Secondary Research

Secondary research refers to the analysation of research which has been previously conducted, in either a quantitative or qualitative format. The aims of this research is to examine more into the typical codes & conventions of the media formats that we wish to produce, so that we can develop our own schema either using, challenging, or developing these conventions. Also, I aim to compare & contrast other’s research with my own primary research, in order to establish certain collective trends.

Trailer

For this particular task, we decided to source our information from Web 2.0 based document-sharing website Scribd. The file we examined is found at http://www.scribd.com/doc/19840631/Teaser-Trailer-Analysis-I-Am-Legend

Firstly, it this review explains how the opening shot “is a very striking image that immediately wins the audiences attention”. This is an element of shock which we do not actually aim to have in the opening shot, but wish to introduce later when the transition occurs between horror & comedy. It goes on to detail the effects of a rapid increase in pace within the trailer, which is an element that we will look to replicate, once again to emphasise upon the comedy. This element was also commonly found in our primary research, thus suggesting that it is an integral convention within trailers. The soundtrack also emphasise upon this creation of pace, particularly with the addition of non-digetic, synchronous soundtrack. We will include this, however only for the comical elements, and will use tense, suspense-building, eerie music for the initial horror, to create anticipation & tension within the audience. It could be argued however that the writer of this analysis focuses too heavily upon the aspects of soundtrack, which is certainly important, but not the single most determining factors. In our primary research we have attempted to establish an equal focus on all miro-elements of the textual analysis. Though not explicitly detailed, the screenshots taken illustrate the importance of the titles in this particular trailer, which we have perhaps slightly ignored in our primary research. For much of the rest of the analysis, the writer continues to focus upon the soundtrack and titles, which has made me perhaps re-contemplate taking such heavy influences from this specific area of research. All in all, it has proven helpful however not as helpful as perhaps other areas of research are expected to prove.

Magazine Front Cover

In order to find information concerning the conventions and aspects of film magazine front covers, I decided to use Scribd again, because it has proven reliable for previous tasks. The particular document is sourced from http://www.scribd.com/doc/26734370/Analysis-of-Film-Magazine-Covers

The analysation firstly analyses the masthead, stating that “The masthead of the magazine is presented in large, capitalized red font, which makes it very eye-catching against the pale blue and black background” thus emphasising upon the effect of contrast. We will look to perhaps challenge and develop this convention, by having a large masthead however with a colour which does not contrast with the background as much, creating a more subtle effect. This will hopefully emphasise upon the contemporary, professional, and discreet excellence of our magazine. Secondly, it is stated that “The headline for the main article within the magazine is situated over the top of the feature photograph and in the centre of the page where is will be most likely to capture the audience’s attention”, which is a strategy which we will look to employ or develop. The research also examines capitalisation which is evident among the featured film, which we will definitely conform to because it will emphasise upon our production, and hopefully increase familiarity with the audience. Plugs are also a key point here, how they are “laid out conventionally around the edge of the page so they do not obstruct the feature photograph”, which is certainly what we will look to use, for the same reason as mentioned in the document. The textual nature of the strapline is also examined, and it is discussed how it creates excitement among the audience. We will therefore look to include this code within our magazine front cover, by having an extravagant, exclusive & exciting strapline.

Finally, a second magazine is analysed, and this focuses more on the main image than the previous example. It notes how the character is “looking directly at the camera which may be intimidating for some readers”. We will look to include this in our piece, because it will emphasise upon the comedy/parody when the viewer may originally feel intimidated, but then come to realise that a parody character is merely mocking intimidation. This second analysis also details similar aspects to the first analysis with the same conventions applied, but interestingly examines the position of the barcode, claiming that “The barcode is situated on the bottom right hand corner of the cover; possibly the least important part of the cover” which is a convention that we will aim to duplicate, because the barcode has little relevance to our audience.

