In order to amass quantitative data on the Comedy genre, we have referred to the BFI’s 2014 Statistical Yearbook as it is far beyond the scope of any survey that we could ever hope to conduct. In the BFI’s own words, ‘The Statistical Yearbook presents in one place all the available statistics on UK film and the UK film industry.’
Analysis
As is clear from the survey, the Comedy genre (our genre) was one of the most successful genres in 2014:
The Comedy genre grossed more money than any other genre (£198.3 million), which amounts to 18.4% of all money grossed at the box office.
There were more Comedy films made than any other type of film with the exception of Drama films: 135 Comedy films were released, which amounts to 19% of the total number of films released in 2014.
On average, Comedy films were shown in 132 cinemas across the country.
The Inbetweeners 2 was the top performing Comedy film of 2014.
Five of the ten highest grossing ‘15’ classified films were Comedies.
The Inbetweeners 2 was popular with both males and females: 53% of those who saw the film were male, whilst 47% were female.
Significance
Comedy films are undoubtedly very popular with the British public; there is clearly a lot of demand for Comedies. However, we need to bear in mind that the majority of the most successful Comedy films of 2014 were comparatively more ‘mainstream’ than the film we intend to produce. The Inbetweeners 2 was the most successful Comedy of 2014; however, the film we intend on making falls into the sub-genre of ‘Dark Comedy’ and is more of a niche film; as such, we will have to really consider how we are going to cater for our target audience.
The fact that the most successful Comedy of 2014 was given a ‘15’ certificate, and that five of the top ten ‘15’ classified films were Comedies, is potentially useful information; it serves to support our provisional decision to target our film at people aged 15-24 years old. However, we were somewhat surprised that The Inbetweeners 2 was almost equally popular with female viewers; given that males tend to be over-represented in the Comedy genre, we initially thought that the film would have garnered a significantly greater number of male viewers. As such, it is important that our film appeals to both genders; however, we need to be mindful of achieving this without appealing to crude stereotypes.
The Registrar General's Social Scale
The Registrar General’s Social Scale is the way the British Government defines the populace through their occupation:
A benefit of the Registrar General’s Social Scale is that it can help companies to target audiences. However, the scale has been criticised for being both crude and rigid.
BFI Statistical Yearbook: Films with Above Average Shares of Audience Members from Specific Groups of the Registrar General's Social Scale:
Significance
Out of all the films that feature in this portion of the survey, the
production we have in mind has most in common with The Wolf of Wall Street, which was the most popular film amongst
members of the audience from the C1 category. With this in mind, broadly
speaking, we believe our film would be targeted at Bs and C1s.
I will be using this blog to document my AS Media Studies coursework. For AS G321: Foundation Portfolio in Media, I have been given the following briefs:
Preliminary Exercise
Continuity task involving filming and editing a character opening a door,
crossing a room and sitting down in a chair opposite another character, with whom she/he then
exchanges a couple of lines of dialogue. This task should demonstrate match on action,
shot/reverse shot and the 180-degree rule.
Main Task
The titles and opening of a new fiction film, to last a maximum of two minutes.
This blog will serve as a record of my progress. It will include the documenting of research and planning, production, post-production, and evaluations.
Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
"A Nightmare on Elm Street is a 2010 American slasher film directed by Samuel Bayer and written by Wesley Strick and Eric Heisserer as a remake of Wes Craven's 1984 film of the same name, which revolves around a group of teenagers who are being stalked in their dreams by an enigmatic man named Freddy Krueger.
Michael Bay and Platinum Dunes produced the film for New Line Cinema, as an intention to reboot the Nightmare on Elm Street franchise, with the cast of Jackie Earle Haley, Kyle Gallner, Rooney Mara, Katie Cassidy, Thomas Dekker and Kellan Lutz. This production makes it the ninth installment of the franchise. The film was released by Warner Bros. on April 30, 2010 with grossing $115 million against a production budget of $35 million."
A Nightmare on Elm Street (2010 film) n.d. In Wikipedia. Retrieved 28th October 2016 from https://en.wikipedia.org/wiki/A_Nightmare_on_Elm_Street_(2010_film)
Producers: Platinum Dunes
"Platinum Dunes is an American production company created in November 2001 by filmmakers Michael Bay, Brad Fuller, and Andrew Form. The company specializes in horror films, particularly remakes.
