Music Magazine – Old World Wonders

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Who would be the audience and how would I attract them to my media product?

Age

When considering the age of my target audience I would contend that my primary audience would be mid 50’s to 70’s as my magazine exhibits the types of music that were around when they were young. My tertiary audience would be people in their teens to mid-20’s. This is due to the current generation’s fascination with non-mainstream media, meaning that a magazine on retro music would appeal to these individuals almost as much as the aforementioned original fans of the music who were teenagers when it was at it its height. One could almost say that I am targeting not them as they are now but rather their sense of nostalgia; their younger selves and their younger counterparts are my audience if you will. This breadth of target audience is liable to increase sales to far beyond what they would be If I simply catered to one group.

Sexuality

Sexuality is not tackled by my magazine in the sense that differing sexualities are presented in my magazine; they are not. Rather it comes across in how I have targeted my audience. My primary model is presented as being this successful, happy, rich, superstar who is enjoying his retirement. This is something that will appeal to portions of my audience. Furthermore I have several attractive individuals as drop in images throughout the magazine along with their individual moods and themes; dark, mysterious, open, happy. There is a variation to my models and themes that I feel will attract a broader audience simply based on appearance alone.

Gender

Gender is an integral part of choosing a target audience and I believe that my magazine could easily be found appealing by both genders. Music is something that unlike sport or television series’ is not as divided by gender. There is less of a gender based preference in regards to musical genres. This is a rare occurrence as in almost every other aspect of media or even life as a whole there are clear stereotypical gender preferences; men in construction, women liking romance novels, boys reading super hero comics, girls watching soap operas. There are more stereotypes in both media texts and consumption than I can list; music stands more apart from this than many others. Because of this lessening of stereotypes I feel that my magazine can appeal to both genders equally in the most part, by offering stories of role models for both genders for example. This again broadens the horizons of my target audience.

Ethnicity

I have already mentioned ethnicity in my earlier essay on cultural representation and as such I will merely summarise here. There is a lack of cultural diversity in my magazine due to availability of models, not by explicit choice. In my other essay I acknowledge the significant impact coloured musicians had on music in the 60’s and 70’s.

Niches

Niche groups must also be considered when profiling an audience. For example, my magazine features a guitar prominently on the cover; this could attract guitarists. It also features an authentic 60’s jukebox, this might attract those with an interest in vintage antiques or memorabilia. Targeting niches alongside my majority based audiences allows for further development of my target audience as a whole.

Target Audience Summary

Overall I would say that my target audience is split into two camps. On the one hand we have those individuals who were teenagers at the time of the music (the 50s to 70s age bracket), those who knew Charlie Ray as a superstar as opposed to an aging celebrity. My product is a resurgence of their past, a look back at all their favourite music.

On the other end of the scale we have the youth of today. As previously mentioned there has been a sharp increase in vintage music over the last few years which allows for a sort of dual audience; those who were young then and those who are young now.

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What kind of media institution might distribute your media product and why?

I believe that Anthem Publishing might be likely to publish my product due to several factors. One such factor is their publication of the magazine Vintage Rock; something that has a similar premise to my own. It looks at rock music through the ages in much the same way that my production covers musicians from around the 60’s.

Furthermore their organisation is much smaller and lower profile than something like Bauer Media which focuses on more modern music and already owns big names like Q. Their size makes them less likely to consider such a niche magazine as my own, an issue I am less likely to face with Anthem.

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James Weedon’s Review of my Final Product

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How does my media product represent particular social groups?

In recent years cultural diversity has become more common in magazines and other forms of media. ‘White washing’ has become a prevalent issue in modern media. Whether this is because it has recently begun or whether it has only just become considered an issue in western society is up for debate however. This is particularly relevant as my own magazine could be seen as having been whitewashed when taken out of context due to the lack of ethnic diversity present in my models, I have only used a Caucasian male; there are no people of black, Asian, etc descent presented in my magazine. While unfortunate this issue was unavoidable due to the availability of models; regrettably I only had access to a single ethnicity of model with the exception of a single quarter Japanese individual. This individual had already been used by a fellow students however and as such I have elected not to use her to avoid copying.

