The Difference Between 12As and 15s

Rating	12A - The BBFC considers the content of 12A rated films to be suitable for children aged 12 and over	15 - No-one under 15 is allowed to see a 15 film at the cinema or buy/rent a ‘15’ rated DVD
Sex	Sex may be briefly and discreetly portrayed Verbal sex references should not go beyond what is suitable for young teenagers, but comedy may lessen the impact of some moderate sex references or innuendo Sexual violence, such as scenes of rape or assault, may only be implied or briefly and discreetly indicated at 12A. Such scenes must also have a strong contextual justification	Sexual activity can be portrayed, as long as there is no strong or graphic detail These scenes may be quite long at this category and may involve some nudity and movement No constraints on nudity in a non-sexual or educational context Strong references to sex and sexual behaviour Can have detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification
Violence	Moderate violence is allowed but it should not dwell on detail, with no emphasis on injuries or blood Weapons which might be easily accessible to 12 year olds should not be glamorised	Violence may be strong Should not dwell on the infliction of pain or injury Easily accessible weapons may not be glamorised
Strong Language	There may be infrequent strong language (eg 'f***') There may be moderate language (eg uses of terms such as ‘bitch’ and ‘twat’)	There is no upper limit on the number of uses of strong language (eg f***) No continued or aggressive usage of the strongest terms (eg 'c***')
Drug use	There may be infrequent sight of drugs misuse	Drug taking may be shown but the work as a whole must not promote or encourage drug misuse But don’t tend to allow the misuse of easily accessible and highly dangerous substances like aerosols or solvents
Overall Tone	A film with a more positive or reassuring tone instead of very dark or unsettling tone which could disturb the audience would be more likely to gain a 12a certificate
Additional Points	Unlikely to have aggressive discriminatory language, and it must not be endorsed by the film as a whole Dangerous behaviour (for example hanging, suicide and self-harming) may be present in 12 or 12A works but will not dwell on detail which could be copied or present those activities as pain or harm free	May be racist, homophobic or other discriminatory language, and the work could explore themes relating to this, but must not endorse it Can be strong threat and menace Dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied

How Does Eliot Present Water in The Waste Land?

The lexis of water runs through out the whole of T S Eliot’s The Wasteland, with even one segment being named ‘Death By Water’. The death of the Phoenician soldier is interconnected with the rest of the text, such as the Burial of the dead where Madame Sosostris warns of ‘Death by water’ indicating the card with the ‘drowned Phoenician sailor’ on. The universal nature of water links seemingly unrelated things, people and times together, and contributes to the timelessness that T S Eliot creates in the poem, and yet water can connote a journey and moving on with one’s life. The ‘Phoenicians’ were once sailors of great repute, and thought to have spread the Grail myth (which The Wasteland is in part based on), and the interconnectivity of the Phoenician sailor reflects that fact. It also helps to entwine the past and the present, with Phlebas ‘Forgetting’ the ‘Profit and the loss’, which, while by no means a modern invention, is a more modern turn of phrase, but could also connote that water is either a healer, allowing him to ‘forget’ life, or a murderer, stripping Phlebas of all the memories of his ‘age and youth’ and leaving him as ‘bones’ to be ‘picked’ at by the torturous sea.

The idea of water as a healer however, is linked to the Grail myth, as the knights must ask the right question to restore water and fertility to the wasteland. This restoration of fertility can be seen in the ‘Burial of the dead’ in which water is ‘breeding lilacs out of the dead land’. By beginning his poem with growth and images of springtime (also connected to spring rains and the renewal of life after the cold and infertile winter) Eliot sets up the theme of rebirth and renewal as of great importance.  Rebirth is synonymous with baptism in the Christian faith, but is also found in most major religions, and the world over water symbolizes renewal and new life, and Eliot reflects this fact in his references to different cultures such as Buddha’s ‘fire sermon’. ‘Fire’ is the antitheses to water, and much as water represents life, fire represents death and hell, and the ‘burning’ it causes contrasts with the ‘life’ water brings to the Wasteland. This new life is much like the Christian belief that when you are baptized you become a new creation, and the juxtaposition of ‘fire’ and ‘water’ can be seen to reflect the battle between good and evil or against sin. The constant repetition of ‘burning’ in the end of ‘The Fire Sermon’ could signify the burning shame of sin, or perhaps the burning of lust. Buddha, in fact, compared worldly desires to burning, and Saint Augustine also described his promiscuousness before his conversion to ‘burning’, connoting the sterility and coarseness of the world without the soothing touch of water, here representing enlightenment or a relationship with God. This suggests that the solution to the infertility of the wasteland or the ‘burning’ of lust displayed through the poem could be a renouncement of worldly pleasures and the pursuit of the desires of the flesh. This view is reinforced by Eliot’s portrayal of Queen ‘Elizabeth’ I in ‘The Fire Sermon’. Words like ‘gilded’, ‘red’, ‘gold’, ‘white’ and ‘bells’ make the river of water seem regal and heroic, as though it is as it high point in the poem while Elizabeth is sailing upon it. This is significant, as Queen Elizabeth never married or succumbed to lust, and by seating ‘Leicester’ with Elizabeth in the procession, Eliot illustrates that she is not weak and does not give into her desires, with the word ‘and’ clearly marking them as separate individuals.

