children's drama assignment: My parents are aliens - bibliography and info trail

Bibliography and information trail:

whole thing I watched the episode 'when swaps go bad' - www.youtube.com/watch?v=J1aIgNx0dAY

3- www.bbc.co.uk/guidelines/editorialguidelines 

....that's all the information I looked at...

children's drama assignment: My parents are aliens - copyright and health and safety #legal

Children's drama assignment: My parents are aliens


Copyright and health and safety issues - legal.


When filming any programme the makers have to make sure they are not breaching any health and safety or copyright laws. 
For example when filming the makers cannot include music, advertisment, games or any other television programme within there own without written permission from whom it is entitled to.
However, the makers of the show can be asked to include other products in the background of shows for a fee - this is known as product placement. But for Childrens drama's such as 'My parents are aliens' they can only (by law) include suitable products for children, for instances they could not include someone drinking vodka in the background as this would be innapropriate for young audiences.


When Filming with Children all of the staff involved from the director to runners have to be checked to see if they are allowed (by law) to work or be near children - This is called a CRB check. This is to protect the childrens well being and is essential part of health and safety.
Every detail has to be checked when filming, especially when with children - there is more potential for accidents such as the crew cannot leave any alcohol or ciggerettes laying around  the set and most importantly that the location itself is safe for example if you was filming with animals you'd have to train the children how to behave with the animals etc.
In my opinion one of the most important aspects of health and safety is when filming stunts. One of the most dangerous things to do within the media industry. This is more tricky when doing stunts with children as you need to find small enough adults to play the part and also train the child do some less difficult part of the stunt.
Finally working hours - is a strain when filming as the children have to by law study for a certain amount a time a day. so this can be awkward to work around for the film makers.


In my parents are aliens it seems in my opinion to be a fairly safe location as its in studio and there is no stunts (apart from falling over now and again) - which is typical for a childrens comedy drama.
seeing as this programme consists of short series i'm guessing it wouldnt be shot in term time so they needn't worry about study hours.

children's drama assignment: My parents are aliens - codes of practice

Children's Drama assignment: My parents are aliens 

A relevant code of practice.

When considering codes of practice, we need to consider what is and isnt suitable for childrens drama's. What audiences think is and isnt appropriate for children and the rights to the actors of the programme.

In childrens dramas such as 'My parents are aliens' it would be completely out of turn and totally innapropriate to include the following; animal cruelty, racism, discrimination, strong violence, weapons, encouraging illegal activity, drugs, alcohol, swearing, insensitive death plots, sex refrences/scene and gambling.

The things listed above would never be included in any type of childrens programme. The reasons for this is that the television companies have to follow regulations set by Ofcom and certain editorial guidelines, for the best interests of children and young people. These rules are set out because audiences do not want children to be subjected to these kinds of situations and are there to protect childrens interests.

In programmes such as 'My parents are aliens' these regulations and guidelines are also set out to protect the child actors who are involved with and make the show.

regulations such as working hours - A child can only work for a certain amount of time a day as it is law that children spend at least 4 hours a day 5 days a week studying so during filming they have to have breaks for tutors. Also if a child is working to long and is in unnessary and outlandish distress that can also be seen as child labour and the production company would be investigated by appropriate arthorities.

The programme needs to take into consideration safety - is there working enviroument safe for the children to work in. That they are not subjected to dangerous situations.

Is it legal - is everything that involves the children legal for example that there is no gambelling involved or encouragement of illegal activty. Also that no 3rd party has access to the childs personal information such as address etc.

and finally is it decent - a child should not be subjected to indecent scenes or situations. In a childrens drama there should be zero indecent plots or storylines.

When hiring child actors the children can only work with consent from a parent of guardian. They also need permissions for locations in which to work in.

Production companies are obligied to follow the 'equal opptunities act' in which anyone qualified enough for the job has the same right to work regardless of race, religon or disabilities.

usually in dramas (especially childrens drama's) include mixed backgrounds of people.