Despite feeling that it is justified however it is still regrettable. Black artists, both male and female, were particularly prominent in the 60s and 70s and as such their lack of inclusion in my magazine is unfortunate. A few notable examples are Aretha Franklin, The Staple Singers, Marvin Gaye; more than I could possibly name here. All of these musicians were particularly strong influences on music at the time, something I feel would have been an excellent addition to my work had I been able to fit it in.
There are a multitude of alleged issues with culturally diverse casts in cinematography or stage plays as well; one must only look to the uproar over Noma Dumezweeni playing Hermione in the Cursed Child performance due to her being black. Another example is the attempted boycott of Rouge One by supposed fans who were upset by the cultural diversity in the cast or the uproar over The Force Awakens having a black lead character.

Furthermore we have the issue of gender representation. Due to the content of my magazine I have used the same character on my cover and my double page spread; a male. On my contents page there is no model and as such a white male remains the only representation featured in my magazine. Personally, I don’t find this to be an issue in context. I made the decision to model the physical characteristics of Charlie Ray on my friend Matthew Dunk and as such he had to be the feature of the double page spread and made sense as the choice for my cover as well. At this point pictures of people felt somewhat overused and as such musical instruments became the focus of my contents page. Because of this I feel that the lack of cultural and gender diversity in my magazine is justified.

My magazine does however feature two women as drop in images; one brightly lit image of Ella Day playing a guitar and another of Olivia Ryan silhouetted against a juke box. This is a study in contrasts as one (Ella) is playing the guitar, quite a positive image while the other (Olivia) could be construed as a negative in some regards due to it simply being a figure as opposed to a full person, something that holds sexualised connotations in film and such.

Below are links to articles on some of my examples:

https://www.wired.com/2016/12/rogue-one-alt-right-boycott/

http://www.salon.com/2015/10/19/racists_threaten_to_boycott_star_wars_vii_because_it_promotes_white_genocide_apparently/

http://www.hollywoodreporter.com/heat-vision/boycott-star-wars-vii-movement-833102

http://www.huffingtonpost.com/entry/some-people-are-pissed-off-about-the-casting-of-a-black-hermione-granger_us_5678486fe4b06fa6887e188a

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What have I learnt about technologies from the creation of my product?

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Progress from Preliminary to Final (Text)

In the interest of expanding upon the information I received from Matthew Dunk in our interview I collected feedback from a few more members of my class.

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Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

The skill that I feel has most developed since my initial task is my Photoshop skills; the contrast in quality between the two covers in regards to editing is, to me, extremely noticeable. I have discontinued my unknowing over saturation of the image and kept a much more realistic impression when editing my second image. I have also improved my manipulation of text and matching colours.

While not immediately apparent from these two images alone I can say with confidence that my photography skills have improved exponentially since the taking of the first image due to the constant work they have recieved at the hands of my photography AS-Level exam unit.

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In what ways does your media product use, develop or challenge forms and conventions of real media products?

In this video I shall be answering the question by going through each instant of use, development and challenge that I have picked out from my magazine in its entirety; offering verbal explanation for each point.

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Preparation for Filming

In preparation for filming my video responses I watched this video to see what photography principles applied to film making.

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YouTube Direkt

I also read up on a handful of articles and forum posts to corroborate this information.

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First Attempt at a Music Magazine (Feedback)

What follows is the front cover and double page spread of my original music magazine; I altered these pages based on feedback received from various classmates. Chief amongst these changes is my change of model to someone more appropriate to the content.

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Summary Thoughts on Warp Films and Working Titles

After conducting several case studies on films from both companies alongside general overviews of their respective work that I have not put into detail, I have noticed several key factors in regards to each that set them apart from each other; these observations are what I shall briefly summarise below.

Warp
• Gritty, down to Earth films about real world issues.

• Themes of loss, grief, abuse, alcoholism and many more feature
strongly in their work. (as observed in my Tyrannosaur case study)

• Often release on a smaller scale in order to build momentum. They
cannot afford the big marketing campaigns of Working Titles and as
such rely more on word of mouth.

• Their reliance on word of mouth has led to closer interaction with
their viewers; they have conducted live streamed Q and A sessions
after several of their film premiers for example.

Working Titles

• Lighter, happily ever after style narratives are usually their
focus.

• Funded by Universal and as such able to pay for more cinema
screens, marketing campaigns and anything else they may require.

• More high profile productions.

• Less targeted at niches and more aimed towards mainstream trends
and preferences.

