Cycles
• Allegory and Metaphor
• Industry and Audience 

National Cinemas, Art Movements, Transnational Cinema

• British New Wave
• French Impressionism and Surrealism
• Soviet Montage
• Italian Neorealism
• German Expressionism
• French New Wave
• New German Cinema
• New Mexican Cinema
• New Hollywood and Independent American Cinema
• Hong Kong Cinema
• Iranian New Wave

• Where does the money hail from? The director? The story?
• Is Harry Potter British or American? Jame Bond?

Spectatorship:

Psychoanalysis

• Male gaze in Vertigo (Alfred Hitchcock, 1958 - Laura Mulvey)
• Phallic Symbolism in slasher films (Carol Clover)

Cognitivism:

• Recognition, Alignment and Allegiance of Characterization in Mulholland Drive (David Lynch, 2001 - Murray Smith, Engaging Characters)

Feminism:

• Male Gaze in vertigo
• Post-feminist and consumer 'choice' of branding, beautification and neoliberal exploration in New Femin0niities: Post-feminism, neo-liberalism and subjectivity)
• Androcentrism - Simon de Beaviour, Mary Ann, Doane, Film and the masquerade

Representation:

• Class
• Sexuality
• Gender
• Masculinity/Femininity 

Postcolonialism, Multiculturalism, Race and Ethnicity

• Orientalism - Edward Said
• Third Cinema versus Eurocentrism
• Racial Gaze
• Positive and Negative Stereotypes

Digital Cinema: 

• Manipulation of spaces and early effects - Melies, Lumiere Bros
• Perceptual Realism and Photorealism
• Persuasion Tactics and Paratexts
• Remidiation
• Motion Capture and Performance
• Humanness and technology
• Codes and contestable mapping
• Trandmediality
• Participatory Culture and Citizen Journalism
• Convergence and spreadable media 

Animation:

• Early Animation
• Disney
• Warner Bros and UPA
• Pixar
• Music and Abstraction
• Anime
• Stop-Motion

Industry, Production, Distribution

Commericialism, Globalization, Marketing, Ratings, Franchises, Money and Spectacle

Hollywood Studio System

Art and Fashion in Film and TV

• Art History
• Surrealism
• Dadaism
• Situationism
• Mannerism
• Cubism
• Abstract Modernism
• Deconstructionist
• Precisionist
• Renaissance linear perspective
• Rococo
• Punk, Mods, Grunge, Indie

Star and Stardom

• Star system
• Studio System
• Celebrity studies
• Star Personae

Audience Reception

• Gathering information and codes of behaviour
• Sources
• The hypodermic needle model 

Politics and Political Economics

• Globalisation, neoliberalism, Free Markets

• Marxism and the Frankfurt school
• -Ideology, base and superstructure
• Hyperdermic needle
• Hegemony(Gramsci)
• Varnivalesque (Bakhtin)

Structuralism and Post-Structuralism

• Semiotics - Signifier and signified
• Mythology - Levi Strauss
• Deconstructuralism - Derrider
• Postmoderism

Phenemenology and Embodied Spectatorship

• Haptic Visuality - sense associated with touch, smell, taste, eg of filmed textures

• Carnal Senses (Laura Marks) and Skin of the Film (vivian Sobchack)

Film and TV History, Cultures, Criticism, Festivals .. 

Shape of your proposal: 

Intro (Set up and prepare reader)

• Introduce and explain main focus and aim/question
• Clarify areas of research your dissertation (focus and aim of each chapter)
• Brief overview of the discussion order of your chapter by chapter

Chapter One - beginning

• Definitions of terms used in quetsion
• Basic theory
• Background information and/or historical ideas and context

Chapter Two - Middle 

• Utilises and builds on info from ch 1
• Application of theories, current discussions/context
• Any info and ideas that must be discussed before the question can be fully answered or the aim fully achieveed in final chapter

Chapter Three - End

• Question is fully answered or aim fully realised 

Conclusion: Very last, final response on discussion

• Reiterate the aims, reminding reader of any questions you wanted to answer
• Highlight key findings 

• Research and list progressive points (logical order, identify infor/evidence)
• Check the flow of your essay 

Expectations: 

• Clear, focused and research informed
• Theoretically informed
• Opportunities for analysing viewpoints/evidence
• your own conclusions
• focused and specific
• purpose

Don't:

• imaginary points
• already know the answer
• lots and lots of description
• broad,vague

Question should contain:

• Questioning term
• Enquiry, purpose/aim
• Specific theories or work

Structuring Paragraphs:

1. Para Focus
2. Intro of quotation
3. Context of quote
4. Quote
5. (Reference)
6. Interpretation of quote
7. Analysis and conclusions drawn from quote
8. Concluding point

• Inclusion of research and discussion/analysis of it
• does not include any unreferenced material
• evidence is key  Avoid blogs, youtubes or chat forums (unless to backup an academic point)

Ideas for analysis:

• Peaky Blinders (Mise-En-Scene, Post Modern music, representation)
• Black Mirror
• Misfits
• Luther
• Wes Anderson

Wes Anderson: Why His Movies Matter By Mark Browning

The Films of Wes Anderson: Critical Essays on an Indiewood Icon edited by P. Kunze

Cinema of Wes Anderson: Bringing Nostalgia to Life By Whitney Crothers Dilley

• Colour and costume 
• Visual Comedy EG Buster Keaton, Edgar Wright, Jacques tati

'How does a director use the camera as tool for visual comedy, with specific reference to both contemporary and classic material?'

'To what extent is the camera used a distinguishable tool for visual comedy, with specific reference to both contemporary and classic material?'

David Bordwell's essay on funny framings: http://www.davidbordwell.net/blog/2007/04/30/funny-framings/

David Chen's video essay on Wright's use of close-ups: vimeo.com/85311313

Politics and the American Television Comedy: A Critical Survey from I Love ... By Doyle Greene

Keeping Quiet: Visual Comedy in the Age of Sound By Julian Dutton

Animation - EG Looney Tunes 

• Costume and colour 
• Silence as choice - sound design
• Escapism
• Documentaries?
• Mockumentary?
• Increase of TV as a cinematic art