Holly Turner Media

History of Disney Early animation (1927-1940s) Successful era (focus on quality) Time of stability - Disney personally involved Lots of similar films released in quick succession, all well received Disney wanted to create a state of the art studio which provided facilities for every part of the production process Successful films included Snow White (1937), Dumbo (1941) and Bambi (1942) Move to live action (1940s-1960s) Less successful - animators on strike Time of change Quality of animated films declined as Disney's focus shifted to Disneyland and live action features Studio expanded so more live action films could be made Mary Poppins (1964) was seen as the studio's biggest achievement in 20 years Disney after the death of Walt Disney (1960s-1990s) Very few films made after Disney's death in 1966 More of a focus on theme parks Didn't return to quality films until the 1990s, including synergy with Pixar Beginning of mass horizontal and vertical integration - company b...

1. How do distribution companies work? Distributors choose which films to distribute, often from seeing the film at a film festival. Their job involves deciding on the number of digital copies and paying for each, negotiating the film's release date and site of exhibition, agreeing on a budget and sequencing a campaign across a range of online, audio-visual and print platforms. Online platforms include a website to be used as a central marketing hub, with convergent links to other promotional material like trailers on YouTube and social networking platforms. Distributors charge distribution fees to cinemas. Each week that the film is being distributed, the studio makes less per ticket (which is why opening weekend is so important for newly released films). Usually blockbuster films are distributed by "blanket release", where a film is released across a huge number of cinemas simultaneously in order to meet expected demand, so if small independent companies manage to get t...

1. What are the differences in the timeline of production for The Jungle Book 1967 and The Jungle Book 2016? Walt Disney himself was far more personally involved in the production of The Jungle Book than the studio's previous film, The Sword in the Stone, which had been a box office flop. He personally changed the production team after reading the first version of the script and deciding it was too dark for family audiences, eventually cutting many of the book's original characters and plot points to create a clear storyline. The 1967 Jungle Book went against the industry's typical casting process - drawing characters then finding actors with suitable voices - by basing the characters on the already-cast actors themselves, as well as their voices and vocal personalities. The movements of the animals were based on a range of things, from footage of real bears for Baloo to the dogs from 101 Dalmatians for the wolf cubs. The 2016 Jungle Book was partly based on Disney's or...

- Each shot would be "found" by being filmed multiple times, as a way of making the film feel as if it was shot live action. - Neel Sethi, who portrayed Mowgli, would perform his scenes with bluescreened performers - often trained Jim Henson Company puppeteers - standing in for the animals, as a way of helping him visualise the creatures his character would be interacting with. - The use of puppeteers who are used to working with children meant that it was easy to keep Sethi engaged from take to take, and the final film includes lots of spontaneous laughter and other genuine reactions as small changes were made to maintain his interest. - Machines were created which would recreate the pre-animated movements of the animals around Mowgli. - The film's art department would build pieces of terrain based on the designs created by MPC. - For the most part, Sethi would be the only live action element of a scene, but sometimes even he was a digital double. This was mainly used fo...

How audiences are grouped and categorised by media industries, including by age, gender and social class, as well as by lifestyle and taste Minecraft has universal appeal Variety of game modes is a contributing factor to the game's success Players' ability to control and shape the way they play the game through mods, altered textures and maps gives it a wider appeal How media producers target, attract, reach, address and potentially construct audiences Minecraft and later versions/variations offer familiar features like open-world gameplay to existing fans Introduction of new elements and editions like Story Mode mean a wider audience can be targeted Minecraft Realms were created to encourage audiences to use the game on dedicated servers and increase revenue from subscriptions Established network of fans across the internet can share game footage, tutorials, mods and hacks which can allow other gamers to get new ideas and play the game in different ways How media industries ta...

My campaign features Lee Pace to fit into the typical convention of celebrity endorsement in fragrance advertising, as he represents the stereotypical gendered marketing used across most perfume adverts (alluring to women, challenging to men). His serious expression and the minimalistic black and white colour palette give the advert a more sophisticated feel, while his direct gaze - seemingly at the product - leads the audience's eye to the bottle itself. I have used the rule of thirds by placing the brand name, product name and tagline in the top left corner with the bottle and anchorage text below them in the bottom left, with Lee Pace taking up the majority of the right hand side to suggest that he is only equally as important as the product itself. The brand name (Vitesse) comes from his last name (Pace in French) while the product being called Driven links intertextually with the film of the same name, where he portrayed the inventor of the DeLorean. I chose this name as I fel...

How has technological change affected media production, distribution and circulation in the gaming industry? Refer to Minecraft to support your answer. (15 marks) Technological change has affected the gaming industry as a whole, as it allows more versions and modes of a game to be created, increasing cross-platform functionality and widening audiences. The production of Minecraft has developed over time as a result of both technological change and its eventual conglomerate ownership. When the game was first created, it was primarily available for PC gamers, although developer Notch's use of Java provided it with some cross-platform functionality - it was playable on Windows, Mac OS X and Linux. Its lack of instructions and two game modes meant the game was simple enough to appeal to a wide audience, and the basic, pixel-like graphics meant user requests could be processed faster. Minecraft's simplicity as a low-budget, niche product gave it a strong foundation for its eventual ...

Minecraft Audience Profile Gender 75% male 24% female 1% non-binary Age Median: 23 Gamer type 11% casual "dabble in games but in short sessions or infrequently" 72% core "regularly play video games, but are not super serious or competitive" 16% hardcore "have high-end equipment and play seriously or competitively" Gaming frequency (typical number of days per week where they play games for more than 30 minutes) 0-1 day - 5% 2-3 days - 17% 4-5 days - 24% 6-7 days - 53% Compared with the overall baseline, Minecraft's audience: has a slightly higher proportion of female gamers is slightly younger than average has a gamer type distribution close to the average plays slightly more days per week than average Motivation Model (6 pairs of related motivations which gaming preferences can be distilled into) Action Destruction Guns, explosives, chaos, mayhem Excitement Fast-paced action, surprises, thrills Social Competition Duels, matches, leaderboards Community ...