A subliminal set of structural rules inform myth production.

All stories told across the globe and throughout history employ a remarkably simple but stable formula.

Character oppositions: audience expect villains to battle heroes. Might centre on secondary characters, such as youth or maturity, strength or intelligence, masculinity or femininity. Can be found in real life too such as on newspapers to deploy stories in which criminals exploit victims.

Narrative oppositions: Transforming failure into success.

Stylist oppositions: They use juxtaposed stylist presentations.

racial otherness – Gilroy argues that the immigrant black community from the outset – constructing them as a racial ‘other’ in the predominantly white world of 1950’s Britain.

post – colonial melancholia – The publics association of these post war immigrants with substandard living conditions produced racial representation.

the story of UK race relations post W.W. 2 – Media stories regarding the black community , Gilroy suggests, intensified fears that immigrant communities might swamp white Britain.

Legacy of the Empire – He suggests that the empire, as such, represents more than the loss of sovereign power. Also a strain on the collective British identity. Empire immigrants and thier descendants, is argued to be visible representation of British power as it once was.

The Search for Albion – Albion England is nothing more than a distracting fantasy that disguises the reality of what Britain is really like – crippled by regional poverty and an ever-widening economic social divide.

Ska story: the sound of angry young England:

The main irony of the Specials’ songs, and in fact of the entire ska movement, was that lurking just beneath the “happy,” infectious dance beat were often chilling stories of the racial divisiveness and economic deprivation that characterized the dawning of the Thatcher era.

Reggae: the sound that revolutionised Britain:

The two looks represented the different worlds inhabited by young white and black Britain, worlds which a year previously had been remote from each other but which by the summer of 1977 were unexpectedly and often uncomfortably rubbing shoulders.

The Specials: How Ghost Town Defined an Era:

Released on 20 June 1981 against a backdrop of rising unemployment, its blend of melancholy, unease and menace took on an entirely new meaning when Britain’s streets erupted into rioting almost three weeks later – the day before Ghost Town reached number one in the charts.

Abigail Gardner Ghost Town: A Haunting 1981 Protest Song That Still Makes Sense Today:

Perhaps because “Ghost Town” cannot be “placed”. It’s not explicitly against any one event. It does not exhort its listeners into any one particular political view. It is not part of any one social movement for change. It is, rather, a stealth protest song.

Alexis Petridis (Guardian music journalist)

As Ghost Town reached number one, its lyrics were horribly borne out. “Can’t go on no more,” sang the Specials, “the people getting angry.” As if on cue, the worst mainland rioting of the century broke out in Britain’s cities and towns. For the first and only time, British pop music appeared to be commenting on the news as it happened.

Directed by the graphic designer Barney Bubbles:

Barney Bubbles defined the look of the British psychedelic movement of the ’60s, then seemed to recede from sight. He resurfaced a few years later, helping to establish the aesthetic of British punk, then did the same for post-punk. 

Binary:

Binary means 2 things that are opposite. For example, a male and a female in a film and show how different the characters are and how they play it. This is the form of narrative structure which is the low point of it. You could also suggest who has more power male or female and present how each character is preferred in the matter of binary talking.

I would like to create a poster of a film for the use of learning about internal structures. I would like my poster of the film to look very sinister and look very interesting so that it can attract the audience. I will do this by making it stand out by adding contrast to the poster as it will look more realistic. For my film there will be about 6 to 7 main characters who embark on a journey to stay alive. They are living in a house and are not allowed to escape or their will be consequences. My poster will have the advantage of the use of the setting and whereabouts if the characters are acting as the hero or the villain.

For my poster, I would like to create it with my own imagination and try to experiment with all sorts of techniques. This giving the impression of thinking of a more realistic storyline to not make it to complicated and being able to edit it easily. To make my poster interesting I will add a varies of different techniques such as having a rising action idea so that perhaps the storyline would be interesting with that.

My film is similar to the hunger games as the main point of my film is to survive and stay alive as long as possible, which is by completing tasks where you earn rewards. However, it is different from the hunger games as it won’t be set in a dystopian place but in a large house with a group of people. Another reason for being different than the hunger games is because they are not aloud to leave the house unless they would like to be a run far to survive, without being court. Their will also be a varies of tension if everyone from the house ends up leaving.

1. Cultural industries  – Distributing cultural goods and services on industrial and commercial terms.
2. Production – The making of a video such as a commercial.
3. Distribution – promoting content to online audiences in multiple media formats through various channels.
4. Exhibition / Consumption – Retail branch of the film industry.
5. Media concentration – Examples, newspapers, magazines and tv and radio.
6. Conglomerates – a company that owns numerous companies involved in mass media enterprises.
7. Globalisation (in terms of media ownership) – the worldwide integration of media through the cross cultural exchange of ideas.
8. Cultural imperialism – How an ideology or a way of life is exported from one country to another through movement of cultural goods.
9. Vertical Integration – When a media company owns different businesses in the same chain of production and distribution.
10. Horizontal Integration – a media company’s ownership of several businesses of the same value.
11. Mergers – one or more undertakings involved carries on a media business.
12. Monopolies – concentrated control of major mass communications within a society.
13. Gatekeepers – Gatekeeping is the process through which information is filtered for dissemination, whether for publication, broadcasting, the Internet, or some other mode of communication.
14. Regulation – Mass media regulations are rules enforced by the jurisdiction of law
15. Deregulation –  the telecommunications industry pertains to relaxing ownership rules regarding such items as the number of stations a single television or radio owner can possess in a market and whether or not a single corporation can own a newspaper, or television and radio station in the same market
16. Free market – The free market is an economic system based on supply and demand with little or no government control.
17. Commodification  – Commodification is the transformation of the shape of the relationship
18. Convergence  – media convergence, phenomenon involving the interconnection of information and communications technologies, computer networks, and media content.
19. Diversity   – Diversity in the media is, more than a matter of professional ethics, a matter of questioning that given power.
20. Innovation  – Media innovation can include change in several aspects of the media landscape – from the development of new media platforms, to new business models, to new ways of producing media texts.

Propp arrived at the conclusion that folk tales drew from a highly stable list of characters whose roles and narrative functions he defined as follows:

The hero- two types, seeker hero and victim hero

The villain- fights the hero and must be defeated

The princess and the princess’s father- is the hero’s reward

The donor- provides the hero to help defeat the villain

The helper- usually accompanies the hero and helps them along the way

The dispatcher- sends the hero on their quest

The false hero- plays a large villainous role