On October 7, 2009, Paramount Pictures announced a first-look deal with Platinum Dunes. They plan to branch out of the horror genre into action and thrillers with this new deal. On May 27, 2010, it was announced they will work on the reboot to the Teenage Mutant Ninja Turtles film series of the same name. In 2014, Platinum Dunes was named The Hollywood Reporter's Producers of the Year. In 2015, the company was also named to The Hollywood Reporter's 30 Most Powerful Film Producers in Hollywood."
Platinum Dunes n.d. In Wikipedia. Retrieved 28th October 2016 from https://en.wikipedia.org/wiki/A_Nightmare_on_Elm_Street_(2010_film)
Productions of note include:
The Texas Chainsaw Massacre (2003), directed by Marcus Nispel. Budget: $9.5 million. Gross: $107.1 million.
The Amityville Horror (2005), directed by Andrew Douglas. Budget: $19 million. Gross: $108 million.
A Nightmare on Elm Street (2010), directed by Samuel Bayer. Budget: $35 million. Gross: $115.7 million.
The Purge (2013), directed by James DeMonaco. Budget: $3 million. Gross: $89.3 million.
Teenage Mutant Ninja Turtles (2014), directed by Jonathan Liebesman. Budget $125 million. Gross: $245.6 million.
Ouija: Origin of Evil (2016), directed by Mike Flanagan. Budget: $9 million. Gross: $24.5 million.
Distributors: Warner Bros. Pictures
"WARNER BROS. PICTURES DOMESTIC DISTRIBUTION is responsible for setting the release schedule and all exhibition operations to more than 39,000 screens in North America. Through its non-theatrical sales operation, it distributes to non-theatrical markets including airlines, cruise ships, the Armed Forces, the Veterans Administration, colleges, hospitals and other smaller markets.
WARNER BROS. PICTURES INTERNATIONAL is a leader in the marketing and distribution of feature films to markets outside of North America, operating offices in more than 30 countries and releasing films in over 120 international territories, either directly to theaters or in conjunction with partner companies and co-ventures.
The international division has developed and led a number of initiatives and strategies to take full advantage of the tremendous growth, change and opportunity in the global entertainment marketplace. Anchored by its extensive network of regional offices, Warner Bros. Pictures was an early adopter of day-and-date “event” releases (seeing huge success with key franchises, including The Matrix starting in 1999, Harry Potter launching in 2001 and The Dark Knight in 2005) and strategic rollouts structured around consumer behaviors in each key territory, as well as regionally nuanced campaigns.
Additionally, as part of Warner Bros.’ initiative to support and nurture local-language film production worldwide, the Studio is deeply involved in production, acquisition and distribution of local-language films for their countries of origin, releasing over 400 such films to date in a number of countries, including the U.K., Germany, France, Italy, Japan, Brazil, Spain, Netherlands, Turkey, Mexico and India."
Warner Bros. Pictures n.d. in Warner Bros. Retrieved 28th October 2016 from http://www.warnerbros.com/studio/divisions/warner-bros-pictures
Distributions of note include:
Timeline
00:00 - 0:03: The video begins with a black screen. There is a straight cut to a close-up of the words 'New Line Cinema Presents' written in off-white chalk on what appears to be a blackboard; the handwriting is both child-like and angular, and low-key lighting is used. Another straight cut transitions to a mid-shot of the exact same writing which is immediately followed by another straight cut of the the exact same writing again; however, this time the words 'New Line Cinema Presents', written in white capitals in a font similar to Times New Roman, are superimposed over it.
00:03 - 0:06: A straight cut is used to transition to a black screen, followed by a close-up of illegible chalk writing, followed by a mid-shot the words 'A Platinum Dunes Production', written in white capital letters in a font similar to Times New Roman against a black background, all in quick succession. The words 'A Platinum Dunes Production', written in off-white chalk on a blackboard fades in behind the Times New Roman font; a straight cut is used transition to the same writing but this time without the Times New Roman font in the foreground. (5 shots).
00:06 - 0:08: A straight cut is used to transition to the words 'Jackie Earle Haley' written in capital letters in the Times New Roman font are superimposed to the left of the frame over a panning shot of a suburban road which pans to a close-up of an American street sign that reads 'Elm', before fading to black, save for the words 'Jackie Earle Haley'. (2 shots).