• Unlikely to produce a film about an alcoholic man in Leeds for
example as opposed to, say, a struggling artist in New York who
meets the woman of his dreams and regains his inspiration and so
on and so forth.

It goes without saying that what I have listed is extremely bare bones, barely scratching the surface of each company; yet for the purpose of my point they are sufficient.

I quickly came to the conclusion that Warp and Working Titles have very different audiences in mind when they produce a film. Not in terms of age or such as they are factors unique to each production, but rather the difference in their audiences is fundamentally about nationality. More specifically, Warp targets a British audience whilst Working Titles targets an American audience.

As a general rule, American viewers don’t particularly care about the aforementioned gritty films that Warp create; instead they prefer the lighter tones and happier endings of things such as Bridget Jones’s Baby to name a relevant production. This influences the content created by Working Titles as they are attempting to appeal to the American viewer before the British one due to their involvement with Universal Studios. Warp however has retained its independence (something that I am not declaring a negative nor a positive) and as such targets the British viewer; it does not intentionally set out to make a film that will go big in America, when one does it is a happy accident if you will. This is largely due to factors such as settings. It is much cheaper to hire out a dingy old flat than it is to do the same to an entire castle or a bank and as such the gritty films that the British Audience prefers is more viable for Warp whilst the happier tastes of the American audience is the preferred route of Working Titles.

Furthermore we have historical differences between our two nations that must be accounted for. A film about the prohibition of the 1920’s is likely to appeal to the American viewer more so than the British one due to cultural significance. Such a thing means something to an American whereas it means little to a British viewer. An example of this would be the 2009 film The Boat That Rocked. Essentially it is about the emergence of pop music and other less reserved genres of music that were spreading over from America into Britain and the BBC’s attempt to constrict it during the 1960s. To a British audience this makes sense due to us understanding the historical relevance, to an American however the meaning is lost; they would simply not relate to it whatsoever due to such music being common to them in the time period. This statement is supported by the abysmal sales it suffered from in the United States despite not being a terrible movie by many accounts.

A similar concept applies when choosing actors, Working Titles chooses actors that the Americans will recognise immediately as they are their primary audience. Warp however is liable to do the complete opposite. Posters for the same film for example are often different in the two nations to grant prominence to different actors that are relevant to the respective nation.

This concludes my summary of thoughts on the differences between the two companies an my reasoning for why those differences exist in the first place.

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Theory of Everything Case Study

Plot

The Theory of Everything follows the story of a young Stephen Hawking as he struggles with the onset of motor neuron disease, all while falling in love with fellow Cambridge student Jane Wilde. Together they produce incredible advancements in the fields of medicine and science.

Cast

Eddie Redmayne – the genius physicist himself, Stephen Hawking.
Felicity Jones – fellow students and romantic interest Jane Wilde.
David Thowles – Dennis Sciama, Stephen’s professor.
Charlie Cox – family friend and later Jane’s new husband.
Maxine Peak – Stephen’s nurse and second wife Elaine.

Production

Following a lengthy process in which approval was gained from both Jane and Stephen, filming began at Cambridge in September 2014. Almost every scene was based on personal accounts or archived photographs and videos in the interest of maintaining authenticity throughout the film. towards the end of the production process the sound team was struggling to re create Hawking’s voice with any degree of authenticity, however Hawking himself was so impressed with the unfinished production that he volunteered the use of his own voice for the scenes that required it. this means that towards the end of the film we are hearing not a replica but Stephen Hawking’s actual voice as it is today.

Release

After premiering at the Toronto film festival on September 7th it saw a limited US release on November 7th, expanding to Taiwan, Austria and Germany in the following weeks before its UK release in January. Following this it was released to the rest of Europe.

Profits

It made $123.7 million at the box office with a budget of only $15 million, granting them a total profit of $108.7 million at the box office. This is unsurprising for a film backed my Universal Studios.

Publishing

While Universal Studios retained the international publishing rights to the film the North American and Canadian publishing rights went to Focus Features and Entertainment One Films respectively. It received a limited release in five theatres on November 7th 2014 that made $207,000 on its first night. This then developed into a full nation wide release that saw it featured in 802 theatres across North America on November 26th 2014, bringing in an astonishing $5 million in a single day and debuting at number seven at the box office.