Water does not just represent just one thing in The Wasteland though, being both part of the seedy underbelly of an industrialized world, with ‘rats’ crawling, and with the ‘dead’ flowing ‘over London Bridge, as well as part of a more civilized and refined upper class world, with ‘Marie’ taking shelter in the ‘colonnade’ from a ‘shower of rain’ by the ‘Starnbergersee’. This perhaps suggests that water is an intensely personal thing, and can mean many different things to different people, as well as being manipulated to represent our world view.

Titles Analysis

TITLES FOR AN EDUCATION:

• Childish motifs like the hopscotch reflect the transition from childhood to adulthood
• Black and white colour scheme connotes drama, sophistication, and that there will be moral issues (good vs evil)
• Scientific motif connote the cold and calculated scheming of some of the characters
• Scholarly diagrams reflect her education. This includes the fact that she is still in school when the film starts, the education she gets from her courtship with an older intelligent man, and what she learns overall in the film
• The crispness of the lines as well as the monochromatic colour scheme shows the monotony and moral uprighness of her life in school, and explain her boredom with it.
• They help the audience understand her character in the beginning of he film, by reinforcing that she is still young and innocent
• Illustrates the juxtaposition between the different types of education she gets in the film
• Names are in capial letters to draw attention to them
• Crisp and clean white font can easily be seen and read, and connotes not just the school environment but her innocence as well
• Titles quickly fade on and off screen

TITLES FOR NAPOLEON DYNAMITE:

• Typically american food like nachos and corn dogs help establish the setting
• The bright primary colour scheme is continued through out the film and reflects its quirky nature
• nature.
• It introduces Napoleon's character as quirky and interesting, as well as informing us that he's in high school.
• Introduces food as a major theme
• Suggest youth and vitality
• Introduces high school setting
• All the titles are incorporated into the mise-en scene
• There is no one font, but many of the titles are handwritten in condiments onto various food dishes
• All the items specially created for the titles use different fonts, but at the same time fit with the quirkiness and the education theme running through out the titles
• The colour of the plate or food matches the surface on which it is placed on
• All the plates have have a definite colour scheme or style that all the food and the method of serving conform to
• All the titles are part of physical objects, so are placed on and taken off in shot
• Some of Napoleon's drawings are featured, which come up again later on in the film
• It is not made clear who's food it is, but Napoleon and his brother eat similarly wacky things through out the rest of the film
• The things in Napoleon's wallet set up his character, building enigma and anticipation
• We see some of his traits, with oblects like the UFO card representing him as a stereotypical geek
• Most of the titles don't include different people's roles in the production of the film, but focus on their actual names
• Some of the meals are rather packed lunch/school dinner like, building it up as a major part of the film

TITLES FOR JUNO:

• Pale blue background reflects the season, and all the font colours are in autumnal colours
• As the camera follows her down the road, she walks behind a tree and as she emerges on the other side of it everything becomes hand drawn
• All the titles come on in different ways, some being unjumbled,
• Juno juxtaposes with the cardboard cut out surroundings, establishing her difference and suggesting that she will not conform to the norm during the film
• Montage editing
• Images that will emerge later on throughout the film like the chair are shoen in the background behind her
• Juno's name flashes differnt colours to emphasize it (it is after all the name of the film) and also to connote her individuality
• Some of the houses are drawn on graph paper, emphasizing her youth and that some of the story takes place at her high school
• Handwriting font reflects her quirkiness and the fact she's still in school
• The titles follow the lines created by the drawings in the background, such as along a fence, in a shop window or following a path/pavement
• Typical american surburban houses establish the setting and explain the reason for her boredom
• The titles colours change depending on the mise en scene in the background, with some matching Juno's jumper and Sunny D bottle/the runner;s outfits, and others matching the falling leaves
• Titles follow Juno around establishing her as the protagonist, and suggesting that she will also go on a journey throughout the film
• Her boyish costume is shown through a series of LSs, which also introduces her as tomboyish and definitely not a typical teenage girl heroine
• The simple colours and lines show the bleakness and boringness of the setting
• The setting looks like a story book, connoting childishness, whether Juno's baby or her own is uncertain
• Juno however, is not handdrawn, again re-enforcing the idea thst she is different and her own person, and that she doesn't have to follow society's rules
• The setting is continually redrawn and reshaped around Juno, but she carries on walking, connoting her strength, independence and nonconformity
• All the title shots feauture Juno in, making sure the audience know the that film is all about, and will be driven by, her.
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Poem: Snow

Look At The Sky
Look At It Sing!
What beauties
Do those clouds bring?

Like a kiss from the sky
They wave goodbye.

Down down down and down again
Until all of creation is stretched around
You in one
Universal ballet
Piroheutting and sighing.
We all fall down.

They alight like aliens
and can not look
back to their homeland.
Obscured by more of their kin.

A short and lonely life
The rain comes like a knife
And dreamlike they flutter in the mind
Not quite gone, ready to find.

Analysis of Pride and Prejudice opening Sequence

Sound -Begins with bird song against a black background -Gentle piano music begins during the first shot as soon as the sun has risen above the trees -Bird sounds grow in intensity -Geese and other farm animal sounds showcase the farm setting, along with water splashing which connotes the naturalness and peace of the setting -The piano music is quite cheerful and playful, and as Lizzie passes the door we discover it is being played by Mary, but as the camera advances towards her we hear her playing a less sophisticated tune -As Lydia and Kitty come down the stairs and into shot the girlishly giggle -Jane chastises/calls them saying ‘Lydia/Kitty’, representing her as more responsible -A dog runs past barking, indicating the chaos of the Bennet house -Mrs Bennet exclaims ‘My dear have you not heard? Netherfield Park is let at last!’ -Mr Bennet dryly replies that ‘As (you) wish to tell me my dear, I doubt I have any choice in the matter.’ As well as adding humour, this reveals Lizzie’s parents as two very different people, and his slight mocking reveals his superior intellect. -Lydia’s giggle is heard off screen

Editing -As the sequence continues the sun rises -The title fades in with the lens flare, and matches the sun ray’s golden colour -Cuts from LS of field to CU of Lizzie and the audience immediately recognize her as the protagonist and are interested in her -Cuts from her reading and walking to a CU of book as she closes it – We immediately see her love of reading, and that she is clever. She becomes even more interesting as we realize she is not a typical rich Georgian woman -The editing is driven by her journey as she walks across the countryside to her house, which not only connotes her as a unstereotypical woman who is not confined to a domestic setting, but also indicates that her decisions will drive the narrative forward. -There is a shot that lasts over 1 and a half minutes, connoting the family’s unity, and showing all the inside working of the family within 1 shot. We meet all the main characters, and already learn the basics about all of their characters.

Mise En Scene -Starts in the early morning, making use of the natural light -First shot is of a pale, misty and dew covered field with the sun rising behind a hedgerow full of trees, and the blue colour scheme grows brighter as the suns bright yellowy orange light floods the shot -First shot of Lizzie is not obvious that it’s a period drama – she’s reading an old fashioned bound book and has her hair in a bun, with her brown dress fitting in with the bright green landscape around her -Domestic and idllyic countryside scene, with farm animals, ivy covered cottages and white clothes and sheets flapping in a gentle breeze – beautiful and picturesque, but not particularly exciting -Her brown dress is practical and quite plain, but the material and cut show that she is not a servant, and is not dowdy. Rather, it is a rich and warm brown everyday dress that matches her hair, eyes and surroundings, showing her at home where she is, and representing her as unmaterialistic. -Mary is dressed in dark clothes and seated at the piano, connoting her studiousness and seriousness. -Jane is dressed in pastel pink and blues, with blonde hair and blue eyes, and is holding some scraps of fabric, representing her as the ideal woman, and perhaps more of a stereotypical domesticated woman than Lizzie -The table is covered in discarded pastel coloured clothes and hats, further indicating the presence of lots of girls -Everything is naturally lit by light streaming in through bay windows -A stone porch indicates that her house is from an older time, and is well made, showing that she comes from an upper class family

