Wednesday, 11 March 2015

LO1: Task 3: Style & Content (All Examples)

Screenplay Abbreviations

N.I – No video support is shown and is read by the anchor/host (30 seconds long).

SILENT - presenters voice is linked to the visuals and is the only sound played.

NATSOT – presenters voice is linked to visuals and visuals have natural sound.

SOT – sound that is on a tape. Natural sounds to where the recordings took place.

V.O – a voice over; presenter narrating visuals.
 
Film Script (12 Years A Slave)

Style & Content

The style of the script is formal. There are clear instructions marked with use of clear and concise language. The majority of text is written in courier and justified left except the name and title which are indicated in capital letters and bold; this is so that it the text stands out from the rest to create a clear justification between sections. Descriptions are also featured in capital letters such as appearances for example "In attendance are EIGHT COUPLES." However these are not in bold unlike titles.

Given the setting of the film itself the dialogue is also quite formal and conversations flow smoothly having a parent to child mode of address. Below the dialogue are sometimes movements written for example "The children, now smiling as well...". Though these are only indicated by a break in paragraph rather than capital letters or any other definitive method.

Narrative Structure

The narrative structure is single stranded and linear. Having multiple characters and interaction but takes place from one point of view been our main character Soloman which is all shown within a chronological order making it linear.

Genre

The genre of the film is fictional, though is an adaptation of a series of memoirs so will contain true events, themes and settings as well as realistic characters and story. This also makes the audience feel more empathy for the character.

Target Audience 

The target audience  is aimed for an older audience that are interested in events of the past or more specifically the slave trade, or possible have a deeper connection towards this setting. 

The BBFC rated this film for 15+ years, this being a large audience this would be targeted towards most adults. This would also appeal to both genders, but since the main character is male this would probably be viewed mostly by a male audience. The audience would possibly take a keen interest in history and more specifically the 1800s and the slave trade. The audience would primarily fall under the demographic ABC1 been seen my mostly the upper and middle class that would have the spending power to view and take an interest within the film and the history of it.

Broadcast Script (Selma Fed. Records Fire)

Style & Content 

Like the film script the style of this script is very formal as it is a broadcast, this means its purpose its to inform so is written in clear cohesive language based around fitting in facts and has a teacher to pupil mode of address. The layout differs from the film script been written to fit around the different roles of the people within the broadcast. For example 

"Smith       Fire officials say the blaze that ravaged the federal records storage 

Studio - OC - Jacobs          Facility in Selma Valley is now under control".

This is structured having the person or instructions based on the left and the text/lines on the right having a spacing between it to clearly show the separation. As always the font is written in Courier; standard script font and is the voice overs are written in capital letters and justified left. Details such as video files are written in italics. Also features like this "============" are shown to clearly justify each section.

The scripts also features abbreviations such as VO to show that this is a voice over, making it easier to understand and follow so that all members of the production crew know what they have to do. For example this would be a note for the editors.

Running Order

The script starts with a introduction by Smith. There is then a cut to studio and a voice over with a video file playing. This is followed by a server video and audio is presented by a voice over. Finally it cuts back to studio.

This is a strict order that the broadcast must follow so that all the crew know how to operate. The order is a logical format that follows an introduction the content shown and then back to the beginning to show a clear structure to the audience. 

- Intro - Voice over
- Cut back to studio
- Voice over 
- Video file played
- Server video + Audio
- Cut back to studio 

Genre

The genre of the of this broadcast is non-fiction this is because this is news on real life events that are taking place around the world presenting facts to the public to inform them of current news, therefore all content must be non-fictional and unbiased.

Target Audience 

The target audience  is aimed for an older audience that are interested in current news and events though this can be viewed by anyone, since the broadcast can often feature content that may be unsuitable for a younger audience. This is because  ages would be ages 12 + being a large audience this would be targeted mostly towards most adults.

This would also appeal to both genders, all ages and all type of people. Though would take a keen interest in the news and current events, the audience may take an interest in politics and aspire to have a job within that sector so takes an interest in current news. The audience would primarily fall under the demographic ABC1 but could also feature C2 and others depending on the audiences active interest within the news, though it is likelier this would be received by a ABC1.


Radio Drama (It's A Wonderful Life)

Style & Content

This script is also written formally, all instructions are shown and written logically and as always is written in courier font and justified left, dialogue is 'Justified Centre'. Details such as the act, role and instructions are written in capital letters and come first on a new line. The script is written in parent to child mode of address been informative. For example: "When the Superintendent and Clarence are speaking in Heaven, their voices will have a reverb applied throughout. When Clarence is on Earth, he will be “dry.” Details like when a track is played are marked through these symbols []. For example: [MUS-03].

Narrative Structure

The narrative structure is multi-stranded and linear. Having multiple characters speaking within the broadcast at different points, this is all shown within a chronological order so that it is a clear and logical layout making it linear.

Genre

The genre of the of this script is fiction this is because this is radio drama written for the purpose of entertainment and features fictional elements such as angels and heaven. "Are you really sending me down to Earth?"

Target Audience

The target audience  is aimed for at all ages this is because this is a fictional story that that presents morals that can be seen as an almost an educational story for younger audiences because of this the age would be from 7 - 40 years old being a large audience this would be targeted mostly towards the younger half.

This would also appeal to both genders, but mainly for 12 + as this would be easier to understand for this age group. Though would take a interest fictional stories and possibly in some eyes older stories. The audience could also be people who like the 1946 movie and wish to view this as an adaptation. The audience would primarily fall under the demographic ABC1, this would be received by a more educated type of audience who take an active interest within such stories and the aforementioned reasons.

