F2F KEDUA

1. F2F KEDUA KOB3431 PENULISAN SKRIP

2. UNIT-UNIT F2F 2 Unit 5 Pendekatan penulisan skrip genre drama untuk penyiaran dan filem Unit 7 Media elektronik dan filem Unit 8 Khalayak media elektronik dan filem Unit 9 Jenis rancangan untuk media elektronik

3. UNIT 5 PENDEKATAN PENULISAN SKRIP GENRE DRAMA UNTUK PENYIARAN DAN FILEM

4. Basic Ideas of Drama Script Writing: Conflict in Drama • All drama depends on conflict. That is not the same as saying that drama depends on people shouting at each other. • Generally speaking, people shouting at each other should be avoided.

5. Basic Ideas of Drama Script Writing: Conflict in Drama • At its most basic, conflict means that Character A wants something to happen, and Character B wants something different to happen. • This might mean anything from: • A murderer wants to escape – a detective wants to arrest him. • A schoolmaster wants promotion – another wants to sabotage him. • A girl wants a man – another girl wants him as well • A girl wants a man – another man wants the girl • A husband wants sandwiches for breakfast – his wife wants him to have high-fibre muesli.

6. What Does Conflict Mean? It can mean: • A problem to be solved • An obstacle to overcome • A threat to be handled • A decision to be made • A challenge to be met

7. Basic Ideas of Drama Script Writing: Dramatic Tension • You must always have something on screen that holds the interest of the viewer. It might be one of the following: • A development of the plot – our attention is held because we have become involved in the characters and the story, and we want to know what will happen next. • Emotion – happiness, shock, tears. It is distressing but true that people are fascinated by other people’s emotional reactions.

8. Humour – an interlude involving a humorous theme might not move the plot forward or reveal anything new, but providing we laugh all can be forgiven. • Visual interest – by providing movement, rapid cuts from location to location, interesting locations, people running, vehicles moving at speed. What we see on the screen can help sustain dramatic tension.

9. Things That Lose Dramatic Tension • Scenes or fragments of dialogue that do not go anywhere, and do not relate to the story or plot. • Scenes that repeat themselves and fail to move the story on. • Characters who fail to react in a logical manner. To a considerable extent viewers look to the reactions of characters in a play in order to work out their own reactions. • E.g.: If a woman hits a man in a restaurant and nobody pays any attention, and the man carries on eating his food, then there will be no dramatic tension. But if the entire restaurant falls silent, and the man stares in cold fury and the woman begins to shake – then there is dramatic tension.

10. Script Formats for Television Dramas and Comedies • Script written for television dramas, whether shot on film or tape, almost always use a quasi-film format. Although film script formats aren’t totally standardized, in general they follow these principles: Names of characters (MARY) are ALL CAPS. All important information (SCENE B) is ALL CAPS. Visuals (DROP HER GLOVE) are ALL CAPS. Dialogue (Hello, Ramon. How’s It going?) is in upper and lower case. Omit directions, such as cut to or face to black. • Make your script as easy to read as possible – use double – or triple-space, wide margins, lots of white areas.

11. SCENE A INTERIOR OF UNDERGROUND PARKING GARAGE. WALKING TOWARD THEIR CAR ARE MARIA, AND FRED. MARIA IS CARRYING A LARGE SHOPPING BAG. RAMON HOLDS LARGE HEAVY BOX.

12. RAMON Wow! This box weighs a ton. RAMON STOPS, AND ROUGHLY PLACES BOX ON THE HOOD OF A JAGUAR MARIA Careful, Ramon – that’s something yuppy’s sixty-thousand-dollar toy! RAMON Hey, what’s the problem….

13. MARIA (INTERRUPTING) Ramon! Some guy’s in the back seat! FRED Not to worry – he’s asleep MARIA (MOVING CLOSER TO CAR) Better take another look – he isn’t breathing!

