Reid, C. (2022) ‘Marvel cinematic university’, Media Magazine, 82, pp.66-67.
Caroline Reid explains what we can learn about the film industry by studying Scarlett Johansson and Black Widow.
Chisholm, S. (2021) ‘Rocks’, Media Magazine, 76, pp.16-21.
Sarah Gavron’s ‘Rocks’ has been praised for its authentic representation of a diverse group of London teenagers. Shanae Chisholm explains how the casting of this film played a significant role in its success and how ‘Rocks’ can provide a form of escapism for audiences.
Massey, M. (2021) ‘Citizen Kane: narrative techniques’, Media Magazine, 76, pp.50-53.
‘Citizen Kane’ was the first film by Orson Welles and is considered by many to be a masterpiece. Michael Massey explains how narrative techniques are used to create an air of mystery and enigma that still captivates audiences today.
Pollard, C. (2020) ‘Fish Tank: power and patriarchy’, Media Magazine, 71, pp.56-59.
The teenage coming-of-age story was historically all about the boys but British director Andrea Arnold’s female-centred work, takes a sensitive look at complex characters suspended between girlhood and adulthood. Claire Pollard explains how this theme is portrayed in Arnold’s 2009 feature, ‘Fish Tank’.
Ramey, M. (2020) ‘Cinema and Covid-19: closing the film release window’, Media Magazine, 73, pp.14-17.
With cinemas across the UK experiencing months of enforced closure, new windows of opportunity are being opened for digital platform releasing. But will this mean the end of theatrical releases?
Ramey, M. (2020) ‘Moore’s the point’, Media Magazine, 71, pp.52-55.
Never one to shy away from appearing partisan, documentary filmmaker Michael Moore has criticised American government, military, healthcare and gun laws through his work. In his 2018 agitprop film, ‘Fahrenheit 11/9’, he takes an unapologetic stab at American democracy. Mark Ramey looks at how this film is characteristic of Moore’s documentary style.
Reid, M. (2020) ‘Sensory cinema’, Media Magazine, 71, pp.26-31.
Film Studies students are experts at decoding the meanings of films but what about that more slippery of qualities, the ‘feeling’ of a film or the effect it has on the viewer? Mark Reid from the BFI explores the sensations created in a scene from Tarantino’s ‘Once Upon a Time In Hollywood’.
Flint, S. (2019) ‘Black Panther and film marketing: a blockbuster marketed as a cultural event’, Media Magazine, 70, pp.40-43.
As a film spectacle, ‘Black Panther’ was pretty unmissable, but a multi-million dollar campaign helped make it literally unmissable wherever you were. High profile trailers, fashion shows, toys, drinks and even shoes were all enlisted in the cause. Siobhan Flint looks at the marketing of a massive movie.
Gough, G. (2019) ‘Truth and narrative structure in Bohemian Rhapsody’, Media Magazine, 69, pp.14-17.
‘Bohemian Rhapsody’ finally arrived on the big screen in October 2018, telling the story of the rock band Queen and its iconic frontman, Freddie Mercury. however, the final film, whilst rakishly entertaining, was not without its issues, some of which were always going to be present in taking any public figure and condensing their life into 134 minutes. This article looks at how the restrictions of the traditional film narrative are proving problematic for some audience members.
Seal, B. (2019) ‘Ripe for review: how rotten tomatoes is dominating film criticism’, Media Magazine, 67, pp.56-59.
As ‘Fresh’ and ‘Rotten’ have become the new thumbs up, thumbs down, Benedict Seal investigates what review aggregators mean for the film industry.
Smith, N. (2019) ‘Buster Keaton: master of silent comedy’, Media Magazine, 69, pp.56-59.
The silent era was responsible for establishing many of the film language codes that we implicitly understand today. This article looks at Keaton’s role in establishing the rules, but also daring to break them too.
Gough, G. (2018) ‘Star Wars and the 180 degrees rule’, Media Magazine, 64, pp.46-49.
How does the ‘grammar’ of a film determine the way its story is told? This article takes the familiar convention of the 180 degrees rule, and explains how it can be used to create new meanings.
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