00:08 - 0:09: A straight cut is used to transition to a long shot of the shadow of a young girl skipping. You can see the foot of the young girl at the top of the frame. Low-key lighting is used to accentuate the shadow. Child-like chalk drawings cover the cracked concrete that the shadow rests on. (1 shot).
00:09 - 00:10: A straight cut is used to transition to a close up of the lower legs and feet of a young boy, wearing jeans and trainers, who is playing hopscotch on a crudely chalk-drawn grid as the wind blows brown leaves across the floor. Low-key lighting is used to accentuate the boy's shadow. (1 shot).
00:10 - 00:12: A straight cut is used to transition to a mid-shot of the words 'Kyle Gallner' written in white Times New Roman font superimposed over the same words written on a chalkboard in off-white chalk. The chalk writing fades out before a straight cut momentarily transitions to a shot of the chalk writing by itself. (2 shots).
00:12 - 00:15: A straight cut transitions to the shadow of a child doing something indiscernible. The shot fades to black as the words 'Rooney Mara', written in white Times New Roman, fades in until all that the remains is the words superimposed over a black screen. A straight cut is used to transition to the words 'Rooney Mara', written in chalk on concrete surface; a jump cut is used to transition to an almost identical image; however, this time the writing is partially smudged. (3 shots).
00:15 - 00:17: A straight cut is used to transition to a close up of the silhouette of a young girl's head against the backdrop of a dusk sunset with the words 'Katie Cassidy' written in white Times New Roman font superimposed over the image in the centre of the frame. A straight cut is used to transition to a mid-shot of the words 'Katie Cassidy' written in white Times New Roman font superimposed over the words 'Katie Cassidy' written in off-white chalk on a concrete surface. A jump cut transitions to the words 'Katie Cassidy' written in off-white chalk; however, this time words are out of focus.
00:17 - 00:19: A straight cut is used to transition to the words 'Thomas Dekker' written in white Times New Roman, to the left of the frame, which are superimposed over a close-up of the lower legs and feet of young girl wearing white socks and school shoes playing hopscotch on a crudely chalk-drawn grid. Low-key lighting is used to accentuate the girl's shadow. A jump cut is used to transition to a very similar scene; however, this time the girl is further along the hopscotch grid. The scene fades to black save for the Times New Roman writing and the words 'Thomas Dekker', written in chalk, which fade in behind the Times New Roman writing. (3 shots).
00:19 - 00:21: A straight cut is used to transition to an extreme close-up of a black and white picture that has scratch marks on it. The fact the shot is an extreme close-up makes the picture somewhat indiscernible. The shot focuses on a sign which reads 'Badham / Preschool / Springwood Ohio / 1994 - 1995'. A jump cut is used to an extreme close-up of the top of the sign before a swipe down is used to fade the scene to black. (3 shots).
00:21 - 00:23: A swipe up is used to fade in a close-up of a black and white picture of a preschool class. A straight cut transitions to what appears to be the spark of a flame before another straight cut is used to transition back to the black and white picture; this time the picture is scratched and burnt. A straight cut is used to transition to a black screen. (3 shots).
00:23 - 00:24: A straight cut is used transition to a black and white typed image of the word 'bad'; another straight cut is immediately used to transition a black and white typed image of the word 'school'. (2 shots).
00:24 - 00:26: A straight cut is used to transition to a close-up of a part of young girls face, which is out of focus. To the left of the frame, the name 'Kellan Lutz', written in white Times New Roman, fades into focus. A jump cut is used to transition to the name 'Kellan Lutz', written in white Times New Roman, superimposed over the name 'Kellan Lutz', written in off-white chalk, before the chalk writing fades out. (2 shots).
00:26 - 00:28: A straight cut is used to transition to a close-up of a child's toy block that is bearing the letter 'H'. A straight cut is used to transition to a close up of a child's toy block, that is bearing the letter 'E', engulfed in flames. (2 shots).
00:28 - 00:29: A straight cut is used to transition to a close-up of a traditional, child's rocking horse toy which is moving back and forth on a spring. The toy is placed on a chalk drawing of a mysterious diagram. (1 shot).
00:29 - 00:32: A straight cut is used to transition to a close-up of a broken piece of chalk; low-key lighting is used to accentuate the shadows of the chalk. A straight cut is used to transition to a close-up of broken fragments of writing chalk scattered across a surface; the words 'With Connie Britton', written in white Times New Roman, are superimposed to the left of frame. The background image momentarily fades to black before a straight cut is used to transition to a shot of the words 'With Connie Britton', written in white Times New Roman, superimposed over the words 'With Connie Britton' written in off-white chalk. (3 shots).