My parents are aliens is a drama that is impartial to matters being fair within the drama reguarding drama entertainment and culture.

childrens drama assignment: My parents are aliens - narrative

Children’s Drama Assignment: My parents are aliens

A report on the narrative and characterisation used in a episode of a children’s drama.

The Narrative is presented in different ways throughout each individual episode to portray different perspectives on different situations. From the first scene in the episode ‘when swaps go bad’ we, as an audience can automatically see that it is a children’s drama from the vibrant array of colours in the kitchen and when the ‘parents’ say there bored in ‘this part of the galaxy’ its obvious to the audience that this a fantasy / sci-fi drama. The following scene is one of the main characters – Lucy; in school (relatable to the audience) we can distinctively see that Lucy is a ‘geek’ just from these few seconds of being in the plot.

The audience can see from these two scenes that maybe there a link as Lucy wants to borrow a school Laptop to write memoirs and Brian and Sophie are bored. These are used as back-stories so that the audience can get to know and understand what each characters is about and get to learn what part they play in the plot and story. The narrative in my opinion is quite unrestricted as it tells the audience what the character is feeling for instance being bored and what they’re planning to do – which simultaneously creates a story in the audiences mind. This is done so a certain order (chain of events) – this is so the audience fully understands what is happening and/or about to happen.

The audience is given unique access to the five main characters Mel, Josh, Lucy and especially Brian and Sophie. We often see what each character Is doing (on their own) so we see each back-story – More commonly known as ‘switching’ between characters.

Modular narratives are used between each scene to manipulate the feeling of time to the audience. The most common type used is episodic; which the audience sees the drama in a organised abstract series, elements and sequences.

Characterisation is used in a way so that the audience get to know each character on a more personal level, so the character themselves have their own unique stories. To me the five main characters are split into two groups the children Mel, Josh and Lucy have their own personal tragedy that there parents died and where placed into foster care for most of there childhood. As for Brian and Sophie they obviously have a ‘fantasy’ and comical back-story that they are aliens that crash landed on earth and cannot get back so have to ‘blend in’ with the humans and that’s why have fostered the children also while they have to stay on earth they have been set a task to find out as much information about humans as possible.

The children:

Mel – The eldest out of the three children finds it hard to trust people and is a typical teenager. She is quite wary of Brian and Sophie and tries to resent them as much as possible but the audience can see she is a nice person. In my opinion I think audience are made to feel pity for Mel as she lost her parents and she doesn’t really know how to handle her feelings.

Josh – Is the only boy out of the children. He is a bit of a young entrepreneur and likes to make money buy conning his school mates and family. He selfish and mainly thinks about himself most of the time. He seems to be the most comical out of the children.

Lucy – The youngest of the family. She is a very Academic student and wishes to become an astronaut when she is older – Has immediately something in common with Brian and Sophie. She seems to be the most sensible out of the whole family – which is funny for the older audience as she is so young.

The alien parents:

Sophie – she seems to be the brains out of both aliens. She seems to tell Brian what to do. Unlike other aliens like her she cannot morph unless she eats ice-cream – makes her an outcast?

Brian – Is the dim witted sci-kick out of Brian and Sophie. In my opinion he brings the biggest comedy element to the show. He has the ability to morph which he used to his advantage on earth, He helps the children with his morphing powers – which is mostly Josh involving some kind of scam. Brian likes to gets himself into all kinds of mishaps.

In the episode ‘when swaps go bad’ we see the characters form groups; Brian and Sophie team up and spend the family’s money on the new craze card game – The audience can see that Brian and Sophie will stick together as a team throughout episodes – as they are the outsiders. Lucy takes a laptop in someone else’s name and Brian and Sophie steal it for money to buy cards (this is fore-shadowed) and Lucy’s struggles to get it back. Mel takes away Brian and Sophie’s moneys to stop them wasting it and Josh on the other hand works against his sisters and sells Brian and Sophie cards for his own selfish reasons – immediately tells the audience a lot about Josh’s character and logics.

assignment childrens drama: My parents are aliens

Childrens Drama assignment: My parents are aliens (series two)


1. A report of the conventions of the genre (form and content)


My Parents are Aliens is a children's drama series based on a foster family who the Parents are aliens. The programme in my opinion has a variety of genres; comedy, fantasy, sci-fi and family.