14. Types of Stories: Theme and Meaning • Cinderella – unrecognised virtue recognised at last; the dream come true. • Tristan – love triangles. The trouble which follows falling in love with an unavailable other. • Romeo and Juliet – boy meets girl. Boy loses girl. They do or do not end up together again.

15. Endings • Some people find forming endings a difficult matter, perhaps even being reluctant to set out on the story telling journey at all until they feel sure they know how their tale will resolve. • Often, if you follow the energy of a piece, happily complicating your protagonist’s life and driving them ever onwards against the odds in pursuit of their goal, the natural conclusion to the drama will probably suggest itself. If you do find yourself wrestling with how the story should resolve, it is always important to play with different possibilities.

16. Try out several different kinds of moment and try turning them on their head. What if… it all happened exactly the opposite way around? What then? • Narratives often have a deliberate circularity, ending up to all appearances with an identical moment to the one which started the piece. Sometimes the character(s) in question are discovered back where they were first introduced, but having undergone a major life-change. Sometimes, as in that framing device in Titanic, we are taken back to the same character(s) in the same setting as the start, but now knowing much more about them. In Titanic, one more significant action is going to unfold which will resolve matters for Rose and for the audience. Sometimes this circularity comes in the form of an echo. Where we may have seen one character in a particular setting, we now see another in the same situation.

17. Whatever you choose, if the ending is a closed one, fully resolving the narrative tension and completing the protagonist’s journey, then it should neatly sums up as ‘relief and release’. • Endings also can fall broadly into one of two groups leaving the central character(s) isolated or embraced (actually or metaphorically). He goes on to list several more kinds of ending including: • the fantasy triumph ending – it all turns out well, but only in the hero’s mind; • the blessing – of love, friendship, or the discovery of a common bond; • solitude – characters walking off into the sunset; • long shot – a retreat from the setting and the action allowing for us to put everything into perspective.

18. Scenes • Common to both TV and film scripting is the need to clearly define each scene. Newcomers to drama writing are often confused as to what a new scene is. Very simply: a new scene is a change of time or place or both.

19. Scene • Each and every scene has a scene heading. This is not merely some stylistic affectation. Important information is included in this line. ‘Int.’ and ‘Ext.’ are short for ‘Interior’ and ‘Exterior’. These are followed by the exact location of the scene. This is followed by the time the scene happens. In some scripts this is expressed simply as ‘Day’ or ‘Night’. In some, you may find the exact time of day or night specified. All off this information is directly relevant to the lighting of any scene.

20. Typographical conventions • In TV drama scripts, all the action, as well as the characters’ names, are written in upper case. They may or may not be centred and may or may not be followed by colon – take your pick.

21. Numbering scenes • Between first draft and shooting script most scripts go through several if not many changes. For this reason alone, whilst it is essential to number pages (try having a phone conversation about your script without page numbers to refer to) it can be quite counter-productive to number scenes before you reach a final draft.

22. Making scenes, building sequences • A half hour episode of British soap opera will, on average, contain somewhere around 15 to 20 scenes. • Usually these will concern themselves with three separate stories (possibly a much less significant fourth story element), one of which will be the major point of audience interest. These slices of separate story are told in intermingled sequences of four or five scenes.

23. Unit 7 MEDIA ELEKTRONIK DAN FILEM

24. Media Elektronik • Radio • Televisyen • Filem

25. FM Radio and AM Radio • FM/AM technologies • A means of radio broadcasting. Terrestrial radio stations broadcast using one of 2 technologies, AM or FM • AM stands for amplitude modulation, and FM stands for frequency modulation • Frequency modulation (FM) • FM radio was invented by Edwin Armstrong during 1930s. • Utilizing the band between 88 and 108 megahertz • FM signals are marked by high levels of clarity, but rarely travel more than eighty miles from the sites of transmission

26. FM Radio and AM Radio • Amplitude Modulation (AM) • Utilizing the band between 540 and 1,700 megahertz. • AM signals are prone to frequent static interference, but their high powered signals allow them to travel great distances, especially at night. • Lists of AM radio in the U.S. • WAAM (1600 AM) • WAAV (980 AM) • WAAX (570 AM)

27. Commercial Radio Stations vs Noncommercial Radio Stations In terms of funding, there are two types of radio stations: • Commercial stations • Noncommercial stations Commercial stations • The vast majority of stations are commercial stations. • These stations support themselves financially by selling time on their airwaves to advertisers.

