Ethel and Ernie

• Slow fade up from black after horror of the blitz
• low angles when putting decorations on the ceilings
• Fade between parents in london to dorset
• panning from others digging to main family
• using sounds of bombers before it appears

Ode

Arthur O'Shaughnessy. 1844–1881

6. Ode

WE are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,	5
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
With wonderful deathless ditties
We build up the world's great cities,	10
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song's measure	15
Can trample an empire down.
We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself with our mirth;	20
And o'erthrew them with prophesying
To the old of the new world's worth;
For each age is a dream that is dying,
Or one that is coming to birth.

• alliteration
• ideas of lone genius - 'lone' 'desolate' 'losers' united becoming 'ers'
• 'we' identity obscured but communal, anyone can identify with
• ideas of darkness, 'pale moon'
• written in a more patriarchal and patriotic time
• biblical references - tower of babel trying to defy nature and God
• Hope

Watching Mo Farah: The Race of his Life

• Starts with a tease
• Engages with current controversies around doping and sets up his importance and hence why you should watch
• Undermined a little as we know he goes to Olympics
• Lets the race voiceover set him up as Double Olympic champion
• Slow motion and throbbing music for when he comes 2nd
• Starts off with an upset to the idea of him as a champion - creates conflict
• Farah filming self makes it more personal, confessional
• Using air hostess to set up travelling to africa
• Usain bolt providing different perspective and star interest
• Farah directly addresses camera and voiceover provides explanation
• Use of drone tyo capture dry landscape
• Opinions from coaches
• other athletes for comparison
• See in ethipian environment -different from home, alien place - speaks in english
• starts with skype call to go into section about missing his family - interview and footage of family as cutaways
• dip to black which comes back to narrating mo's history
• Starts off sharing joke with brother so set up family fondness then starts recounting memories
• Talks to his brother in native language about why they were seperated, prefixed by voicover saying its the first time theyve spoken about it - exclusivity
• dip to black then London -c amera follows him walking - seems comfortable wherever he is
• talks abotu not being able to speak english in interview
• using pictures to link past to present interviews
• Go to London olympics
• Talks about it in rterms of family and emotional side
• Personal private pre race routine
• jokes dont amputate my leg after get spikes
• films family side when reuniting
• childrens voices carry over to him on running machine, image of him running in front of tv with medals on shelves above
• Gving credit to coach and his methods
• Setting up conflict of personal and career lives
• links two doping and press coming to family's home
• using press conference footage
• setback before what is described as his only chance to race his competitors before the olympics
• 'mo's gamble has not paid off' reaction shots of him
• filming himself at night surrounding by darkness, thoughts keeping him up
• See ups and down of athlete's life
• 31 years old
• Lifting huge weights, slo mo
• setting up conflict of overtraining
• family in hotel vs pre race streches
• wife's  reaction to race
• family at arena
• week off training montage with his family
• Cpuntdown clock to rio in corner
• ends with opinions on him
• comes over to camera after he finished his annoversary race
• uplifting music

History of Bollywood and Indian Film

• early films about mythology, religion, saw stars as gods
• first made in 1913
• early prints had silver - where stripped down for metal
• First superstar from Kismet
• Bombay Talkies - formed by 2 film stars
• Sensorship under British rule
• Raj Kapoor and Nargis
• Nargis was in Mother India
• 1950s saw rise of parallel cinema - more complex women
• Auteurs like Guru Dutt, Satjayvit Ray
• Playback singers
• Rise of 'angry young man' character
• 80s was a bad time
• Rise of Films appealing to diaspora
• Satellite TV, rise of middle class - sense of pride, opening India's borders
• Single screen cinemas and more expensive multiplex cinema
• Regional cinema as well

Augmented Reality

Understanding Augmented Reality: Concepts and Applications

By Alan B. Craig

• Spatial and interactive, connectedness
• using space around mobile devices
• algorithms can calculate the geometry of spaces
• 'vision science'
• medium as well as technology - people 'experience' augmented reality
• it adds digital information that you can interact with like you interact with the physical world