Critical Reception

The film saw favourable reviews upon it’s late 2014 release date; Rotten Tomatoes for example rated it a 79% rating, describing it as “Part biopic, part love story, The Theory of Everything rises on James Marsh’s polished direction and the strength of its two leads.”. Furthermore Metacritic awarded it 72 out of 100, furthering it’s critical success. Guardian reporter Catherine Shoard described the film as “an astonishing, genuinely visceral performance which bears comparison with Daniel Day-Lewis in My Left Foot.”.

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Product Feedback from the Class

In the interest of improving my final product I mounted a printout of my front cover and double page spread on A3 and had my fellow media studies students point out and label any issues, positives or new ideas that would be of benefit to my piece; this is the result.

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Bridget Jones’ Case Study

Introduction

Bridget Jones’s Baby is Sharon Maguire (director) and Helen Fielding, Dan Mazer and Emma Thompson’s (writers) 2016 sequel to the popular 2004 rom-com Bridget Jones: The Edge of Reason, the third in a trilogy. It follows the troubles of newly pregnant Bridget Jones as she attempts discover whether Mark Darcy or Jack Qwant is the father of her unborn child.

Cast (key characters)

Renee Zellweger – The lead role, Bridget Jones.

Colin Firth – As Mark Darcey, the later discovered father of the child and, by the films closing act, Bridget Jones’ husband.

Patrick Dempsey – The other potential father, Jack Qwant.

Sarah Solemani – Bridget’s friend Miranda.

Emma Thompson – Dr. Rawlings, the doctor who oversees the paternity tests.

Production

Bridget Jones’ Baby began filming on October 2nd 2015 in London despite initially being announced in the July of 2009. This unusually lengthy delay between announcement and the beginning of filming was due to a multitude of successive issues; disagreements over the plot, conflict with the actors over scripting, seemingly everything that could go wrong did go wrong during the lead up to the production process.
Filming took place in a small mix of locations from Ed Sheeran’s 2015 Croke Park concert in Dublin to Borough Market to a small Oxfordshire church to name a few. The initial filming took only a few months, with a further week allocated to reshoots, coming to a close on November 27th 2015.

Profits

Bridget Jones’s Baby made a worldwide gross of 212 million US dollars. This can be broken down into $24.1 million from the USA, $60 million in the United Kingdom and $127.9 million from the rest of the world. This is all against a, relatively speaking, low budget of $35 million.

Upon its release on September 16th it broke several records; biggest UK rom-com opening day in history, the biggest Working Titles and UK September release yet ($4 million in 641 theaters). Needless to say this made the movie a huge success for Working Titles.

Critical Reception

The movie was reviewed favourably by several critics; Rotten Tomatoes granted it a score of 76% and said that “Bridget Jones’s Baby might be late on arrival, but fans of the series should still find its third instalment a bouncing bundle of joy.” Whilst Metacritic went lower with only 59 out of 100, it attained a rating of 6.7 out of 10 on IMDB. Furthermore it was nominated for but did not receive Diversity in Media Awards’ Movie of the Year in 2017.

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Four Lions Case Study

Introduction

The story of Four Lions follows a group of five young British men who are aspiring to become suicide bombers with comedic results. It is an extremely satire take on Jihadist actions and beliefs, painting jihadists as incompetent fools. The story culminates in the deaths of all five members in various fashions.

Cast (important characters)

Riz Ahmed – Omar, the overly critical leader of the group of inept Sheffield based terrorists.

Kayvan Novak – Waj, Omar’s dim-witted cousin.

Nigel Lindsay – Barry, recently converted white Englishman with a poor temper and tendency to make rash decisions.

Adeel Akhtar – Faisal, the extremely naïve British Muslim man who tried to train crows as suicide bombers.

Arsher Ali – The cell’s reluctant fifth member Hassan whom is recruited by Barry.

Production and Release

Long before filming even began writer Chris Morris was speaking to terrorism experts, ordinary Muslims, multiple imam’s, police officers and various members of assorted secret service branches in order to truly understand what he was going to be writing about before he even tried.

Filming began in the May of 2009 and concluded in time for it to be finalised for premier at the Sundance Film Festival in January, 2010. A few months down the line saw the films UK premier take place at the National Media Museum during the Bradford International Film Festival on the 25th of March 2010, securing a nationwide release on May 7th of that year.

