Narratives in production
Unit 2 – Area of study 2
In this area of study we focus on learning the following dot points:
• Use of media production process in the construction of narratives.
• Development of skills in the use of media technologies.
• Specific audiences and constraints of contexts in the creation and production of media products.
• Ethical, legal and community constraints in the production and distribution of media products.
• Roles and responsibilities within the media production process.
By the end of this area of study you should be able to Design, Produce, Apply and Develop these dot points.
From the study design
Narratives are created through a production process that involves the conceptualisation and development of ideas,
pre-production, production, post-production and distribution. The production and distribution of narratives involves
skilled use of media technologies, often in collaboration with others, where each individual undertakes specific
roles and responsibilities required at each stage of the production. While the production of narratives is a creative
process, they are produced for specific audiences and are constrained by the contexts in which they are produced,
distributed, consumed and read. Students apply their theoretical learning to create and construct narratives in the
form of media exercises that demonstrate one or more concepts covered in Area of Study 1.
• media production processes and their relationship to specific media forms
• construction of narratives using the media production process
• the roles and responsibilities required in different stages of the media production process
• technical skills used in the operation of media technologies
• ethical, legal and community constraints in the production and distribution of media products
• media language appropriate to the design, production and evaluation of media products.
• design and produce narratives using the stages of the media production process
• undertake roles and responsibilities within the media production process
• apply technical skills in the operation of media technologies
• develop and produce narratives within ethical, legal and community constraints
• use media language appropriate to the design, construction, production and evaluation of media productions.
Narratives in the Moving Image
ARGO – PLOT
In 1979, the American embassy in Iran was invaded by Iranian revolutionaries and several Americans were taken hostage. However, six managed to escape to the official residence of the Canadian Ambassador and the CIA was ordered to get them out of the country. With few options, exfiltration expert Tony Mendez devised a daring plan: create a phony Canadian film project looking to shoot in Iran and smuggle the Americans out as its production crew. With the help of some trusted Hollywood contacts, Mendez created the ruse and proceeded to Iran as its associate producer. However, time was running out with the Iranian security forces closing in on the truth while both his charges and the White House had grave doubts about the operation themselves.
RUBY SPARKS – PLOT
Young author Calvin Weir-Fields (Paul Dano), once a literary darling, is having trouble composing his next novel. Following a therapist's advice, Calvin pulls out an old manual typewriter and creates a vivacious, flame-haired woman he dubs Ruby Sparks (Zoe Kazan). Overnight, Ruby leaps from the page into Calvin's home as a real flesh-and-blood woman. And, what's more, she's unaware that she's actually a fictional character and that her actions and feelings are dictated by whatever Calvin writes.
Narratives in Print Production - Photography
SALLY MOON: The girl with the cigerette
Photographer Sally moon captured this award winning photograph. This image was circulated around the world and created controversy. The narrative is interpreted by audience in a variety of ways.
Is the narrative explicit or implied?
What print code and conventions are employed by the artist to capture and relay the narrative to the audience?
ALFRED EISENTAEDT: The Kiss
Greta Zimmer Friedman, identified later as the nurse in the photo, became the subject of perhaps the most iconic photo taken on V-J Day on Aug. 14, 1945. Taken by photographer Alfred Eisentaedt, the picture captured the jubilance people felt upon the war’s end.
The photo, published in LIFE, caught the U.S. at a moment of pure relief and represented people letting go of their inhibitions.