Form: This programme is a comedy, fantasy, family drama so typically I'd  expect to see bright lighting and colours for the light hearted atmosphere that is needed in a typical comedy family drama of this callobar and this kind of scene has to be projected to the child audiences at home.
The acting is some what childish, but is portrayed in the correct manner to what you'd expect to, from the conventions of the plot and style of a childrens fantasy drama. 
Each character has there own perks and individual personalities which in my opinion is for the target audience to relate to such as Lucy being a hard working academic of the family and feeling like an outsider at school and within her bizarre family, many children can relate to her situation which makes the audience feel involved with the programme. 
The camera shots and angles used in the first and second series seem to all be very simple shots and angles (as to the ones in the later series start to use a more vast variety) this may be because of the lower budget. As the later shows seem to be more enticing for a young audience as it has more movement through camera shots and angles. In the episode I have been analysing (when swaps go bad, series two). The main camera shots used are long shots and panning movements so it shows, has the feeling of watching a theatrical stage performance which suggest's to me 'old fashioned' television.
In the editing of the programme, it uses quite basic editoral techniques such as cuts to compress the time or vary points of views between different characters, this technique is also used to build up an idea for the story for example when Lucy takes the laptop it cuts away from a medium shot to a close up (angled) shot of her hand writing a different name this is a good way to inform the audience and at the same time build up tension. In my opinion they've used this techniqued in a very clever way, as to doing very quick short cuts as an element of surprise and emphasis to situations in the narrative.
The mise-en-scene, the home of the family (crashed spaceship) is very bright, colourful, full of weird ornaments and oddly placed everyday objects this tell a story by its self, in the first moments of seeing the main setting the audience can see this is not the average everyday household and therefore this reflects on the characters. The lighting always seems to bright and cheerful nearly always day time, this bring a happy atmosphere to the show and to the audience at home - it shows that this show is a happy and fun show even just seeing those elements can draw in the audience.
The clothing worn by the characters defenaitly in my opinion define the characters individual personalities such as Brian and Sophie (the aliens) wear very odd sometimes handmand and mismatched clothes which make them stand out from any crowd. The children often wear there school uniform (which the target audience can relate to) but sometimes wear there own clothes; Josh wears laid back Hawaiian shirts which highlights his laid-back  personality, Mel wears punky, outgoing clothing shows she is her own person and doesn't follow the ordinary and finally Lucy like to wear smart geekish clothing which obviously make her intelligence and geeky personality - shows she is a perfectionist. We learn a lot from the characters and the style and plots of the show just from the first few glimpses of it!


Content: Narrative - In the episode 'when swaps go bad, series two' where Brian and Sophie become over whelmed by the new school craze of swap cards and are determind to find the top card 'madonna' when to only realize they have totally wasted there time, effort and money for no reason. It ends up the family simutanously getting involved; Mel finds out and tries to stop them only to find their stashed money and start indulging herself without anyone knowing, Josh tries to secretly sell Brian and Sophie cards without the other family members knowing and Brian and Sophie steal Lucy's money from her piggy bank and her borrowed school laptop which they sale (to buy more cards) to a spotty geek who fortunately fancies Mel.
This is not the most usual plot but for this programme is just a rather typical episode which includes a number of bizarre scenarios.
Diegesis - There is not exactly there 'own world' but the characters do in their own way as there home is a 'morphed' spaceship which is meant to be disguised as a normal human family home. Inside the house it is like something out of this world as everything is in the wrong place or used in the wrong way; such as trifle and sausages for breakfast this is created by the characters outlandish personalities.
In my opinion in this episode and in many of the other episodes of iv seen the creators have used unrestricted narrative as the audience always seem to know what the characters know.
Narrative depth - we as a audience get unique access to really the 5 main characters we also seem to know what each character is doing most of the time switching from each one but in particular Brian and Sophie who always seem to be with each other (as a team). The audience are always are in the childrens