Camera -Starts with a LS of a field as the dawn breaks, lasting for slightly less than 50 seconds -As the sun rises there is lens flare -CU of Lizzie reading with lens flare, showcasing her little smile as she reads -OTS CU of the book as lovingly shuts it -ELS with a frame provided by the wide river, and though it could be the modern day countryside the framing emphasizes her long brown dress, and her walking across the bridge is the focus on the shot, indicating that the film will follow her journey -The camera follows her around, presenting her as interesting, and setting the audience up to follow her for the rest of the film -There is a MCU tracking as she walks through the washing, connoting her class, as she does not have to do any actual work -This shot continues even when Lizzie continues walking, tracking through a (servants) doorway in an ELS of Mary until Jane steps into frame -The way the family flow into and out of frame represents their domestic bliss, as they all share the framing, and it also shows all the little dramas going on between different members of the family -Lydia and Kitty burst into shot, running and giggling through the shot, representing them as young, excitable and frivolous. -The camera pauses on Mary for a moment, but she doesn’t stop playing the piano -The camera pans on the dining room table to the porch, and outside we see Lizzie walking again, as she is not involved in all the stereotypically womanly things happening inside the home -The shot tracks her as her walks up the stone steps, and it pauses as we see along with her an OTS of her parents talking through the window, and they are kept inside the domestic setting by the window frame -Lizzie’s smile as she turns from the window reflects the love she has for her family, and the friendship she shares with her father. -The camera zooms out and passes through a one door as Lizzie passes through another, connoting the fact that we are following her again, and it is her POV we will see

Issues with Media Ownership

Discuss the issues raised by media ownership in the production, distribution, marketing and exhibition/exchange of media texts in your chosen media area:

Media ownership has a significant impact of distribution, production, marketing and exhibition/exchange in the film industry, especially as 6 major studios make 90% of its profits. In the major USA film studios like Disney, the same company will keep the rights for everything in which they have expertise, such as often selling off the rights to distribute a film in certain countries which are smaller markets like Turkey. In countries with smaller film industries like the UK, where there are no big studios, co-productions like the King’s Speech are common, and different rights are usually owned by many different companies.

Production:

Media ownership has led to difference in the genres of films made in the UK and US film industries. Because of the greater budgets given to Hollywood produced films they can afford more SFX and globally known actors, allowing to them to create globally appealing films, as well as to focus on the main profit-making genres such as action. It is also easier for Marvel (owned by Disney) to shoot their films as the company own huge production lots, as well as the horizontal integration of all the different areas of production under the Disney banner. One disadvantage of Disney’s ownership could be that Marvel may lose creative control even though they gain bigger budgets. As the major Hollywood studios are mainly motivated by profit, the production companies they buy up will have to make more commercially viable films, and often Hollywood is seen as a film factory. The difference in budgets (for instance the Avenger’s $220 million budget compared to Kings Speech’s budget of $15 million) means that British productions tend to have to be period dramas or other similarly lower cost ventures, with more nationalized appeal. British productions tend to be more motivated by art and often achieve critical acclaim, however limited by small budgets and localized appeal.

Distribution:

British productions tend have a greater range of financiers so they have to share creative control, and as they don’t have their own employees the cast and crew are an eclectic mix of different people. This also means that British production companies like Bedlam productions aren’t able to develop their own brand identity unlike Marvel, who produced the Avengers and are known for superhero comic book adaptations. It also means that they are neither horizontally nor vertically integrated, and have to sell of the majority of the rights as unlike companies like Disney they don’t own their own channels of communication or distribution channels. However because British films are usually co-productions they can often sell the rights to sister companies or partnerships, as was the case in The King’s Speech where See Saw films (an independent British production company) arranged the sale of the rights to distribute in Australia and New Zealand to its sister company Transmission films who have expertise in that market.