Despite its success at the aforementioned Sun Dance Film Festival the film did not receive a US distribution until nine months after the festival until the then newly founded Drafthouse Films agreed to provide it with a limited release on the 5th of November 2010.

Profits

Despite its initially small scale UK release in only 115 cinemas across the nation it still managed to secure the distinction of highest grossing opening weekend at the time of its release with a total of £609,000. The UK’s Official Top Ten Film Chart granted it the distinction of placing 6th behind the likes of Iron Man 2 from the 7th to the 9th of May 2010. Owing to its popularity is Optimum Releasing’s decision to expand its distribution to 200 screens.

Four Lions’ UK gross profit at the Box Office was £2,932,366 as of August 8th 2010 and by February 24th 2011 its worldwide gross had advanced to $4,658,570.

Critical Reception

Four Lions’ saw favourable reviews from critics, receiving a rating of 82% from Rotten Tomatoes alongside the comment “Its premise suggests brazenly tasteless humour, but Four Lions is actually a smart, pitch black comedy that carries the unmistakable ring of truth.”

Metacritic went slightly lower with a rating of 68 out of 100 whilst The Daily Telegraph gave it a strong 4/5 with the reasoning that “Chris Morris’ evocations of the claustrophobic mundanity of the Muslims’ lives, their querulous banter, their flimsily pick ’n’ mix approach to the Quran all feel painfully, brilliantly real.”

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Cuts and Transitions

Cuts and transitions are used regularly in film as a means of moving from one shot to the next and providing several angles on a scene to avoid the point of view becoming entirely static and subsequently monotonous.

Cutting on Action: A cut that is performed in the process of an action to a different angle. It is used in fight scenes more often than not.

Cut Away: Inserting a different shot in order to provide information to the viewer. It is used to show a characters thought process, a flashback or to hide a death scene.

Cross Cut: Cutting between two different locations, often during phone calls or at bomb sites and such.

Jump Cut: This style of cut is used to show the passing of time, it can also create a sense of urgency or speed.

Match Cut: Used to transition from one shot to another with either a matching action or composition to connect the two. It is particularly useful to change times or location.

Fade In/Fade Out: In most cases films either fade to black which is quite simple or they fade to another scene that over lays as it disappears.

Iris: Focuses in on one thing, like the Looney Tunes title sequence.

– Wipe: Transition using a small transitional animation such as a star.

Invisible Cut: Very subtle cuts that are used to make a scene or even an entire film appear like it was done in one take. This is done by using the movement or the camera or a car obscuring the viewer’s vision to disguise the cut and give the appearance of seamless filming.

L-Cut: The L-Cut is an audio based transition technique that involves carrying on sound from the first shot for a few seconds into the second one in order to make the transition less jarring to the audience.

J-Cut: The J-Cut is the opposite of the L-Cut in the sense that the audio from the second shot begins a few seconds before the transition from the first shot.

Smash Cut: Transitioning from a scene of low noise to high noise or vice versa; a quiet home to a busy street for example. The same thing also applies to movement as well.

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Character Analysis of Penelope Garcia, Criminal Minds

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Analysis of Responses Gathered from my Questionnaire

Looking at the data I have acquired from my questionnaires, handed out to several different individuals, I can conclude an interest in genres of music that are somewhat retro does exist. For example there were several responses that noted Rock as being their favourite genre of music which is a genre that has been around since the 1950’s. This is encouraging due to the fact that my own magazine falls within these bounds and as such is likely to have an interested reader base.

Furthermore in terms of magazine covers the responses I gathered seem to show a preference for covers with a single model as opposed to multiple artists stood side by side. This is likely due to the fact that magazine covers with multiple figures on their fronts tend to appear more cluttered and disorganised, reducing the aesthetic appeal of the magazine at a glance. Also the more iconic the figure head is the more eyes it will catch on the shelf. For example the cover featuring Daniel Radcliffe (as Harry Potter) is more immediately eye catching than the cover featuring Natalie Portman. This information shall influence my own cover as I shall attempt to avoid more than one full person, freeing up more space for offers, tag lines and article previews.

In terms of price I have received a range of responses from £1.50 up to £5.00. This would suggest to me that a selling price of £2.50 or £3.00 would be a reasonable amount to the vast majority of customers. This is also below what one would expect for a magazine as many often sell for prices around a pound higher, something that would potentially entice more buyers to purchase the magazine on a whim and also make a habit of regular purchases of each issue more likely to develop.

