Adam Bailey

Story Board for "The Unburied"

Before filming the unburied we talked over ideas to make a good thriller. When a good idea was decided we began drawing up a story board to show what shots we could incorporate into to picture. A few initial ideas were drawn up and when as a group we were happy with the story a final design was created.

How does The No.1 ladies detective agency depict representation of family and nationality in this extract?

Although this sequence was shot in Africa and from first glance looks like a tribal based simple programme, when examined deeper we see that the characters presented hit key subjects such as politics, love and hate, family values and technological advances in Africa.

The sequence opens to an animation of the main character “Precious” pointing towards Africa; establishing the location for the programme. The credits are shown in a serif font giving a typewriter looking effect. As this is based in Africa this has been done as the technology there is far less advanced to what it is here and all important textual documents will be written by typewriter.

We are immediately introduced to an aerial extreme long shot of Africa’s vast lakes, swamps and forests; showing the audience that Africa is not industrialised and still very natural. Throughout the entire extract only earth colours were used from clothes to the environment to the props; all greens, brown and yellows.

Families were the most obvious point in the sequence as from the start “Precious” was telling the audience (as a non diagetic narrative) about how her father educated her from a child. Whilst the young girl was being taught by her father most or nearly all shots were filmed with a shallow depth of field; representing her understanding of the world and her father opening it up for her. However after being taught about her environment the depth of field expanded.

What this also told the audience was that it wasn’t schools that educated “Precious” but it was her father who encouraged her enthusiasm for detective work. This doesn’t mean that she wasn’t educated in schools however most of the important facts of life she picked up from life experience.

The feel of this extract is very optimistic happy. Although it would be easy to make an African village programme negative and tribal, the creators and editors have based this extract on family, friendship love and happiness.

Crime and punishment is not only practised in richer countries as we see in this extract. Politics and penal systems are portrayed when we see a court hearing on a man accused of stealing a cow. A trial was carried out followed by a judgement; showing that the village they lived in had laws and regulations.

It is also in this scene where precious is given her first taste of detective work. Whilst the court hearing takes place there is a cut away to a close up of “Precious” contemplating on the situation. She then runs off and cuts to a shot of a calf that she had released running to her mother cow. From this we see that “Precious” has a talent for solving crimes and givers the viewers an idea of what to expect from the rest of the programme.

Throughout the sequence there is non diagetic music playing in the background of tribal drums and shouting; keeping the theme of South Africa. However there are also diagetic noises throughout of wildlife and plants reminding the viewers the location of the programme.

Technology is not as advanced as the only machine shown is “Precious’s” fathers van; an old pick up van. Aside from that everything is hand built from wood including the court house. From this the audience gains an impressions that “Precious” has come from a wealthy background; this is backed up by evidence that her father works in the court house.

Although it has been portrayed in a different context the community in this extract have lots of similarities to the British community.

Narrative theory

A method of deconstructing the narrative of a text in detail. Four different theorists in this field:

· Vladimir Propp

· Tzetan Todorov

· Claude Levi-Strauss

· Rolande Barthes

Vladimir Propp:

· Morphology of the fairy tale 1928.

· Studied folktales and legends.

· Notices similarities.

· Identified 32 basic categories of action.

· He called these ‘functions’.

· He also identified spheres of action or character functions.

· He noticed characters tended to be types rather than individuals.

· Eight of his types useful in media:

· The hero – On a quest.

· The villain – Opposes the hero

· The donor – Helps the hero with magic tool.

· The dispatcher – Starts the hero on his way.

· The false hero – Tempts the hero away from his quest.

· The helper – Helps the hero.

· The princess.

· The father.

· There are also many texts which do not conform to the Proppian Theory as there are that do.

· It maybe that the protagonist (hero) or antagonist (villain) cannot be considered a type.

· Or where the princess does not conform to the sexist function described by Propp e.g. Alien.

Claude Levi Strauss:

· A structural philosopher.

· Interested in how much our world is described in terms of opposites.

· These are called binary oppositions:

· Night/day.

· Good/bad.

· Light/dark.

Rolande Barthes:

· Interested in the concept of negotiated meaning between institution and audience.

· Readers make new meanings when reading a text based on previous experience as well as the text itself.

· While watching a docusoap about airlines meaning will depend on viewers previous experiences.