Marketing:

Another consequence of the 6 major film studios having such large market share is that they can reinvest profit back into 360 degree interactive marketing campaigns. Compare this to the more traditional marketing campaigns used by British production such as the King’s Speech which focused heavily on its poster campaign, and it is no surprise that Hollywood films like the Avengers make more than 5x the profit of even the most successful British films. Traditional marketing methods are more likely to reach older audiences, and that may be part of the reason that the UK film industry often targets the grey pound. Hollywood films also market on a greater range of media platforms, with films like the Avengers having copious amounts of merchandize, apps, games and a strong presence on social networks like Twitter, Pinterest and Facebook, in order to reach teenagers and young adults. The fact that Disney owns companies like Digisynd who specialize in social network marketing means that it has experts to promote the film in every possible way in order to create a buzz around a film and make it a must-see. Films like The Avengers have glossy slick marketing campaigns, and while both British and Hollywood will have synergistic campaigns Hollywood marketing will be far more cross platform.

Exhibition/exchange: 

In today’s increasingly competitive market cinemas must compete with the popular gaming and TV markets to entice audiences into cinemas. Hollywood pours its profit into investments to improve cinema technology in order to prise audiences from the comfort and convenient of their home entertainment systems. Disney has been researching 3D technologies since 1953, and the large profits it earns from films like the Avengers (which made a  record breaking $1.2 billion) means that it can invest in further technological advances to further reduce costs and to offer something new to audiences. This is a disadvantage for the British film industry, which does not have the same level of reinvestment. The big Hollywood studios are also making using of the new opportunities the internet offers, just as Disney did by selling the rights to the Avengers online distribution to Starz media, then to Netflix in order to maximize profit and audience reach, despite the fact that The Avengers was the most illegally downloaded film of all time. While Hollywood films have a longer life span due to the DVD and Blu-ray releases and other merchandizing opportunities, British films tend to have a shorter life span, only being released in 2D and with DVDs containing limited extras. This means that British films will never be able to rival Hollywood films in terms of profits, but must compete based on their artistic value.

British film companies have less money for investment and limited power in the market place, but as they focus more on producing high quality artistic films with national appeal they often achieve critical acclaim and breakeven. Because the 6 Hollywood majors make so much revenue they have dominion in the market place, continuing to dictate cinematic trends and dwarf Britain’s smaller independent productions. However if UK  producers continue to invest in original unique and challenging films like the King’s Speech British films can compete with Hollywood ones based on their quality.

Scott and Bailey

Scott and Bailey is a British ITV crime drama that focuses on the lives of 2 women detectives (Rachel Bailey and Janet Scott) both of whom are members of the Major Incident Team of the fictional Manchester Metropolitan Police and the show focuses on their professional and working lives. Rachel and Janet are close friends with different personalities: Rachel is impulsive and free-thinking, whereas Janet is subtle and wise. Janet, who is older than Rachel, is married and has two daughters, though her marriage is somewhat stale and is marred by an affair with a colleague, Andy Whilst Rachel was involved in a tempestuous and unstable relationship with a barrister, Nick, whom Rachel discovers is already married with children and is a serial womaniser by breaking police regulations.

1.       The main social group depicted is women, as the 3 main characters are women, and they are all in quite high to the highest positions in their department. The main detectives are both women, and the narrative centres around their quest to find the crime committer, and they are dispatched by DCI Gill Murray who is also a woman. There are token characters, such as a black witness or a mixed race murderers but these characters and their race do not hugely influence the narratives, but a reasonably multi-cultural society is represented.

2.       DCI Gill Murray hold most of the power, and she leads the team and tells them what to do. Andy is also quite high up but he doesn’t give any orders. Both Scott and Bailey have power, especially when with suspects, but both also display some dominance in their personal lives.

3.       In some ways they are conventional, as they are the stock characters of buddy cops, and are heterosexual and white, but where Scott is middle-aged, Bailey is quite young (in her twenties) and obviously they both are women which is very unconventional which challenges the stereotype shown in most crime dramas of most of the police force being men. Also they use an alternative representation of women as opposed to shows like Rosemary and Thyme where the women detectives are gentler and more feminine, as Scott and Bailey are in a way rather masculine in that they are tough, hard and quite ballsy, but are still intelligent, and their femininity is shown as an advantage when talking to suspects or victim’s families. However the show does use the fact they are women to add an element of soap, and many of the narratives revolve around the characters romantic entanglements.

4.       They are quite positive mostly as they are represented as aspirational women, who are ambitious, hard-working and motivated and doing well in a stereotypically male profession, although in their personal lives they are shown to be a little argumentative and hot-headed and they often do unethical things like having an affair or lying under oath in a court which is quite negative representation.