00:32 - 00:34: A straight cut is used to transition to a mid-shot of children playing hopscotch on a school playground; however, the only the bottom half of the children is visible, and low-key lighting is used to accentuate the children's shadows. A straight cut is used to cut to the shadow of a child walking on cracked tarmac before another straight cut is used to transition to a mid-shot of a young girl in a pink dress walking on the rail of a narrow ledge; once again, only the bottom half of the girl is visible and low-key lighting is used to accentuate shadows. (3 shots).
00:34 - 00:36: A straight cut is used to transition to a mid-shot of a shadow of the bottom half of a child running; the words 'And Clancy Brown', written in white Times New Roman, are superimposed to the right of frame before a straight cut is used to transition to a shot of the words 'And Clancy Brown', written in white Times New Roman, superimposed over the words 'And Clancy Brown', written in off-white chalk. The Chalk writing fades to black, leaving a black screen and the Times New Roman writing. (2 shots).
00:36 - 00:39: A straight cut is used to transition to a reverse panning shot of children's toy blocks, which include a block with an upside-down, green number 5; low-key lighting is used to accentuate the shadows cast by the blocks; the words 'Casting by Lisa Fields', written in white Times New Roman, fade in to the left of the frame. The background momentarily fades to black before seamlessly transitioning to the words 'Casting by Lisa Fields', written in off-white chalk, beneath the Times New Roman writing. (2 shots).
00:39 - 00:40: A straight cut is used to transition to panning shot of a photo of a blonde girl holding a block with a blue letter V; the footage is grainy and the beginning of the shot makes use of soft focus. (1 shot).
00:40 - 00:42: A straight cut is used to transition to a shot of children's toy blocks engulfed in flames; a block with a green letter X is prominent to the left of the frame. (1 shot).
00:42 - 00:43: A straight cut is used to transition to a superimposition of concrete with white chalk drawings and a small child; the child's eyes are tightly closed, and the palms of their hands are facing out as if they are trying to stop something. Due to footage from one scene being superimposed on to footage of another scene, it appears be panning in two different directions: both left to right and from the top right to the bottom left of the frame. (1 shot).
00:43 - 00:44: A straight cut is used to transition to footage of young girl playing on a swing; low-key lighting is used to silhouette of bear branches, and a prominent full moon is shown in the background in the centre of the frame. The footage of the girl looks superimposed and overexposed, which creates a 'ghostly' effect. (1 shot).
00:44 - 00:45: A straight cut is used to transition to a mid-shot of a silhouette of what appears to be Freddy Krueger. (1 shot).
00:45 - 00:46: A straight cut is used to transition to a shot of a silhouette moving across a concrete surface; the concrete surface is covered in child-like, chalk drawings, including a drawing of what appears to be Freddy Krueger. The words 'Costumes Designed by Mari-Ann Ceo', written in white Times New Roman, are superimposed to the left of the screen. A flash of light lights up the concrete surface before a straight cut transitions to a shot of the words 'Costumes Designed by Mari-Ann Ceo', written in white Times New Roman, superimposed over the words 'Costumes Designed by Mari-Ann Ceo', written in off-white chalk. (2 shots).
00:48 - 00:50: A straight cut is used to transition to a shot of the words 'Co-produce John Rickard', written in white Times New Roman superimposed to the left of the screen on top of an upwards panning shot child-like, chalk-drawings. A straight cut is used transition to a shot of the words 'Co-produce John Rickard', written in white Times New Roman, superimposed over the words 'Co-produce John Rickard', written in off-white chalk. (2 shots).
00:50 - 00:51: A straight cut is used to transition to a superimposition of concrete with white chalk drawings and a close-up of a small child; again the footage appears to be panning in two different directions. (1 shot).
00:51 - 00:53: A straight cut is used to transition to a shot of the words 'Music by Steve Jablonsky', written in white Times New Roman, superimposed over the words 'Music by Steve Jablonsky', written in off-white chalk; the writing in off-white chalk is not initially in focus but abruptly comes into focus. (1 shot).
00:53 - 00:56: A straight cut is used to transition to a close-up of a photograph of a child with the face scratched out; the