Computer Game (Resident Evil 5)

Style & Content

This script unlike all the other examples is incredibly informal and written in a peer to peer mode of address for example: "Here be spoilers! If you don't want everything to be completely spoiled, DO NOT READ ANY FURTHER! You've been warned.". The style also differs a lot from previous example featuring a table of contents and chapters justified by a hash-tag (#). Segments are separate by the "========" just like in the broadcast script though is more frequently used in this script. Though like all other is written in courier font and justified left. Movements within the script are described within brackets such as "[]" and are very frequent often been used more than dialogue. Characters names are written in capital letters and sometimes titles are too. A flowchart would also be included with a script to show the alternative routes the player can take when playing the game, for example alternative endings based on the players action.

Narrative Structure

Since this is a video game and takes place from one characters perspective this is a single stranded structure and in this case is linear as it is shown in chronological order like all previous examples.

Genre

The genre of the of this script is fiction this is because this is video game written for the purpose of entertainment and features fictional elements such as bird women e.g. "[Game opens with BIRD LADY pacing in a dark room in front a kneeling man. This scene cuts back and forth with another of two jeeps driving along a road...".

Target Audience

The target audience for this game is 18+ featuring fictional creatures that are unsuitable for younger audiences and profanity. Though would be received by a audience of 18 -25 of primarily a male audience of BC1C2 demographic. The audience could also have a specific interest within the horror genre or the video game franchise itself. The PEGI rating for this game is also 18 +.

Interview Script (MTV)

Style & Content

The style of this script is formal featuring clear instructions and layouts though are very lacking in comparison to previous examples having no details camera movements, music or another details for production crew to see. This means the script is quite unsuitable and is more of a outline of pure dialogue. Though like all examples is written in courier font but this time is centre justification. Names are written in capital letters as well as placed at the beginning of a line. The instructions at the beginning of the script are formal been clear and concise been written in a teacher to pupil like mode of address.

Narrative Structure

The narrative structure is linear featuring conversation between two people of equal amounts in a linear format been chronological.

Genre

Like a TV Broadcast the genre of the of this script is non-fiction this is because this is news on real life people that exist in the real world presenting in some cases facts to the public to inform them about the interviewee therefore all content must be non-fictional and unbiased.

Target Audience

The target audience  is aimed for a younger audience that are interested in music and celebrities as this is the sort of channel that MTV presents itself as and will be informal and will be spoken in a peer to peer mode of address. Therefore the audience would be mostly teenage having an age range of 13 - 25 years old 

This would also appeal to both genders and mostly towards those with a keen interest for celebrities, TV and music. This would be received by a demographic or roughly BC1 and possibly C2 and lower in some cases depending on the interest of the viewer.

Tuesday, 10 March 2015

LO1: Task 2: Example Of A Interview Script (MTV)

Slideshare (2015) 'Script for tv interview' at: http://www.slideshare.net/ramsz001/script-for-tv-interview [accessed 10/3/15]

  • 1. Script for TV Interview INT: 

  • STUDIO: The studio is set out with arm chairs for the presenter on the right and then there are seats for the actresses, write of the book and director on the left. Around the studio there are film posters which will be promoting the movie. There is a television set up in between the presenter and cast and crew of the movie to show the trailer. 

  • PRESENTER:Hey this is Laura and this is MTV, today I am interviewing the cast and crew of brand new movie ‘Frenemies’. (everyone claps) 

  • PRESENTER: So Yusra you are the writer of the storyline, what inspired you to write this story? 

  • YUSRA: Well… whilst I was at school there were two girls who hated each other and werealways at each others throats and as we grew up it got worse so I decided to base the storyline on that. 

  • PRESENTER: Wow sounds like your school life was eventful! (laughs). Mary how did you come to auditioning for the part in this movie? MARY:Well.. this is the first time that I have ever been in a Hollywood movie and its been agreat experience and it’s a different lifestyle compared to what I am used to so I am not used to it. I started off doing a little bit of acting as an extra and haven’t hadmany big parts but my agent recommended it to me so I thought, well I might as well give it a go? 

  • PRESENTER: That sounds great, seems like you have come along way since you have started!Vanessa, we have seen you in a couple of movies before and you have done a brilliant job! How did you find out about this movie? 

  • VANESSA:Well my agent rang me up and told me all about the movie and it sounded great andlike it was my type of film so I decided that I should give it a go and it all went well from there onwards really! 

  • PRESENTER: Zoe, you’re the director of this film, what made you want to direct the movie?

  • 2. ZOE: Well I had seen the book in a shop and I read the back and looked like a really goodread so I decided to buy it, I flew through it because I was hooked from the start! So I decided to do a bit of research on the book and read that they wanted to make it a movie so I rang the number advertised and it all went from there. PRESENTER: Ahhh… okay lets watch the trailer for your masterpiece…. (shows the film trailer) PRESENTER:It looks amazing, I think that’s one of the films I want to be watching when it comes out in cinema! Mary and Vanessa do you get on with each other off set? 

  • MARY:Yeah we do, we go shopping and go out just like any other normal people would, we get on really well. 

  • VANESSA:Yeah we have become so close after the past year and a half and we just hang out likenormal people! We go shopping, go to the cinema its great having something to do in our spare time. 

  • PRESENTER: How are you going to be advertising this movie? 

