Revision notes.

Try this with Film, Television & New Media

1. Close your notes and write the main idea in two sentences from memory.
2. Reopen the source and correct the first mistake or omission you find.
3. Add one example and one question to test whether you can apply the idea.

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Topics in the resource inventory

• How the technical features of a platform or format decide what an audience is able to do
• Evaluating how technologies limit or benefit participation, including for rural and remote audiences
• Reading a stimulus for production technologies and post-production processes, not for plot
• How audience-made content reshapes a form, using #7DaysLater and Minecraft as case studies
• Mapping how mobile apps, interactive advertising, gaming, social media and VR invite different kinds of participation
• Inferring a target audience from a context statement and explaining how the product positions it
• Who a product is made for, how they access it, and how they appropriate or adapt it
• How organisations and their operational practices enable or constrain what audiences can do
• Three institutional phenomena and what each changes about who gets to speak
• Evaluating the institutional participation of diverse individuals and cultural groups, including First Nations peoples
• French New Wave, German expressionism, Italian Neorealism, Soviet Montage and Surrealism, and what each did with the tools it had
• How Gerwig, Miyazaki and Gondry build an artistic identity out of technical choices
• Camera, lighting, editing and sound choices as the visible evidence of a distinct style
• What the syllabus means by a representation and how to name one precisely in an essay
• Analysing work by Aboriginal and Torres Strait Islander artists, including Sweet As (Jub Clerc, 2023)
• Kurosawa, Prince-Bythewood, Takahata and Wong Kar-wai as comparative representation case studies
• Evaluating how products such as Boyhood, Ms. Marvel and Utopia do identity work
• The vocabulary of media language and how symbolic and technical codes differ
• Historical vs contemporary, Australian vs international, commercial vs independent uses of the same code
• How Luhrmann, Mehta, Campion, Waititi and Anderson each bend convention to build a voice