Notes from Cinematography: Theory and Practice

Image Making for Cinematographers and Directors

by Brian Brown

• p2 create a visual world for the characters to inhabit 
• p7 a long lens compresses space and a wide lens expands and distorts space
• p9 adding visual texture: changing colour and contrast, desaturating, filters, fog and smokefx, rain, film stocks
• p10 movies are one of the few art forms that use movement
• ability of the camera to conceal or reveal information
• letting camera reveal rather than narrator or dialogue
• POV is a key tool of visual storytelling - close to how one of the characters would see it
• cinematography consists of showing the audience what we want them to know about the story
• audience inhabits the characters brain and experiences what they experience

Views on Television and Domesticity

Behind and in front of the screen: television’s invovlvement with family life by Barrie Gunter and Michael Svennevig, John Libbey & company ltd, London, 1987

·         Pg51 ‘effects of tv… divided into 3 main categories:’ family life effecting children’s expectations, instructional to adults, impact on family member’s interaction and closeness

·         ‘current standard of living of family members [making dissatisfied] through its frequent portrayal of families who have limitless wealth and ultra glamorous lifestyles’

Gunter and Svennevig (1987) the ideology built into the differential representation for wealthy families, who are usually unhappy, compared to poor families who are usually seen as contented, ‘the significance of television families for the audience and the lessons about family life which they present can only be inferred

Open The box by Jane Root, comedia in association with channel 4

·         Pg 34 ‘many people have a highly emotional involvement with television’

·         ‘television, the viewers says, is a moving experience’

·         John Ellis in ‘Visible Fictions’ suggest that tv only requires ‘short bursts of attention’

·         Pg29 ‘struggling to concentrate through the filter of family activities’

·         ‘keeping the set switched on, without even trying to take in anything on the screen’ ‘becomes a filter behind conversations and domestic events’ ‘used like this…[tv is] a constant presence inhabiting the sitting room’

Anna McCarthy, Ambient Television: visual culture and public space, duke university press, durham and London 2001

·         Pg1 ‘we leave the house-the store, the waiting room, the bar, the train station, the airport… sites of commerce bureaucracy and community, constituting the landscape of public life today’

·         ‘tv enters the everyday built environment under numerous guises’

·         ‘point of purchase video’ in stores

·         ‘we don’t always pay much attention to these various forms of ambient television… they can teach us a great deal about the power politics of spectatorship and commerce in contemporary public space’

·         ‘the screen serves site specific purposes, its placement and use carrying out local tasks and channelling larger socio-economic forces into the environment’

Make Room for TV: Television and the family ideal in postwar America by Lynn spigel, The university of Chicago press, Chicago and London 1992

·         Pg1’its installation into the domestic space in the years following WW2. During this period the primary site of exhibition for spectator amusements was transferred from the public space of the movie theatre to the private space of the home’

·         Pg 2 ‘the more general obsession with the reconstruction of family life \AN DOMESTIC IDEALS… invested an enormous amount of cultural capitalto form a family and live out a set of highly structures gender and generational roles’

·         Pg 5‘women, however, are systematically marginalised in tv history.According to the the assumptions of currenthistorical pardigms, the woman is simply the receiver of the television text-the one to whom the advertiser promotes products’

·         Sitcom as a hybrid productlegitimate and vaudeville theatrical traditions

·         Bourgeouis sitting room as the site for the theatrical construction of the family

Televison and everyday life by Roger Silverstone, routledge, London, 1994

·         Pg 24 ‘providing in its schedules models and and structures of domestic life, or at least certain versions of domestic life’

·         ‘our intergration into a consumer culture through which our domesticity is both constructed and displayed’ – constant consumption fo television

·         ‘an element in the private culture of the home; gendered, aged, multiply dispersed in differently occupied spaces; differentially connected to a second technology’

·         ‘that domestic life, both in ideal and reality is…. A cultural and historical phenomenom… the creation of a bourgeouis class newly risen to commercial and cultural prominence in the early nineteenth century. That class was able to create and display a private world, sepearte from the world of affairs; a world in which personal pleasures and social preoccupations could be sustained and protected, shielded from the attentions of the public.