  • ZOE: Well obviously there is the film trailer which we have just watched and there is the movie poster too! We have also been doing premieres in big cities across the world such as London, Paris, New York, LA, Sydney, Toronto and many more! Everyone has been extremely supportive and we are very greatful. 

  • PRESENTER: Mary and Vanessa, did you enjoy filming this movie together? 

  • VANESSA: Yes I have never laughed so many times in my life in such a short period of time. Mary would always forget her lines and muck silly little things up (laughs). MARY: Hey! I wasn’t that bad! (laughs) I guess I can be quite forgetful at times though… 

  • PRESENTER: So Yusra, how do you think the people who have read the book will react to the movie? 

  • YUSRA:I think some of them will probably be a bit shocked as the book as been out for about a year already, but this film is amazing and everyone should definitely watch it.

  • 3. PRESENTER:So I have heard that the movie has been nominated for 6 Oscars, you must all be so proud? ZOE:Yes we are so grateful for all the fans who have watched it! We have worked so hard to get this far and we don’t want to let anyone down. 

  • PRESENTER:So finally we are coming to the end of our interview and the question that’s going to be on everybody’s mind… when will the movie be released? 

  • VANESSA AND MARY: The film will be released on the 23rd September 2011 so not much longer to go now guys! 

  • PRESENTER: Well we really appreciate you coming on the show and we are sure the movie will be a huge success! Give it up for the cast and crew of brand new movie out next week, ‘FRENEMIES’ 

  • EVERYONE: Thank you for inviting us on to the show, it has been amazing! 

LO1: Task 2: Example Of A Computer Game Script (Resident Evil 5)

GameFAQs (2015) 'Resident Evil 5' at: http://www.gamefaqs.com/xbox360/929197-resident-evil-5/faqs/56254 [accessed 10/3/15]

RESIDENT EVIL 5
Game Script
Copyright bibliomaniac15 2009
Version 1.52

---------------

Author's Note: This is a game script of Resident Evil 5. I have sought to 
include as much dialogue and description of the action as possible. Some of the
dialogue that has not been directly written in text has been included anyway.
I have not included Swahili dialogue because I do not speak Swahili. If anyone 
around here does, I'd appreciate a translation so I can fill in some of the 
gaps. I have also not included the utterances of the Majini, which are variable
between each playthrough. I may compile their most common sayings later, but 
they are not important to the main script. I have also not included files in 
the game, because they are out of the purview of this script.

This is not an exact facsimile of the game dialogue; I have taken some 
liberties with the original spelling and punctuation, and with some of the 
gameplay events, especially in the boss fights. These decisions are purely 
editorial and do not detract in any way from an accurate portrayal of the 
game's dialogue and events.

To those who are sensitive to such things, there are numerous instances of 
cursing in this game. However, I have not censored these to remain faithful to
the game. If you are easily offended by profanity, I suggest you not read this,
or read at your own risk.

Throughout this script I use brackets [] to denote action going on, parentheses
() to denote action happening during dialogue, braces {} to denote when 
gameplay or cutscenes are happening, and four equal signs ==== to denote the 
beginning of a new chapter. The names of important characters and enemies have 
been put into ALL CAPS for easier reference.

If you'd like to find a specific chapter in the script, just press Control+F in
Mozilla to bring up the "Find" menu, and type the chapter or cutscene, number or
name to get to where you want to go.

Here be spoilers! If you don't want everything to be completely spoiled, DO
NOT READ ANY FURTHER! You've been warned.

---------------

Table of Contents:

Chapter 1-1: Civilian Checkpoint
     #01: Welcome to Africa
     #02: Magic Act
     #03: The Butcher, Part 1
     #04: The Butcher, Part 2
     #05: First Encounter
     #06: Hospitality
     #07: Guardian Angel    
Chapter 1-2: Public Assembly
     #08: A Cry for Help
     #09: Damsel in Distress
     #10: A Piece of the Puzzle
     #11: Unidentified Threat
     #12: The Storage Facility
Chapter 2-1: Storage Facility
     #13: The Chainsaw Majini
     #14: To the Crash Site!
     #15: Rendezvous
Chapter 2-2: Train Station
     #16: Irving's Great Escape
     #17: Terror from Above
     #18: Roll Out!
Chapter 2-3: Savannah
     #19: Shaking Off the Majini
     #20: Grand Resurgence
     #21: Delta Team's Distress
     #22: The Wetlands
Chapter 3-1: Marshlands
     #23: Shadows of the Past
Chapter 3-2: Execution Ground
     #24: Josh to the Rescue
     #25: Splitting Up
     #26: Irving's Web
     #27: The Oil Field Aflame
Chapter 3-3: Oil Field - Drilling Facilities
     #28: Boat Majini Appear
     #29: The Patrol Boat
     #30: A New Clue
Chapter 4-1: Caves
     #31: The Docks
     #32: The Bridge Collapses
     #33: Wesker's Return
Chapter 4-2: Worship Area
     #34: Underground Garden
Chapter 5-1: Underground Garden
     #35: Experimental Facility
     #36: U-8 Attacks
     #37: U-8 Repelled
Chapter 5-2: Experimental Facility
     #38: Monitored Communications
     #39: Uroboros
Chapter 5-3: Uroboros Research Facility
     #40: Two on Two
     #41: Old Friends, New Enemies
     #42: Favor for a Friend
     #43: The Tanker
Chapter 6-1: Ship Deck
     #44: Medicine
     #45: Dreams of a Madman
Chapter 6-2: Main Deck
     #46: A New Nightmare Begins
Chapter 6-3: Bridge Deck
     #47: A Message from Jill
     #48: Rematch                                           
     #49: Wesker's Vulnerability                            
     #50: Sky-high Skirmish                                 
     #51: The Final Curtain                                 
     #52: The Fall of Wesker                                
     #53: Homeward Bound!  