Tzvetain Todorovs Theory of Narravtive:


1- Family doing 'normal' routine
2- Brian and Sophie discover new card game / Take Lucy's laptop
3- The family realize the laptops gone and Brian & Sophie become deperate
4- Mel gets laptop back & Brian & Sophie realize what they've done
5- Family are back doing there normal routine and talking about 'what they've learnt'


modular Narratives used to divise the audience of time (used as a subject of manipulation)


My parents are Aliens is a Episotic type of programme as it is organised in an abstract series - elements of sequences.

Information

The 'Grammar' of Television and Film

Television and film use certain common conventions often referred to as the 'grammar' of these audiovisual media. This list includes some of the most important conventions for conveying meaning through particular camera and editing techniques (as well as some of the specialised vocabulary of film production).Conventions aren't rules: expert practitioners break them for deliberate effect, which is one of the rare occasions that we become aware of what the convention is.

Camera Techniques: Distance and Angle

Images and text (c) 2001 Daniel Chandler - no unauthorized use - this image is watermarked Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention. Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to set the scene. Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot). Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive. Images and text (c) 2001 Daniel Chandler - no unauthorized use - this image is watermarked Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action. Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots. Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot. Two-shot. A shot of two people together. Selective focus. Rendering only part of the action field in sharp focus through the use of a shallow depth of field. A shift of focus from foreground to background or vice versa is called rack focus. Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device. Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens. Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Camera Techniques: Movement

Images and text (c) 2001 Daniel Chandler - no unauthorized use - this image is watermarkedZoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can be disconcerting. Zooming in and then out creates an ugly 'yo-yo' effect. Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 'Hosepiping' is continually panning across from one person to another; it looks clumsy. Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax. Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed. Crab. The camera moves (crabs) right or left. Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself. Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment. Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a background.

Editing Techniques

Cut. Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds. Cutting may:
• change the scene;
• compress time;
• vary the point of view; or
• build up an image or idea.
There is always a reason for a cut, and you should ask yourself what the reason is. Less abrupt transitions are achieved with the fade, dissolve, and wipe Matched cut. In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:
• continuity of direction;
• completed action;*
• a similar centre of attention in the frame;
• a one-step change of shot size (e.g. long to medium);
• a change of angle (conventionally at least 30 degrees).
*The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself. Jump cut. Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section. Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity). Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize. Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer. Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts. Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time. Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred. Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.) Buffer shot (neutral shot). A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction. Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time. Superimpositions. Two of more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor). Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change. Inset. An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot. Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer. Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed. Invisible editing: See narrative style: continuity editing.

Manipulating Time

Screen time: a period of time represented by events within a film (e.g. a day, a week).Subjective time. The time experienced or felt by a character in a film, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged). Compressed time. The compression of time between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time. Long take. A single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic. Simultaneous time. Events in different places can be presented as occurring at the same moment, by parallel editing or cross-cutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united. Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. Accelerated motion (undercranking) . This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed. Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect. Replay. An action sequence repeated, often in slow motion, commonly featured in the filming of sport to review a significant event. Freeze-frame. This gives the image the appearance of a still photograph. Clearly not a naturalistic device. Flashback. A break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves. Flashforward. Much less common than the flashback. Not normally associated with a particular character. Associated with objective treatments. Extended or expanded time/overlapping action. The expansion of time can be accomplished by intercutting a series of shots, or by filming the action from different angles and editing them together. Part of an action may be repeated from another viewpoint, e.g. a character is shown from the inside of a building opening a door and the next shot, from the outside, shows him opening it again. Used nakedly this device disrupts the audience's sense of real time. The technique may be used unobtrusively to stretch time, perhaps to exaggerate, for dramatic effect, the time taken to walk down a corridor. Sometimes combined with slow motion. Ambiguous time. Within the context of a well-defined time-scheme sequences may occur which are ambiguous in time. This is most frequently comunicated through dissolves and superimpositions. Universal time. This is deliberately created to suggest universal relevance. Ideas rather than examples are emphasised. Context may be disrupted by frequent cuts and by the extensive use of close-ups and other shots which do not reveal a specific background.