As a final note, many people seem to listen to their favoured music whilst studying or reading. This could potentially coincide quite nicely with the reading of my magazine in terms of an opportunity to do so. Many people read whilst listening to music in order to relax, often with whatever literature they have to hand. The hope is that my magazine will be that literature.

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Zahra’s Questionnaire Response

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Matthew’s Questionnaire Response

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James’ Questionnaire Response

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Annabelle’s Questionnaire Response

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Bridget Jones’ Baby Case Study

Introduction

Bridget Jones’s Baby is Sharon Maguire (director) and Helen Fielding, Dan Mazer and Emma Thompson’s (writers) 2016 sequel to the popular 2004 Rom-com Bridget Jones: The Edge of Reason, the
third in a trilogy. It follows the troubles of newly pregnant Bridget Jones as she attempts discover whether Mark Darcy or Jack Qwant is the father of her unborn child.

Cast (key characters)

Renee Zellweger – The lead role, Bridget Jones.

Colin Firth – As Mark Darcey, the later discovered father of the child and, by the films closing act, Bridget Jones’ husband.

Patrick Dempsey – The other potential father, Jack Qwant.

Sarah Solemani – Bridget’s friend Miranda.

Emma Thompson – Dr. Rawlings, the doctor who oversees the paternity tests.

Production

Bridget Jones’ Baby began filming on October 2nd 2015 in London despite initially being announced in the July of 2009. This unusually lengthy delay between announcement and the beginning of filming was due to a multitude of successive issues; disagreements over the plot, conflict with the actors over scripting, seemingly everything that could go wrong did go wrong during the lead up to the production process.

Filming took place in a small mix of locations from Ed Sheeran’s 2015 Croke Park concert in Dublin to Borough Market to a small Oxfordshire church to name a few. The initial filming took only a few months, with a further week allocated to reshoots, coming to a close on November 27th 2015.

Profits

Bridget Jones’s Baby made a worldwide gross of 212 million US dollars. This can be broken down into $24.1 million from the USA, $60 million in the United Kingdom and $127.9 million from the rest of the world. This is all against a, relatively speaking, low budget of $35 million.

Upon its release on September 16th it broke several records; biggest UK rom-com opening day in history, the biggest Working Titles and UK September release yet ($4 million in 641 theaters). Needless to say this made the movie a huge success for Working Titles.

Critical Reception

The movie was reviewed favourably by several critics; Rotten Tomatoes granted it a score of 76% and said that “Bridget Jones’s Baby might be late on arrival, but fans of the series should still find its third instalment a bouncing bundle of joy.” Whilst Metacritic went lower with only 59 out of 100, it attained a rating of 6.7 out of 10 on IMDB.

Furthermore it was nominated for but did not receive Diversity in Media Awards’ Movie of the Year in 2017.

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Music Magazine Conventions

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Intended Target Audience

In terms of my target audience I believe that I am going to be working with a dual audience somewhat. While the natural audience for my music magazine would be people in their 50s to 70s, owing to the fact that they would have been teenagers at the time and as such would likely enjoy seeing news on their favourite artists or genres of music, they are not the only one as I have recently come to realise. I believe that I would likely have an equivalent audience in the younger generation due to the resurgence in popularity vintage music is seeing at the present time. People of my generation are developing a widespread interest in older genres of music and as such I believe that my target audience should be split between the two groups with a slight focus on the older generations for monetary reasons; they have an income that the younger generations simply don’t have access to.

Indie music and the like often harkens back to older styles of music and it’s popularity is spreading at an astonishing rate. This is what gave me the idea of a more diverse audience and is also what makes me confident that marketing to both isn’t so difficult as it would first appear; similar things would appeal to both.

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Everest Case Study

Plot

Everest details the struggle of several climbers caught in a blizzard part way though a commercial climb of mount Everest in 1996. Lead climber Rob Hall and his fellow climbers begin to die one by one from various threats such as falling, hypothermia, lack of oxygen, etc until only Beck (a fellow climber) remains as the sole survivor of the expedition, minus bothy hands and his nose due to severe hypothermia. The plot is based on a true story, something the closing credits drive home with it’s message of Rob’s body remaining on the mountain and Becks loss of limbs.