·         Pg 25 The interior ‘is still a place where the illusions of control… are fundamental, even in their absence’

·         ‘our interiors are not just physical spaces. They are social, economic, cultural and political spaces’

·         ‘running through the dynamic of these complex shifts and instabilities [of social relations of the family and change], informing them, supporting them, reflecting them, reflecting on them and reassuring us about them, is television’

·         ‘domesticxity itself is problematic. Our domesticity is the product of historically defined and constantly shifting relationship between public and private spaces and cultures’

·         ‘different dimensions of our domesticity as home, family and household’

·         Pg 26 ‘seen as breaking down’

·         ‘Home is a construct… It is the object of more or less intense emotion. It is where we belong’

·         ‘Attachment to place and being able to be placed are crucial elements in contemporary life, the more so as we begin to recognise how vulnerable and difficult our lives are becoming’

·         Pg 27 ‘places are human spaces, the focus of experience and intention, memory and desire.’

·         ‘Home is a relational concept’

Walter Benjamin 1976 (1983)

·         ‘The private citizen who in the office took reality into account, requires of the interior that it should support him in his illusions… from this sprang the phantasmagorias of the interior. This represented the universe for the private citizen. In it he assembled the distant in space and time. His drawing room was a box in the world theatre’

Anne Buttimer(1980) home is intimately connected with ‘horizons of reach’ ‘the lived reciprocity of movement and rest, territory and range, security and adventure, housekeeping and husbandry, community building and social organistaion’

Giddens 1984 ‘reach’ is now disengaged from physical movement, Harvey 1989 it is infinitely extended through our involvement with the mass media

Doreen Massey, 1992 always ideological securities attached to the home

Barrett, 1980 ideological support of patriarchy embedded in the family

Heller 1984 ‘’Going Home’ should mean: returning to that firm position which we know, to which we are accustomed, where we feel safe, and where our emotional relationships are at their most intense’

David Seamon (1979) home as physical presence, familiarity, ritual, possession, control and restoration

Judith and Andrew Sixsmith 1990 –home divided into 3 experiential domains

Notes on Cameras for Photography

Practical Photojournalism by Martin Keane

·         Visible light 400 nm to 7860 nm

·         P3 when rays of light diverging from a point fall on a lens they are focused oo produce an image

·         The distance from the lens to the plane in which parallel light is brought into focus is known as the focus length of the lens

·         The greater the focal length the larger the size of objects in the image created

·         P6 A lens needs to be moved relative to the image plane to compensate for changes in distance between it and the subject

·         P7 lenses using internal focusing are sometimes designated IF

·         Aperture is the amount of light that a lens will pass

·         Settings of aperture are conventionally: 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32

·         The smaller the number the greater the amount of light passed by the lens

·         Each setting passes half the light of the next setting numerically smaller than it

·         P8 a reduction in the physical size of the aperture when taking the picture i.e choosing a bigger number (stopping down) will mean less light coming through the lens which has to compensated by longer exposure (more camera shake) or etc… it also increases the depth of field

·         Focal length divided by its effective diameter

·         As shutter speeds vary by a factor of 2

·         To pass twice as much light, the diameter of the lens has to be increased, not by a factor of 2, but by a factor of the square root of 2 (=approx. 1.4)

Camera Terms

Basic Studio Directing

Basic Studio Directing by Rod Fairweather, Focal Press, Oxford, 1998

• p12 ‘shouting gets in the way of useful talkback’
• p14 ‘producer and director must work as a team’ - technical teams must follow the director
• ‘on air time and exact duration’ p18
• p24 Focal length ‘If parallel light is shone into a lens the distance to the point of focus behind a lens is its focal length
• fnumbers: we use an iris (a variable size hole) in  lens to control the amount of light let through
• the more we open the iris the smaller the f number
• each stop lets in twice as much light as the previous field
• Semi profile shot, 2 shot
• looking room, head room, not centre framing, balancing shots
• non-horizontal lines
• inexperienced directors have nothing in foreground whilst crabbing
• p100 ‘slowly zooming can be highly effective’
• can be visually dull without reaction shots