Use of Sound

Direct sound. Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.Studio sound. Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound. Selective sound. The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic. Sound perspective/aural perspective. The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants. Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted. Dubbed dialogue. Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing. Wildtrack (asynchronous sound). Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later. Parallel (synchronous) sound. Sound 'caused' by some event on screen, and which matches the action. Commentary/voice-over narration. Commentary spoken off-screen over the shots shown. The voice-over can be used to:
• introduce particular parts of a programme;
• to add extra information not evident from the picture;
• to interpret the images for the audience from a particular point of view;
• to link parts of a sequence or programme together.
The commentary confers authority on a particular interpretation, particularly if the tone is moderate, assured and reasoned. In dramatic films, it may be the voice of one of the characters, unheard by the others. Sound effects (SFX). Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking. Music. Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western). Silence. The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

Lighting

Soft and harsh lighting. Soft and harsh lighting can manipulate a viewer's attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realitically.Backlighting. A romantic heroine is often backlit to create a halo effect on her hair.

Graphics

Text. Titles appear at or near the start of the programme. Their style - typeface, size, colour, background and pace - (together with music) can establish expectations about the atmosphere and style of the programme. Credits listing the main actors, the director, and so on, are normally shown at or near the beginning, whilst those listing the rest of the actors and programme makers are normally shown at the end. Some American narrative series begin with a lengthy pre-credit sequence. Credits are frequently superimposed on action or stills, and may be shown as a sequence of frames or scrolled up the screen. Captions are commonly used in news and documentaries to identify speakers, in documentaries, documentary dramas and dramatic naratives to indicate dates or locations. Subtitles at the bottom of the screen are usually used for translation or for the benefit of the hearing-impaired.Graphics. Maps, graphs and diagrams are associated primarily with news, documentary and educational programmes. Animation. Creating an illusion of movement, by inter-cutting stills, using graphics with movable sections, using step-by-step changes, or control wire activation.