====Chapter 1-1: Civilian Checkpoint====

{CUTSCENE #01 -- Welcome to Africa}

[Game opens with BIRD LADY pacing in a dark room in front a kneeling man. 
This scene cuts back and forth with another of two jeeps driving along a road.
The man, kneeling, suddenly grabs hold of BIRD LADY's hand. He is in great 
pain. His eyes slowly turn black. The scene cuts to the jeeps again, which have
now stopped. Several soldiers get out of the jeeps.]

SOLDIER: Move! Move!

[Scene cuts to BIRD LADY shrugging off the man's grasp. She turns away as 
numerous black leeches emerge from the man's body. Scene cuts back to the 
soldiers. One of the soldiers, CAPTAIN DECHANT, speaks through a 
walkie-talkie.]

CAPTAIN DECHANT: Captain DeChant here. We've secured the underground route 
to the coordinates. 

[Two soldiers pull a large door shut. Scene changes to that of a lone 
jeep travelling down a dusty road in the African savanna. The camera comes 
closer, and we see that CHRIS REDFIELD is driving it.]

CHRIS REDFIELD (voiceover): I should have seen it coming. It didn't take long 
after the fall of the Umbrella Corporation for their bio-weapons to end up 
in the hands of terrorists. 

[The jeep makes its way to a shanty town, where we see several shots of the 
village as the jeep drives through.]

CHRIS (voiceover): A new era of bio-terrorism descended upon vulnerable 
countries, shifting the balance of power throughout the region. People in the
destabilized areas soon feared another incident like Raccoon City was 
inevitable. As panic spread, governments of the world turned to the Global 
Pharmaceutical Consortium, which formed the anti-terrorism unit BSAA. 
Operatives of the BSAA were sent to infiltrate and neutralize bioweapon 
hotspots, restoring safety and stability to various regions around the globe. 

[CHRIS has gotten out of his car and is getting something from the back 
seat when an African woman, SHEVA ALOMAR, walks up to him.]

SHEVA ALOMAR: Welcome to Africa. My name is Sheva Alomar.

CHRIS: Chris Redfield.

SHEVA: Your reputation proceeds you, Mr. Redfield. It's an honor.

CHRIS: Just Chris, thanks. So will you be accompanying me to the destination?

SHEVA: Yes. Tensions are running high ever since the change in government.

CHRIS: I'll bet. Intel says it's a haven for terrorists now.

SHEVA: And they're not going to be happy to see an American, BSAA or not. 
That's why I'm your partner; help put them at ease.

CHRIS: I'm sure you'll do just fine.

[SHEVA turns around and walks away.]

CHRIS (talks to himself): Partner...

[In a short flashback, we see the grave of his former partner, JILL VALENTINE,
who died two years ago. SHEVA turns around and notices that CHRIS is looking 
rather dazed.]

SHEVA: You okay?

CHRIS: Yeah, sorry...It's nothing. Let's go.

[SHEVA and CHRIS walk to the village gates.]

CHRIS (voiceover): Casualties continue to mount over the long years I've 
struggled. More and more I find myself wondering if it's all worth fighting 
for. Maybe one day I'll find out.

[As the two approach the gate, a GUARD comes by to block the way.]

GUARD: Hey! Hey! [Speaks African language]

[The two stop in front of him, and suddenly the GUARD runs his hands 
all over SHEVA's body. She pushes his groping hands away.]

SHEVA: You don't have to get touchy!

[SHEVA hands the guard some money, who lets them pass.]

SHEVA (to Chris): Let's go.

CHRIS (voiceover): There is one thing I do know. I have a job to do, and I'm 
going to see it through.

{GAMEPLAY}

KIRK MATHISON (over radio): This is Kirk. Chris, Sheva, can you read me?

CHRIS: Chris here. Coming in, loud and clear, Kirk.

SHEVA: Yes, we read you.

KIRK: There's a black market weapons deal going down in Kijuju. That's where 
Irving will be. Alpha Team has already infiltrated the area and you will be 
going in as backup. Rendezvous with your contact at the butcher's shop. You 
can gear up and get briefed on the mission there. Watch your backs!

CHRIS: Roger that.

SHEVA: Copy. OVer and out.

[A vicious beating is going on as the dialogue goes on. The villagers stop as 
CHRIS and SHEVA come closer.]

{CUTSCENE #02 -- Magic Act}

[CHRIS and SHEVA make their way to a decrepit building called the "Corner 
Pyany Butchery." In the distance a radio babbles on frantically. CHRIS and 
SHEVA realize that the village has suddenly been deserted.]

{GAMEPLAY}

[CHRIS and SHEVA make their way to the butchery. They open the door to see 
their contact, REYNARD FISHER, inside.]

{CUTSCENE #03 -- The Butcher, Part 1}

FISHER: Good. You're both here. Come.

[He opens a door to the slaughterhouse.]

FISHER: You two. This way. It may be because of the new government, but people
around here are a little on edge. You should do what you came to do and go 
home.

CHRIS: Yeah, they really roll out the red carpet for us Americans.

FISHER: I have your weapons for you here. Check them.

[He motions towards a box.]

{GAMEPLAY}

FISHER: Grab your weapons. The operation's already started.

[CHRIS opens the box to find a Beretta M92F.]