Cast

Jason Clarke – Lead climber, Rob Hall who dies of hypothermia trapped up the mountain, leaving his wife and new born daughter Sarah behind.

John Hawkes – Doug Hansen who is described as a former mailman that is pursuing his dream to climb Mount Everest. He suffers from hypoxia when his oxygen bottles run out with no replacements on hand which leads to him falling to his death.

Josh Brolin – Beck Weathers, the only survivor of the expedition who later lost his hands and nose to severe frostbite.

Naoko Mori – Plays veteran climber Yasuko Namba who also fell victim to frostbite leaving behind her husband for what was supposed to be her last climb before retirement.

Production

Baltasar Kormákur directed the film which was scripted by Simon Beaufoy and Mark Medoff. It was produced by working titles films in the Otztal Alps of Italy then Nepal and Iceland. Disaster struck on april 18th 2014 when the secondary film crew was caught in an avalanche while filming extra scenes on Everest, killing 16 Sherpa guides who were carrying equipment and supplies.
Profits

Due to Universal’s control over the films distribution the film was naturally in excellent hands and in a matter of months had made $43.4 million in North America alone, whilst making $159.9 million outside of the United States for a total of $203.4 million whilst only having a relatively small budget of $55 million. This made Everest a huge success for both Universal and Working Titles, even breaking a September IMAX record of $6 million by a whole $1.2 million.

Critical Reception

With a rating of 72% on Rotten Tomatoes the films holds a steady, if not overtly astonishing, record that personally, based on my own opinion, I feel is a fair rating for the film as a whole. It was also nominated for several awards such as the Best Effects Satellite Award but unfortunately did not secure any.

Summary

Overall Everest was a commercial and critical success for Working Titles and Universal Studios with very few significant downfalls.

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Tyrannosaur Case Study

Introduction

Tyrannosaur, a British drama directed by Paddy Considine, was produced by Warp Films in 2011. Starring Peter Mullan, Olivia Colman, Eddie Marsan, Paul Popplewell and Sally Carman the film made a total of £396,930 which is hugely below it’s £750,000 budget. Due to the size of Warp Films and it’s status as an independent British film company, this will have been a big hit to their finances.

Despite its financial failures, it received surprisingly high scores; 83% on rotten tomatoes, and 65 out off 100 on Metacritic; being described as “a brutal, frank, and ultimately rewarding story of violent men seeking far off redemption.” and “best British film of the year”. Empire also awarded it four out of five stars and praised it as “Riveting, uncompromising, brilliant”
This contrast between reviews and profits clearly indicates that while it saw critical success it did not appeal to a broad enough audience to achieve widespread success.

Cast (significant characters)

Peter Mullan – unemployed, alcoholic widower Joseph; the lead.
Olivia Colman – religious female lead Hannah. A friend of Joseph’s.
Eddie Marsan – Hannah’s abusive, alcoholic husband James.
Samuel Bottomley – Joseph’s six year old neighbour Samuel who is victim to abuse from his mother’s boyfriend.
Robin Butler – Joseph’s best friend Jack who is dying of cancer, passing away part of the way through the movie.

Themes

Throughout it’s 92 minute runtime Tyrannosaur tackles several sensitive themes with startling openness. One must only look at the brief character list above to see this; loss, suffering, domestic abuse, alcoholism, crime, animal cruelty; all are presented to the viewer without hesitation right from the start. We see Samuel’s subpar home life, Hannah and James’ dangerously violent relationship, Joseph’s guilt over his treatment of his late wife and descent into alcoholism, Jacks’ end at the hands of cancer; all of these instances are integral to the plot and as such are not hidden away or blunted as one might expect in the average cinematic production. Tyrannosaur defies this expectation outright.

Release

Tyrannosaur had a predominantly UK based release with showings in a broad array of cinema screens whilst in the USA it was shown on only 5 in total, helping to explain it’s mere $22,000 US gross.

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Mock Up for my Music Magazine Front Cover

This is merely a quick mock up using images from the internet and photoshops basic tools to give a general sense as to what my finished music magazine’s front cover shall look like.

Music Magazine Cover Photoshop

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Complete School Magazine

Below is my completed sixth form magazine project; front cover and contents page.

school magazine coverContents page

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