Narrative style

Subjective treatment. The camera treatment is called 'subjective' when the viewer is treated as a participant (e.g. when the camera is addressed directly or when it imitates the viewpoint or movement of a character). We may be shown not only what a character sees, but how he or she sees it. A temporary 'first-person' use of camera as the character can be effective in conveying unusual states of mind or powerful experiences, such as dreaming, remembering, or moving very fast. If overused, it can draw too much attention to the camera. Moving the camera (or zooming) is a subjective camera effect, especially if the movement is not gradual or smooth.Objective treatment. The 'objective point of view' involves treating the viewer as an observer. A major example is the 'privileged point of view' which involves watching from omniscient vantage points. Keeping the camera still whilst the subject moves towards or away from it is an objective camera effect. Parallel development/parallel editing/cross-cutting. An intercut sequence of shots in which the camera shifts back and forth between one scene and another. Two distinct but related events seem to be happening at approximately the same time. A chase is a good example. Each scene serves as a cutaway for the other. Adds tension and excitement to dramatic action. 'Invisible editing'. This is the omniscient style of the realist feature films developed in Hollywood. The vast majority of narrative films are now edited in this way. The cuts are intended to be unobtrusive except for special dramatic shots. It supports rather than dominates the narrative: the story and the behaviour of its characters are the centre of attention. The technique gives the impression that the edits are always required are motivated by the events in the 'reality' that the camera is recording rather than the result of a desire to tell a story in a particular way. The 'seamlessness' convinces us of its 'realism', but its devices include:
• the use of matched cuts (rather than jump cuts);
• motivated cuts;
• changes of shot through camera movement;
• long takes;
• the use of the sound bridge;
• parallel development.
The editing isn't really 'invisible', but the conventions have become so familiar to visual literates that they no longer consciously notice them. Mise-en-scene. (Contrast montage). 'Realistic' technique whereby meaning is conveyed through the relationship of things visible within a single shot (rather than, as with montage, the relationship between shots). An attempt is preserve space and time as much as possible; editing or fragmenting of scenes is minimised. Composition is therefore extremely important. The way people stand and move in relation to each other is important. Long shots and long takes are characteristic. Montage/montage editing. In its broadest meaning, the process of cutting up film and editing it into the screened sequence. However, it may also be used to mean intellectual montage - the justaposition of short shots to represent action or ideas - or (especially in Hollywood), simply cutting between shots to condense a series of events. Intellectual montage is used to consciously convey subjective messages through the juxtaposition of shots which are related in composition or movement, through repetition of images, through cutting rhythm, detail or metaphor. Montage editing, unlike invisible editing, uses conspicuous techniques which may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning. Talk to camera. The sight of a person looking ('full face') and talking directly at the camera establishes their authority or 'expert' status with the audience. Only certain people are normally allowed to do this, such as announcers, presenters, newsreaders, weather forecasters, interviewers, anchor-persons, and, on special occasions (e.g. ministerial broadcasts), key public figures. The words of 'ordinary' people are normally mediated by an interviewer. In a play or film talking to camera clearly breaks out of naturalistic conventions (the speaker may seem like an obtrusive narrator). A short sequence of this kind in a 'factual' programme is called a 'piece to camera'. Tone. The mood or atmosphere of a programme (e.g. ironic, comic, nostalgic, romantic).

Formats and other features

Shot. A single run of the camera or the piece of film resulting from such a run.Scene. A dramatic unit composed of a single or several shots. A scene usually takes place in a continuous time period, in the same setting, and involves the same characters. Sequence. A dramatic unit composed of several scenes, all linked together by their emotional and narrative momentum. Genre. Broad category of television or film programme. Genres include: soap operas, documentaries, game shows, 'cop shows' (police dramas), news programmes, 'chat' shows, phone-ins and sitcoms (situation comedies). Series. A succession of programmes with a standard format. Serial. An ongoing story in which each episode takes up where the last one left off. Soap operas are serials. Talking heads. In some science programmes extensive use is made of interviews with a succession of specialists/ experts (the interviewer's questions having been edited out). This derogatively referred to as 'talking heads'. Speakers are sometimes allowed to talk to camera. The various interviews are sometimes cut together as if it were a debate, although the speakers are rarely in direct conversation. Vox pop. Short for 'vox populi', Latin for 'voice of the people'. The same question is put to a range of people to give a flavour of 'what ordinary people think' about some issue. Answers are selected and edited together to achieve a rapid-fire stream of opinions. Intertextuality. Intertextuality refers to relationships between different elements of a medium (e.g. formats and participants), and links with other media. One aspect of intertextuality is that programme participants who are known to the audience from other programmes bring with them images established in other contexts which effect the audience's perception of their current role. Another concerns issues arising from sandwiching advertisements between programmes on commercial television (young children, in particular, may make no clear distinction between them).

my parents are aliens: conventions form and content notes

My Parents are Aliens is a childrens drama series based on a foster family who the Parents are aliens. The programme in my opinion has a variety of genres; comedy, fantasy, sci-fi family programme.

This programme is a comedy, fantasy, family drama so typically you'd exspect to see bright lighting and colours for the light hearted atmosphere and project that to the audience at home.
The acting is some what childish, but is portrayed in the correct manner to what you'd expect to from the conventions of the plot and style.

to be continued....

C of P

Codes of Practice.