28. Commercial Radio Stations vs Noncommercial Radio Stations (cont…) Noncommercial stations • Do not receive financial support from advertisers in the traditional sense of airing commercials. • Most noncommercial stations are located at the very left of the FM band (between 88 and 92 MHz). • Eg.: - Putra fm (90.7 FM) - UMalaya Radio - Radio USM

29. Defining Features of Radio Radio is portable Radio is supplemental Radio is universal Radio is selective

30. Defining Features of Radio • Radio is portable • Some radio sets, like the Walkman, are small and personal. Radio sets are easily transported and go everywhere - the beech, sporting events, jogging trails, the workplace. Car radios provide news end entertainment to commuters on their way to and from work. In fact, it is hard to find place where radio cannot go. • Radio is supplemental • Most radio listening occurs while we are doing something else—driving, working, studying, falling asleep, waking up, cleaning, and so on. Radio rarely is the prime focus of our attention; it provides an audio background for our activities.

31. Defining Features of Radio • Radio is universal • Virtually every household has at least one radio. In fact, theaverage house has about six. Almost every car equipped with a radio. In an average day, about 75 percent of Americans listen to radio. • Radio is selective • Much like the magazine industry, the radio industry has become a niche medium. Radio stations choose formats that attract a small, narrowly defined audience that is attractive to advertisers.

32. Station Formats • Most modern stations can offer an amazingly precise description of the kind of listener they want their format to attract. • Three basic categories of radio formats: music, ethnic, and news/talk • Popular music formats: • Contemporary Hit Radio (CHR) • Adult Contemporary (AC) • Urban • Country • Other formats: • Beautiful music • Album and Progressive rock • Modern rock • Jazz, classical, country, and all-news format

33. Station Formats (Cont…) The Music Format • Music is the largest category • In 2013, the 2 most listened-to formats are: • Contemporary Hit Radio (CHR) • Also called “Top 40” • Features a small playlist of hits in a fast rotation • The format is aimed at 16 – 24 age group • Artists whose songs are frequently played on CHR stations in 2013 included; • Lady Gaga – Applause • Selena Gomez – Come and Get It • Justin Timberlake – Mirror

34. Station Formats (cont…) • Adult Contemporary (AC) • The main appeal of the AC format is to 25 to 49-year old females. • Play the “hits of the 80s, 90s, and today” with a blend of about 80 percent oldies and 20 percent current tunes such as: • Katty Perry – Roar • Muse – Time is Running Out • Exist – Mengintai Dari Tirai Kamar • Maroon 5 • Celline Dion

35. Station Formats (cont…) Other top formats: • Urban • Showcases a large number of African American artists and plays rap, hip-hop, and dance music. • Aimed at city dwellers but has attracted listeners in rural areas as well. • In 2013, some prominent urban artists are: • Jay-Z • Ne Yo • Kanye West

36. Station Formats (cont…) Other top formats: • Country • Traditional country stations – play mainstream classic, twang country music such as: • Kenny Rogers – Through the Years • Contemporary country stations- play more current artists who might use synthesizers and other modern sounds for example: • Taylor Swift – Sweet 22 • The audiences are mainly comprises adults from 35 to 55.