{CUTSCENE #04 -- The Butcher, Part 2}

[The two have just finished gearing up. SHEVA finishes field-stripping 
her pistol, then turns to talk to Fisher.]

SHEVA: Destination coordinates?

FISHER: Town square up ahead. Go through there, Alpha Team's waiting at the 
deal location.

SHEVA: Good.

FISHER: What do you know about Uroboros?

CHRIS: Mostly just rumors...something about a doomsday project.

FISHER: Doomsday sounds about right, and apparently it is no rumor.

SHEVA: You're kidding, right?

FISHER: You must find a man named Irving, he's our only lead.

[He turns around and walks away, but then stops to give some advice before 
leaving the butchery.]

FISHER: And be careful out there.

{GAMEPLAY}

[CHRIS and Sheva explore the butchery together.]

CHRIS: Remember, we're a team. Whatever happens, we stick together.

SHEVA: Don't worry, I may not be as big as you, but I can still hold my own.

{CUTSCENE}

[A dead cow lies in the sun, a stake stuck through its body. Several monstrous
crows are around the body.]

{GAMEPLAY}

[CHRIS and SHEVA note that the cow is still warm. Heading into the room near 
the carcass, they see several skulls piled on a shelf. Opening the door to the 
next room, they see another mutilated animal carcass. They make their way to a 
green door.]

{CUTSCENE #05 -- First Encounter}

[CHRIS and SHEVA open the door, pistols ready. They see two men holding down 
another man. One of the assailants holds a squirming ball of tentacles, a 
Plaga parasite. Pulling open the man's jaw, he forces the thing into his 
mouth.]

CHRIS: Freeze!

[The assailant retracts an odd mandible back into his mouth, looking at the 
BSAA agents and then fleeing the scene with his accomplice. The attacked man 
gets on his knees, vomiting.]

CHRIS: Are you okay?

[CHRIS puts an arm on the man's shoulder but is violently repulsed. The man 
clutches at his throat and face, then stares up to the sky, his eyes filling 
with blood. Slowly he gets to his feet, wobbly. Suddenly, he turns around and 
runs towards the agents, intent on attack.]

{GAMEPLAY}

[CHRIS and SHEVA kill the Majini.]

SHEVA: What the hell just happened?

CHRIS: They didn't act like any zombies I've ever seen.

[CHRIS and SHEVA jump out of a window onto the ground below.]

{CUTSCENE}

[All of a sudden, Majini come out of nowhere, climbing over the chain-link 
fences, bent on attack.]

{GAMEPLAY}

[CHRIS and SHEVA run down an alley and into a building.]

{CUTSCENE}

[CHRIS slamS the door shut and bars it.]

{GAMEPLAY}

CHRIS: Kirk, come in. The locals were hostile and we had to use force. We 
don't have any contingency plans for this situation, do we, Kirk?

KIRK: Roger on the locals. But your orders still stand.

SHEVA: What does that mean? Was HG expecting this?

[CHRIS and SHEVA cooperate to kick down a metal door. This building has a 
cutting board with a large brain on it, among other scenes of carnage. They 
go through an underground passage way, heading to the objective point.]

{CUTSCENE #06 -- Hospitality}

[CHRIS and SHEVA enter the building, pistols raised, to find no one inside. 
Looking out the window though, they see a large angry mob being stirred up by 
a sunglasses-wearing man carrying a megaphone. To the surprise of CHRIS and 
SHEVA, FISHER is there, being held down by several majini.]

FISHER: You don't know what you're talking about! You can all go to hell!

SHEVA: Wait a minute! That's the-- 

[Chris stops her from stepping forward to help. They see the EXECUTIONER, 
a giant man who wears a burlap sack over his head and wields an axe the size 
of a small car. The EXECUTIONER chops off FISHER's head, much to the delight 
of the Majini mob. As the Majini with the megaphone turns his head to face the 
crowd, he catches sight of CHRIS and SHEVA through the window and orders the 
Majini to attack them.]

{GAMEPLAY}

[CHRIS and SHEVA push several bookshelves to barricade the windows, but the 
sheer number of Majini break through the bookshelves as well as the door.]

CHRIS: Kirk! Come in! The locals are hostile! The gate is sealed, and we're 
trapped. We need backup, and we need it right now!

KIRK: Roger that. Just sit tight. I'm on my way!

CHRIS: You here that Sheva? Help is on the way!

SHEVA: Got it! I just hope he gets here quick!

{CUTSCENE}

[Several Majini break through the roof, to make matters worse.]

{GAMEPLAY}

[As the fighting continues in the building, the EXECUTIONER uses his giant axe 
to smash a hole in the wall and join in on the fight. CHRIS and SHEVA head 
outside to increase their chances of survival.]

SHEVA: There's just no end to them!

CHRIS: We have to hold out until Kirk gets here.

[Fighting continues through the main street and the roofs and second floors 
of the buildings.]

KIRK: Chris, Sheva. How you holding up? I'll be there shortly, just hang in 
there!

[Fighting continues. CHRIS and SHEVA manage to defeat the EXECUTIONER.]

KIRK: Sorry to keep you waiting. I'm going to take out the door. Find some 
cover!

{CUTSCENE #07 -- Guardian Angel}

[A helicopter flies overhead, piloted by KIRK.]

KIRK: Take cover!

[CHRIS and SHEVA quickly take cover. The soldier in the helicopter readies 
an RPG and blasts the gate open, taking down several Majini in the blast as 
well and ending the chapter.]