- working hours
- copyright -?
- restricitions - violence etc
- safe, legal and decent

What thing's we dont expect to see in a childrens drama:

- animal cruelty
- sex refrences / scenes
- in depth violence
- weapons
- abuse
- encouraging bullying, intoxication, abuse etc
- drugs and alcohol
- racism
- terroists
- gore
- extreme horror
- paranormal activity
- swearing / innapropriate language
- death - murder, suicide etc
- gambeling
- glamourizing illegal situations and scenarios

Ofcom - Officers of communication

codes of practice for a childrens drama:

- working with children
- permission - location, parental consent.

-audience compliants

Things to consider

- health and safety
- data protection - passport, numbers etc is protected and can only be seen by certain people
-impartiality - thing being fair - drama entertainment and culture
- equal opptunities.

My top five C of P

- legal
- permission
- equal opptunities
- health and safety
- decency

visit BBC editoral guidelines : www.bbc.co.uk/guidelines/editorialguidelines
(read section 9 especially and also the rest :)

Random notes

-Copyright - music (in the background) - product placement
Mentioning of films, TV programmes, music, video games, posters etc that are in the background.

-Health and safety - suitable for children

notes 2

Sarah Jane adventures - brand new pilot.

- tracking shots - tension
- orange ade bubble - story
- tilting shots of SJ's house
- Est shot of SJ's house
- close-up of girl at start
- CGI used for alien

Notes

The Production Process

- panning / whip pan (quick, one position to another
- crabbing - move side ways
- tilting - camera up/down in a fixed position
- tracking - like someone following you i e news presenters
- zooming (amatuer filming) - used to set up shot i.e close ups

Camera shots

- ECU - extreme close up builds up emotion - also to show a certain thing like keys in a scene use a cut-away

- Establishing shot - panoramic - used to show location mainly used for first show of a new scene.

- medium - long shot / close up (can also be a 2 shot)

- close up around the shoulders

- wide long shot

- angled shot (high angled crain shot)

- CGI - computer generated image

- over the shoulder shot (conversation shot)

- pull focus - pulling 1 focus to another

- fade to black - passing time

- P.O.P seeing something through someone esle Point Of Perspective

- continuety - like in freedom writers with the chalk board name thing .

Background Information: My parents are aliens

My parents are aliens is a childrens television programme for CITV it was made during 1999 - 2006 consisting of 8 series.

The first 7 series (original family) had brian and sophie (the alien parents) and there foster children; Lucy, Mel, Josh, Cj and Harry 

The episode i'll be analysing is 'the naked truth'
 When Lucy gets in trouble with one of her teachers for apparently copying homework, Brian and Sophie discover the power of punishment. Poppy writes an article in the school magazine criticising Josh. Mel accidentally kills the school budgie and Josh writes this in his own school magazine. To get revenge, Mel gets Brian to morph into Josh and take naked pictures of himself to give to Poppy to print in her magazine.

(breakdown into two genres comedy and childrens)

The codes and conventions of 'My parents are aliens'

Conventions: It has two genres Comedy and Childrens TV so it has to combine these two into one catergory. So it has to have the element of comedy but within restrictions of what is and isnt suitable for day time televisions.

Codes: what I (as the audience) expects to see from My parents are aliens is 'stupid' humour for instance predictable silly humour in which young children would find funny to watch unlike other comedy shows in which they use whit. Also expect to see a lot of mishaps as the shapes the narrative of the story.

Narrative: basically throughout each and every episode the family get into a situation that needs to be resolved mainly because of the alien parents Brian and sophie which the children need to go out of there way to sort out (most of the time)

Celtx - assignment?

Celtx

Saving and Exploring your scripts:

When making a new script through celtx you can have them saved atomatically when using it through new project dialouge.
But you can save it in a similar way on how you do on microsoft word, while working on a project go to the celtx toolbar and click 'save' and click the nessary from the file menu.

To open your previous projects, click open existing file or project and select your file.
you can choose from other example projects to see how they are written etc.

Celtx - assignment?

Celtx

Useful Tools:

I found a variety of tools while breifly using this software these are what I found:

3 different media tabs - Notes, Media and breakdown.