In comparison to my own primary research, I feel that it perhaps does not go into adequate detail and is too assumptive. For example, a particular section comments on connotation, however neglects the denotation which is evident – “The bright red connotes action and blood, whilst the metallic silvers can be linked to weaponry”. It is however an extremely useful source of information, and can be used alongside my primary research to develop my first ancillary text, the media magazine front cover featuring our film.

Poster

My source of secondary research for the analysation of posters are two documents which I downloaded from the college network. Both are enclosed below;

Analysing Page Layout and Design

Reading A Film Poster

The first document examines the layout & design of posters in general, whereas the second focuses on codes & conventions of film posters. Firstly, the analysis of page design & layout covers 4 main topics; Visual literacy: ‘reading’ design, composition lighting & framing, the rule of thirds, and finally rule breaking. Visual literacy refers to how, when stepping away from our role as an audience, we can deconstruct the layout and find the connotation of the relationships between each element. It also details how the audience will relate to the product being advertised, and base it upon what it present in the layout. This ventures far deeper into the connotation of various elements than my primary research, because it steps away from observing through the audience’s role, to understand the audience’s role through the conventions of denotation & connotation. I will certainly refer to this then and apply it perhaps to my primary research, to ensure that enough depth and consideration is incorporated within my poster. Secondly, composition, lighting & framing is considered an integral aspect. In this article it is noted that the preparation for such images is vast, as they have been drafted, shot and re-shot. This is a principle which I will look to employ in the taking of my original images, because if the composition, lighting & framing is not adequate or appropriate, then this may create unintentional meanings for the audience. Thirdly, the rule of thirds is a familiar concept with myself, and is a very important micro-element with most media products (with the exception of music etc.), not only posters. It is suggested that manipulation of the positioning of a shot within four equally distanced intersecting lines can lead to a range of impacts on the audience. We intend to take a more conventional approach to this, positioning the main subject within the centre, and the secondary images to either side, in the middle-upper thirds. This is because we do not want to create an extremely powerful, almost devastating impact by the characters, for example by placing the main image in the upper left third, but wish to keep it in a familiar, conservative composition, in order to ensure that our target audience is not discombobulated by the framing of the main image. Finally, for the final aspect, rule breaking, we wish to take a similar approach to that of the rule of thirds. This is because we do not want to shock the audience, but want them to engage in the comical elements of our poster, thus not to be distracted by impact or shock. We wish to keep the equilibrium and empathy, unlike perhaps a poster intended for a different use; as highlighted by the article.

The article entitled ‘Reading A Film Poster’ concerns much more elements; including denotation/connotation, technical codes, anchorage, intertextual references, purpose/message, tone & register, target audience, representation, and finally effect & effectiveness. We have already been considering denotation/connotation quite regularly, and can therefore refer to this research for further information however nothing notably indifferent. Technical codes have also been focused upon quite heavily in our research, and will be extensively considered when it comes to construction of the ancillary texts. Anchorage refers to the presence of text with an image, which we will not be specifically manipulating, because it will be present naturally. However, an integral element which we wish to facilitate is the use of intertextual referencing, to emphasise upon the parody within our film. We will not only be doing this through the strapline (Get Birdseed or Die Cluckin’, a reference to the 50 Cent film and music album which is ironically appropriate for our target audience) but also through the appearance of parody characters, i.e. The Joker and Harry Pothead. This will significantly increase the parody present within our trailer, which is highly advantageous. The purpose/message is perhaps quite clear, with no subliminal, underlying message, because we wish purely to promote the film. The tone & register will play on the cultural connotation of ‘teenage culture’, which is relevant to our target audience that has already been established within our initial ideas. The representation perhaps is not as major factor within our poster, because the group being represented is effectively our target audience, so a theory which would apply better would be the uses/gratifications theory, which relates to how our product will be consumed by the audience with high levels of interpersonal reference, made possible through the groups represented within our poster. Finally, the effect & effectiveness will be clarified when our evaluation is conducted.

In conclusion, this research can be used effectively with the combination of our primary research in order to gain influences for our film poster, thus proving highly advantageous to the development of our media products.