LO1: Task 2: Example Of A Radio Drama Script (It's A Wonderful Life)

blackd.yolasite.com (2015) 'It's A Wonder Life' at: http://blanckd.yolasite.com/resources/Script%20For%20Set%20Design%20Project.pdf [accessed 10/3/15]


-- ACT ONE --

1. MUSIC: [MUS-02] (BED) “WONDERFUL THEME”--SEGUES TO “HEAVENLY”

2* ANNOUNCER: [CUE] This is the story of George Bailey--an

ordinary man who lives in Bedford Falls, New
York. But George Bailey--more than anything--
wanted to see the world--the exciting world
that lay somewhere beyond his home town.
George had big dreams. But also big
responsibilities. Of course, sometimes the
two don’t exactly fit together. Sometimes
happiness is not over the rainbow, but right
under your nose.
However, our story doesn’t begin in Bedford
Falls. In fact, it doesn't begin anywhere in
this world...

3. MUSIC: [MUS-03] MUSIC CROSSFADES TO “HEAVENLY”

4. ANNOUNCER: ...It begins... in Heaven..., where the
Superintendent of Angels is briefing an
apprentice angel named Clarence...

5. MUSIC: “HEAVENLY”--FADES UNDER...

SCENE 1 - EXT. HEAVEN - DAY

(CLARENCE, SUPERINTENDENT)

ENGINEER’S NOTE:

When the Superintendent and Clarence are speaking in
Heaven, their voices will have a reverb applied
throughout. When Clarence is on Earth, he will be “dry.”

6. SFX: TINGLING “STARRY” WIND CHIMES--UNDER

7. CLARENCE: [REVERB] [CUE] Clarence Oddbody--angel,
second class--reporting for duty, your honor!
It’s a Wonderful Life! TRUNCATED SAMPLE SCRIPT 3.

1. SUPERINTENDENT: [REVERB] What? They sent me an Angel--second
class? You mean you haven’t earned your
wings... yet?

2. CLARENCE: Um... No, not yet. But I’m hoping this
mission will do the trick! Are you really
sending me down to Earth? Gosh! I haven’t
been to Earth since that time I got...

3. SUPERINTENDENT: [REVERB] Yes! You see, there's a man in
trouble down there.

4. CLARENCE: Good!

5. SUPERINTENDENT: No, bad, Clarence! At precisely ten fortyfive
P.M.--Earth time--a man named George
Bailey will be thinking about ending his
life.

6. CLARENCE: Oh, my! Ending his life? Well, I know that’s
bad!

7. SUPERINTENDENT: Good, Clarence! I’m glad you understand. So,
you must stop him--if you can. Now... let me
brief you about George Bailey's case history.
You see, when George was a boy...

8. CLARENCE: Oh, that’s okay, your honor. All I need is a
plan!

9. SUPERINTENDENT: A... “plan?”

10. CLARENCE: Y’see, your honor. I’m reading "The
Adventures of Tom Sawyer." Mark Twain.

11. SUPERINTENDENT: Yes, I’m familiar with the book.

12. CLARENCE: Well, Tom Sawyer always has a plan.

LO1: Task 2: Example Of A TV News Broadcast Script (Selma Fed. Records Fire)



CyberCollege (2015) 'Sample TV News Script' at: http://www.cybercollege.com/fire.htm [accessed 10/3/15]

.11 PM News - 04/04/2012 Writer: P. Smith
Studio - OC - Jacobs

VO - server video:fedfire.01,
Server - video+
audio (file:fedfire.07)
  


Studio - OC - Jacobs


Selma Fed. Records Fire- page 1 of 2   (17)
  
FIRE OFFICIALS SAY THE BLAZE THAT RAVAGED THE FEDERAL RECORDS STORAGE FACILITY IN SELMA VALLEY IS NOW UNDER CONTROL.
MORE THAN 40 FIRE FIGHTERS BATTLED THE FLAMES THAT ERUPTED LATE WEDNESDAY NIGHT. TV-3'S JOHN JACOBS ASKED FIRE FIGHTER JENNIFER CARRY IF THE BLAZE MAY HAVE BEEN THE WORK OF AN ARSONIST. 
=============
SERVER SEGMENT: 1:12
((In cue: "Well, it's a bit too early to tell yet, but there seems to be...))

((Out cue: "..and so as fire fighter Jennifer Carry says, it's really too early to tell about arson. This is John Jacobs for TV-3"))
==============
BECAUSE THE FIRE INVOLVED FEDERAL RECORDS , THE F-B-I HAS BEEN CALLED IN TO INVESTIGATE. EARLIER THIS AFTERNOON TV-3'S SANDRA PARKS ASKED BUREAU CHIEF TIM RAY ABOUT THE F-B-I'S INVOLVEMENT.
===============

((Continued))

LO1: Task 2: Example Of A Film Script (12 Years A Slave)

IMSDb (2015) '12-Years-a-Slave' at: http://www.imsdb.com/scripts/12-Years-a-Slave.html [accessed 10/3/15]

                             12 YEARS A SLAVE




                               Written by

                              John Ridley




                              CARD: 1841

                               FADE IN:

                         

          1 INT. TOWNHOUSE/STUDY - DAY 1


           -EARLY APRIL, 1841-
           We are close on a PAIR OF BLACK HANDS as they open A

           FINELY WRAPPED PACKET OF VIOLIN STRINGS.

           WE CUT TO the hands stringing a VIOLIN. It's not a high
           end piece, but it is quite nice.