Notes - Is used to highlight certain part of the script so you can add well notes

Media - allows you to add media (images, video or audio) into a particular scene

Breakdown - used to mark up locations and props on the script and 'breakdown' into one section and easily create a breakdown report for a particular script.

I also found Masters Catalouge which organises different sectors into catergories for example
actor                     catergory                    discription
Bob                      Actor                            tall, slim, has a beard and wears scruffy clothes

master catalouge also allows you to make new 'catalouges' (file like) from it.
So if you only wanted to see discriptions you click on discription in the master catalouge and click adapt and name the new catalouge.

celtx - assignment?

Celtx

Getting Started:

Celtx is a pre scripting and pre production free software.
when getting started you can view sample scripts to help you with the software.
Its easy to work your self around the software and is very adaptable.
when you first open the application it bring you to a which you can choose to either browse examples or start on your own script. You can so this in a variety of formats (depending of what type of script your doing) for example film, story board, audio play etc.

assignment #1

 17-9-2011

Who 3   -  Episode One   -   Pink Revisions   -   07/08/06  - Page 1. Doctor


1 EXT. CITY STREET - DAY 2 0845 1
Rush hour, hundreds of people, but all reduced to a longlens blur foreground & background, to focus on: MARTHA


JONES, walking along.  23, facing another day at work,
just another face in the crowd.  Hold on this.
Then her mobile rings, she recognises the number, and she's
already smiling as she answers -


MARTHA
You're up early!  What's happening?
CONTINUED, INTERCUT WITH -
CUT TO:


2 INT. TISH'S FLAT - DAY 2 0845 2
Bedroom, TISH JONES, 24, running round - a mess, clothes
everywhere.  She's always late.  All on the move:  


TISH
It's a nightmare, cos Dad won't
listen, and I'm telling you, Mum
is going mental, swear to God,
Martha, this is epic, you've got
to get in there and stop him -


MARTHA
Well how do I do that?


TISH
Just tell Dad he can't bring her -
Beep on the phone -


MARTHA
Hold on, that's Leo, call you back -
She clicks the phone -


CUT TO:


3 INT. LEO'S FLAT  - DAY 2 0845 3
Small bedsit.  LEO JONES, 21, bit of a lad, on his mobile. 
In b/g, his GIRLFRIEND & 6 month old BABY.  On the move:


LEO
Martha, if Mum and Dad start kicking
off, tell 'em I don't even want a
party, I didn't even ask for one,
they can give me the money instead -


MARTHA
Yeah, but why do I have to tell
them, why can't you?!


(MORE)
(CONTINUED)



The slugline: Tells the reader vital information such as where the story is set (its location), what time of day and wheather is in or outside (INT or EXT).  The slugline is also known as the scene heading. In this page there are 3 different sluglines for each different scene, they are all set at the same time of day but are at 3 different locations, to see characters individual stories.


Description: In the script it shows nessasary esstentials the scene needs and the director/producer needs to include to make it how the writer intended. This script is describing 3 different characters - so the actors can understand them in the appropriate way. 


Dialouge: The dialouge is what the actors need to say. It also tells the story of what is happening in each individual scene. It also represents the plot.


Characters: MARTHA, LEO, TISH and JONES are the people that play in this story/plot. They the people that tell the story to the audience.

Transistion: In this script there are two types of transistions. One between different characters throughout the dialouge and secondly between scenes and settings, for example first we see the script set in ‘THE CITY STREET’ then ‘TISH’S FLAT’ and finally ‘LEO’S FLAT’. Theres also transistions between cuts.

Dialogue descriptor: In this script there is no evidence of ‘Dialogue descriptor’ but it used to show how the character has to be portrayed i.e. sarcastic or happy etc. The only kind of dialogue descriptor I could find on this script where explanations marks here “MARTHA
you’re up early!  What's happening?
CONTINUED, INTERCUT WITH -
CUT TO:”