5.       The representations are probably more accurate than other male-dominated crime dramas, and by showing the detectives home lives it is more realistic. The crimes are solved much quicker than in real life, but the programme is less murder-mystery like than others as clues seem more plausible than the norm, for instance DNA testing, CCTV footage and interviews with suspects are often depicted. To fans of the genre the representations may seem unrealistic though, as they are used to a set formula which Scott and Bailey breaks.

6.       The women detectives appeal to women as they may aspire to be in high power positions like the main detectives are, whilst identifying and empathizing with the relationships the detectives have, like Scott’s failing marriage. The inclusion of Bailey who is a younger detective may appeal to younger people, and the show is also quite contemporary and realistic so audiences can learn more about the police force and crime solving.

Analysis of Merlin Series 5 Episode 8: The Hollow Queen

Analysis of Merlin Series 5 Episode 8: The Hollow Queen 10:11-15:50

Merlin agrees to leave Camelot on a dangerous mission to help a young Druid boy. In his absence, a deadly net closes in around Arthur.

Camera

The clip starts with an LS to MCU pan of Gwen as she reaches for a key above the door, and as this is how a boy got into the castle earlier it hints to the audience that they are in cohorts. The next shot is an LS of Gwen putting down a letter, and later there is an CU of Morgana picking it up, presenting an image of women standing together, and it is also positive that they are clever and sneaky enough to come up with a plan as villains are normally played by men, however the fact that they are both evil and keep failing presents quite a negative view of treacherous females. There are no two shots of them in the clip, unlike with the male friendship shown in the CUS of Arthur and Gaius as well as the large numbers of Merlin and the druid boy, perhaps suggesting that the men’s friendship is honorable and noble, and contrasting with the stereotype of girl BFFs. The two shows also indicate equality between Merlin and the boy, giving the boy an incentive to save his friend later on in the episode. On the other hand, Gwen is shown to be more powerful bt being shot from a single MS LA looking down on everyone else, whereas Arthur’s knights are all standing behind him in a triangle formation illustrating their unity and his liberal mindedness, making the audience respect his for his modern views.

Editing

The shot reverse shot technique is used extensively as most of the clip comprises of dialogue, an the 180 degree rule is never broken which means that the audience can get immersed in the story as they build up the tension through cross cutting. There are 3 parallel scenes that the clip cuts between: Merlin and the boy on their journey then arriving at the spot where Morgana attacks, Arthur preparation then meeting an enemy king and Morgana and Gwen doing their evil plotting. These cuts indicate that the different story threads are happening simultaneously, creating suspense as we know something bad will happen in Camelot as well as to Merlin which keeps the audience of the edge of their seats.

Mise En Scene

In shots with Arthur the lighting is far brighter and whiter than it is in shots with Gwen and Morgana where low key lighting creates a sense of evil around the characters. Arthur is also shown to be brave and good through his clothes and furnishings, which are all red and gold (which also signifies his rank), creating a bright and regal atmosphere while also matching Merlin’s short which suggests that they are a team. Gaius on the other hand is clothed in pale greens and browns to show his age and his lower rank, and his robes contrast with Arthur who seems more magnificent. As Merlin and the boy get nearer to Morgana’s trap the lighting darkens, and all the villains (Morgana, the Sarum and his men) wear black clothes to show their evil nature, and even Gwen and the boy were dark clothes, matching the black poison that Morgana pours into Merlin’s mouth to kill him.

Sound

In the beginning of the clip cellos and double basses are used to create a deep, foreboding sound, alerting the audience that Gwen is up to no good again, and the creaking gate and locking sounds are horror signifiers, indicating that something bad will happen, making the audience want to watch on to find out what it is. Tension is also built through the use of a synthesized glockenspiel as Merlin gets nearer to Morgana which plays one of Merlin’s signature motifs letting the regular audience know something bad is going to happen, and it is repeated by the orchestra later when Merlin is lying is a ditch poisoned. Discordant Brass music announces the arrival of the bandits and creates suspense and an atmosphere of fear, and the following voiceover is used to convey the fact that the boy is lying as if he was a druid he would have been able to hear it. Two of the storylines are linked y the repetition of the discordant brass, and many familiar motifs are repeated with slight alterations, and because the audience know them so well they create dramatic irony, as we know what will go well or badly.

Introduction

I'm Anna, and I'm doing media studies A-level, and this will be my blog about it. I am currently studying TV drama and the Film Industry, so be prepared for some fun fun fun examy type stuff, as well as other things that I like.