           WE CUT TO a wide shot of the study. Sitting in a chair
           with violin in hand is SOLOMON NORTHUP; a man in his late
           twenties. Everything about Solomon, his mien and manner,
           is distinguished. But he, too, seems a hardy individual.
           Someone who has known manual labor in his time.

           Solomon begins to lightly play his violin, as if testing
           the strings, their tuning. Satisfied, Solomon begins to
           play vigorously. As he does, we make a HARD CUT TO:

                         


           INT. HOUSE/LIVING ROOM - EVENING

           We come in on a lively affair. A dinner party is being
           thrown within the confines of a fairly stately house. In
           attendance are EIGHT COUPLES. All are WHITE and all are
           FAIRLY YOUNG, in their early twenties. The men and women
           are dressed in very fine attire. We should get the sense
           that for the most part they are people of means.

           The furniture has been set aside in the living room. At
           the moment the couples are engaged in the dancing of a
           REEL.

           The music they are dancing to is being played by Solomon,
           having cut directly from the tune he was previously
           playing. He plays with a light determination, and in no
           way seems possessed with empty servitude.

           Solomon concludes the reel, and the dancers break into
           enthusiastic applause, which is followed by personal
           thanks and congratulations from all. It should be clear
           that despite their respective races there is much
           admiration and appreciation for Solomon's abilities.

                         


           INT. NORTHUP HOUSE/BEDROOM - MORNING

           It is a Saturday morning. Clad in her finest attire is
           ANNE; Solomon's wife, a few years younger than he. We
           see also the Northup children: MARGARET who is eight, and
           ALONZO who is five. They are handsome, and well groomed
           kids. Anne straightens up the children. She finishes,

                         

                          (CONTINUED)

          2.

                         3 CONTINUED: 3
           she rises up and stands behind them, almost as if
           preparing to pose for a portrait.
           They all wait a moment, then Solomon enters the foyer.
           He stands and looks admiringly at his family. ADMIRINGLY
           stressed. It isn't that he doesn't have love for them,
           he does as well. But in the moment, he truly admires his
           greatest accomplishment: a family that is healthy and
           well and provided for. He goes to his children, and
           hands each a coin, then goes to Anne. Gives her a kiss
           on the cheek. The children giggle at the sight.

                         


           EXT. STREET - DAY

           Solomon and his family are out walking along the streets
           and groves of Saratoga.

           The streets are well populated this morning with many
           people out strolling. Most are WHITE, but there are
           BLACKS as well. They are FREED BLACKS who mingle fairly
           easily - though not always completely - with the whites.
           We see, too, a few BLACK SLAVES who travel with their
           WHITE MASTERS. These pairings are largely from the south
           and - despite the fact the blacks are slaves - they are
           not physically downtrodden, not field hands. They are
           well dressed and "leading apparently an easy life" -
           comparatively speaking - as they trail their masters.

           As they walk, Solomon and his family arrive to an
           intersection well-worn and muddied from horse and cart
           traffic. Solomon and his children easily jump across the
           muck. Anne stands at the lip of the puddle, calls for
           Solomon to help her across.

                          ANNE
           Solomon...
           Solomon, turning back to his wife with a broad smile
           waving her forward:

                          SOLOMON
           Come, Anne. Jump.

           The children, now smiling as well, egg their mother on.

                          ALONZO MARGARET
           Jump. You can make it. I've done it. You can make
           it.

                         

                          ANNE
           I will not ruin my dress. Catch
           me!

           Solomon moves close, holds out his arms. Yet, there's
           still just a bit of mischievousness in his eyes. Anne
           gives her husband a lightly stern look to which Solomon
           replies.

                         

                          (CONTINUED)

          3.


                          SOLOMON
           I will catch you, Anne.

                          (BEAT)
           I will.
           Again, lightly stern:

                          ANNE
           You will.

           And with that Anne takes the leap. Solomon catches her,
           swings her around grandly and sets her down lightly to
           the delighted applause of the children. That done,
           Solomon takes Anne's hand and leads her on.

           As Solomon and his family make their way, among the
           slaves on the street, we see one in particular; JASPER.
           As he trails his MASTER he can't help but note Solomon
           and his family as they enter A STORE. His intrigue of
           this most handsome and harmonious group should be
           obvious.

           With his Master occupied, Jasper moves slyly toward the
           STORE. Frozen on the spot, Jasper looks on admiringly.
           Suddenly a voice barks out-

           A VOICE (O.S.)
           Jasper! Come on!

                         

           INT. STORE - LATER

           We are inside the store of MR. CEPHAS PARKER; a white man
           and a supplier of general goods. Solomon greets him

                          WITH:

                          SOLOMON
           Mr. Parker.

                          PARKER
           Mr. Northup. Mrs. Northup.

           With money in hand the Northup children move quickly
           about the store looking for items to purchase.

                         

                          CONTINUED:


           Anne looks over some silks and fabrics. Parker suggests

                          TO SOLOMON:

                          PARKER (CONT'D)
           A new cravat, Solomon? Pure silk
           by way of the French.

                          SOLOMON
           We are in need of a fresh carry
           all for the Mrs's travels.

                          PARKER
           A year's passed? Off to Sandy
           Hill?

                          ANNE
           I am.
           Using a long pole, Mr. Parker fetches down a CARRY ALL
           from an upper shelf.

                          PARKER
           Something to suit your style, but
           sturdy enough for the forty miles
           round trip.
           Handing the Bag to Anne, she is immediately taken by it.

                          ANNE
           It's beautiful.

                          SOLOMON

                          (CAUTIOUSLY)
           At what price?