37. Station Formats (cont…) Other formats: • Beautiful music • Play opera music genre. Comes from the composer such as: • Ludwig Van Beethoven • Vivaldi, Mozart • Sarah Brightman • Album and Progressive rock • Scorpion, Bon Jovi • Muse – Starlight

38. Station Formats (cont…) • Modern rock • Attracts 18 to 34-years old, in about equal proportions of men and women • Jazz, classical, country, and all-news format • Generally attract an older crowd, with most of their audience coming from the 45-and-over age group

39. Station Formats (cont…) News/Talk Format Becoming more and more popular on the AM band National, regional, and local news reports are broadcast periodically throughout the day. Sports, traffic, weather, editorials, public-affairs programs, and an occasional feature round out the programming day. Ethnic Formats These formats aim for special audiences that are defined primarily by race and nationality. E.g.: German, Italian, French

40. TODAY’S TELEVISION INDUSTRY • Divided into three domains: • TV broadcasting • Cable services • Satellite services

41. TV BROADCASTING The most popular domain of the three. It’s signals are transmitted from towers owned by local stations on frequencies allocated to them. People can receive the signals without charge by simply turning on a television set.

42. TV BROADCASTING • Most of the stations are what people in the TV industry call commercial; the rest are noncommercial. • Commercial stations: • Consists of all those local stations whose income is derived from selling time on their airwaves to advertisers. • Noncommercial stations: • Consists of those stations whose income is derived from sources other than the sale of advertising time. • The Public Broadcasting Service (PBS) serves as a network for noncommercial stations.

43. CABLE AND SATELLITE SERVICES Cable networks – program channels offered by a cable television system to its customers in addition to what is broadcast over the airwaves in their geographic area. Cable television refers to businesses that provide programming to subscribers via a wire (historically a coaxial cable, but increasingly a fiber optic line). Cable subscribers rent set-top boxes or use cable “smart cards” to receive their programs.

44. DEFINING FEATURES OF MOTION PICTURES • The most noticeable characteristic of motion pictures is their potential cost. No other media product - book, magazine, TV series, CD costs as much as motion pictures. • Partly because commercial motion picture making is so expensive, the industry has become dominated by big conglomerates. • Film has a strong aesthetic dimension. Of all the media discussed in this unit, film is the one most discussed as an art form. • Going to the movies continues to be a social experience.

45. DEFINING FEATURES OF MOTION PICTURES: POTENTIAL COST Sumber: http://www.finas.gov.my/index.php?mod=industry&sub=filemmalaysia

46. Production in the Motion Picture Industry The Majors The companies that people most associate with Hollywood

47. Production in the Malaysian Motion Picture Industry • ASTRO SHAW SDN. BHD. / WOOHOO PICTURES SDN BHD. (The Journey) • ASTRO SHAW / DOUBLE VISION SDN. BHD. (Ombak Rindu) • FILMSCAPE SDN. BHD. (Juvana) • MIG PRODUCTION (Nangkung, Adnan Sempit) • TAYANGAN UNGGUL SDN. BHD. (Hantu Kak Limah Balik Rumah) • SUHAN MOVIES (Balistik) • TALL ORDER PRODUCTION SDN. BHD. (Lemak Kampung Santan) • ANIMASIA STUDIOS SDN. BHD. (Bola Kampung The Movie) • KRU INTERNATIONAL SDN. BHD (Hikayat Merong Wahangsa) • SKOP PRODUCTIONS (KL Gangster) • PRIMEWORKS STUDIOS SDN. BHD. (GRAND BRILLIANCE) (Lagi-lagi Senario)

48. FILM PRODUCTION Film production firms are involved in coming up with story ideas, finding scriptwriters, hiring the personnel and ensure the work is carried out on time and on budget.

49. FILM PRODUCTION: PRE PRODUCTION GETTING THE IDEA • An idea for a movie can come from virtually anywhere – e.g.: Television shows, Books, Short stories, Newspaper articles. GETTING THE STARS • When a production firm purchases a script, its executives typically have certain actors and directors in mind.

50. Getting the Idea: TV Program Mr. Bean’s Holiday