· The cultural context of consumption is as important as the content.

· He describes texts as networks long before the internet but having much the same meaning.

· Most well known Barthes code is enigma code.

· This is where there is a hook or mystery to be solved by the audience.

· The “Tune in next week” the cliff hanger or the film trailer.

Tzetan Todorov:

· Suggests there was five stages to every narrative:

· Equilibrium.

· Disruption of equilibrium by event.

· Realisation that disruption has happened.

· Attempt of repair damage from disruption.

· Restoration of equilibrium.

· Applies to fictional and non fictional texts.

· Adverts often use the structure as do news broadcasts.

To be shown in specially licensed cinemas, or supplied in licensed sex shops, and to adults no less than 18 years old. The’R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops ‘R18’ films can not be supplies by mail order.

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 or over. Works classified at these categories may upset children under 12 or contain material many parents would find unsuitable for them.

The ‘12A’ category only exists for cinema films. No-one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgment, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ Category exists only for video works. No-one younger than 12 may rent or a buy a ‘12’ rated video work.

General viewing, but some scenes may be unsuitable for young children. Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether to content may upset younger or more sensitive children.

How does Survivors show representation towards families?

The opening of this extract begins with an extreme long shot of earth and the sun rising over it. Although this is a commonly used shot in programmes, it is still seen by the audience as an establishing shot; bringing the entire world together as one.

This extract comes in immediately with the opening credits. The editor has increased the speed of quick shots of ethnic groups surrounded in flame giving the viewer an idea that the rest of the series will involve terrible things happening to the world. This is also backed up by the establishing shot and the growing bacteria placed over the top of the shots.

During the credits the editor has incorporated shot that appear to be like home videos; shots of a couple plying on the beach and looking deeply in love. The home video technique gives a personal touch to the extract for the viewing audience.

After the credits and the title shot the camera cuts to a highly lit shallow depth of field shot of a man walking towards the camera. The non-diagetic sound of a bass wipe is incorporated when extras walk through the frame. This cuts to an extreme long shot with a deep depth of field of an escalator with a woman’s voice over laying the shot. This cuts to a shot of a man and woman (possibly married) talking about their son. Stereotypically the mother is worrying as she has found out the boy has been in an accident. Whereas the man is portrayed as more down to earth and calm. Although it seems more likely he is like that to keep his wife calm. During this tracking shot the couple are standing in front of a glass wall with the sun shining through; making them silhouette in the centre on the frame.

Another establishing shot is then shown from an aerial view of an English estate. This cuts to the family back in their house with another couple. The camera keeps a shallow depth of field within these quick cut shots as the family begin discussing a wide spread virus and their sons cancer.

Focus in this sequence is mainly kept on the mother character. This has been done by over the shoulder shot, reaction shots and keeping the depth of field focused on her in the frame (even when she isn’t the character speaking).

Although this family is portrayed as close, there seems to be a tension created by the news in the background talking about the virus, and all the quick cut shots.

From then the extract moves onto a close up of a daisy chain around a woman’s wrist being made by a little girl. This cuts to a two shot of a woman (a teacher) and a young girl (a nursery student). The little girl tells her teacher that her mother is ill. The teacher replies to this with an optimistic outlook saying that they are lucky because they’re not sick. The shot is one of the longest in the extract with no cuts.

The little girl’s father is then introduced as he runs into the frame. A cut of the girl and dad hugging in a long two person shot behind a metal fencing; representing quarantine. The shot does not suit the rest of the scene and makes the audience feel uncomfortable.

The man seems like a middle class dad as he is dressed in a business suit but has to catch the bus and not drive.

The prison scene is shot with very low key lighting making it almost look black and white (the officers and prisoners are also all dressed in black and white clothes) A Binary opposition is portrayed between the police officer and prisoner.

As the officer and prisoner walk from the back of the frame to the front, the focus is kept on them with a shallow depth of field. The writers have used this a lot in the extract. As they walk to the front of the frame the prisoner is arguing with the officer about the fact they are being treated inhumanly. However the officer does not seem to be fazed by it. Ironically this makes the prisoner come off as a lesser of two evils.

The sequence ends with the prisoner being locked away and only a section of his face is being lit up. This gives the viewer the impression that this prisoner is going to cause some damage and isn’t someone to trust.

Opening credits