                          ANNE
           We will take it. Children, come
           see what your father has just
           purchased for me.
           As the children run over - chattering excitedly about the
           new gift - they RUN PAST JASPER who has quietly entered
           the store.
           At the checkout counter sits a portrait of WILLIAM HENRY
           HARRISON, the edges draped in black crepe. Before the
           book sits a LEDGER. Mr. Parker asks of Solomon:

                          PARKER
           If you would sign our condolence
           book. My hope is to find a way to
           forward it to the Widow Harrison.
           Sad days for the nation.

                          SOLOMON
           Yes, certainly. Poor Mrs. Harris
           and her children. I hope brighter
           times ahead.

                         

                          (CONTINUED)

          4A.

                         5 CONTINUED: (2) 5
           Jasper looks scared, timid. It's as though he'd like to
           engage, but is unsure of as to how. Noting Jasper, Parker

                          SAYS:

                          PARKER
           A moment, sir, and you will be
           assisted.

                          SOLOMON
           If we could discuss the price...

                         

                         

                         

                         

                          (CONTINUED)

          5.

                         5 CONTINUED: (3) 5

                          PARKER
           Forgive me, Mrs. Northup. A
           customer waits. Welcome, sir.
           To Jasper, with good nature:

                          SOLOMON
           Shop well, but mind your wallet.

                          PARKER
           Ignore the gentleman's nonsense.
           Now, may I interest you in a new
           cravat? Pure silk by way of the--
           Before Parker can finish, the door opens. It's Jasper's
           Master, FITZGERALD. He's stern, clearly displeased.

                          FITZGERALD
           Jasper!

                          (TO PARKER)
           My regrets for the intrusion.

                          SOLOMON
           No intrusion.
           Fitzgerald looks to Solomon. It is a cold glare as
           though he wasn't speaking to, and has no interest in a
           response from a black man. Looking back to Parker:

                          FITZGERALD
           Good day, sir.

                         

                         6 6

           INT. NORTHUP HOUSE/DINING ROOM - EVENING

           Anne, busy in the kitchen, puts the final touches to the
           meal, which is just about to begin. Solomon, in the
           meanwhile, sits at the head of the table reading from a
           NEWSPAPER. He reads to his children solemn news of the
           funeral arrangements for the recently deceased President
           Harrison.

                          SOLOMON
           "Thus has passed away from earth
           our late President."
           Solomon starts from the top of the article.

                          SOLOMON (CONT'D)
           "During the morning, from sunrise,
           the heavy bells had been pealing
           forth their slow and solemn toll
           while the minute guns announced
           that soon the grave would receive
           its trust. Our city as well as
           our entire nation has been called
           to weep over the fall of a great
           and good man. One who was by the
           wishes of a large majority of our

                          (MORE) (CONTINUED)

          5A.

                         6 CONTINUED: 6

                          SOLOMON (CONT'D)
           people raised to fill the highest
           place of trust within their gift.
           William Henry Harrison."
           A long moment of quiet, the family continuing to eat.
           Then, from Margaret:

                          MARGARET
           Will you read it again?

                          ANNE
           Not just now, darling.
           Anne enters the dining room and places a large chicken at
           the center of the table. As she takes a seat, all heads
           are bowed.

                          MARGARET
           For food that stays our hunger,
           For rest that brings us ease,
           For homes where memories linger,
           We give our thanks for these.

                          ALL
           Amen.

                          SOLOMON
           Margaret, that was wonderful.

                          MARGARET
           Thank you, Papa.

                          SOLOMON
           Alonzo, do you have something to
           say?

                          ALONZO
           Yes, I helped Momma make this.

                          ANNE
           Yes, and you were such a good
           help. Especially making the gravy.

                          MARGARET
           Papa, I would very much like to
           learn how to play the violin.
           Could you teach me?

                          ALONZO
           Me too!

                          MARGARET
           Yes, but I asked Papa first.

                          SOLOMON
           Both of you, calm down. We will
           have our first lesson after this
           wonderful dinner. And on that
           note, let's start eating.

                          (CONTINUED)

          5B.

                         6 CONTINUED: (2) 6
           The family all tuck in to their meal. The scene is one of
           warmth and happiness.

Monday, 9 March 2015

LO1: Different Features Of A Script

LO1: Task 1/LO2: Task 1: Assignment Brief Scenario

My Assignment is:

To produce a script for the news section of The Games Corner to last 5 minutes. As part of Sheffield Live TV a subsidiary of Sheffield Live; a community radio station. The TV station was launched on 23rd September 2014.

My group consists of:

Oliver Hartley, Callam Fellows and Matt Poole

We will receive client feedback from:

Jasmine Sahu - Production Assistance 
Vicky Kilby - Presenter 

Deadline date:

27/3/15


What Is A Script?

A script is an outline of audio, visual and behavioural elements needed to tell a story. It can also be used as instructions. For example a News broadcast or a Flowchart for a Video Game. These are seen by the production crew known as a working script.

This will allow me to understand scripts and the part they play in media products.

All scripts are written in Courier size 12. This is a industry standard and universally accepted font used in all script.

Page of a script = 1 min of dialogue

Screenplays have character descriptions to

When a computer game script is produced a flow chart often accompanies it to demonstrate all the different possible routes, scenarios and options.

Presenters and characters would be set out like

A synopsis is also feature in gameplay because

Sound effects are presented as

Modes Of Address:

Peer To Peer = Informal, Chatty
Parent To Child = Informative, Advice, Guidance
Teacher To Pupil = Educate

Common narrative structures are