Cross media production log

https://www.gq-magazine.co.uk/article/the-interceptor-bbc-the-interceptor-cast This article is a story on a crime drama, the interceptor. The article appeared on GQ magazine. I can take much of the content of this article to help draft my own main article for my magazine double spread feature of my production. I analysed the article thoroughly taking notes on all the different media language elements that the writer used to make the article interesting and for it to seem recognisable to repeat readers (by basing the article around an actor interview).

After researching many different front covers of magazines which feature an article on a crime drama, I have come to realise that the more conventional front image for a magazine consists of a two shot of two of the characters faces. It is used to portray the rivalry between the main characters in the program. 

Magazine double page spread conventions Headline: Usually at the top of the page and uses a different font and font size to all of the other writing on the page. Stand first: Used at the very start of the article and would be an introductory paragraph in a different font to the rest of the text Drop capital: First letter in the article is massive and drops down a few lines, it shows the reader where to start reading. Image: whamo photo covering roughly 2/3 rd ’s of one of the pages on the spread Quotes: A quote from one of the actors/centretopics of the article, highlighted and brought out by a different font and font colour, can be placed by the image Colour scheme: going to be similar to my colour pallet in my filmed production, will be clear throughout the front cover and page spread what my colour scheme will be. Subject name: Somewhere near the top there would be the name of the main image, for example in my one it would be ‘Tainted’ In massive writing...

After intensely researching the crime drama genre including its codes and conventions and its generic editing schemes, I feel a lot more competent in creating a crime drama of my own. Very generic conventions that I have implemented into my production include corruption, a senior cop with personal troubles and a Rookie cop. As well as this I have used a lot of narrative theory to help shape my characters in the production. The main being Propp’s character functions theory. Each of the characters in my production serve one or more of the named functions, for example Thomas Skinner takes on the role of the ‘False hero’ as well as the ‘helper’. I have also deeply analysed camera work through textual analysis of similar productions to mine such as David Fincher’s ‘Seven’ (1995) and the popular BBC crime drama ‘Happy Valley’.   In Seven, during the scenes with the two detectives and the criminal Jon Doh, lots of close ups of faces are used to create and aesthetic and gripping tensio...

After intensely researching the crime drama genre including its codes and conventions and its generic editing schemes, I feel a lot more competent in creating a crime drama of my own. Very generic conventions that I have implemented into my production include corruption, a senior cop with personal troubles and a Rookie cop. As well as this I have used a lot of narrative theory to help shape my characters in the production. The main being Propp’s character functions theory. Each of the characters in my production serve one or more of the named functions, for example Thomas Skinner takes on the role of the ‘False hero’ as well as the ‘helper’. I have also deeply analysed camera work through textual analysis of similar productions to mine such as David Fincher’s ‘Seven’ (1995) and the popular BBC crime drama ‘Happy Valley’.   In Seven, during the scenes with the two detectives and the criminal Jon Doh, lots of close ups of faces are used to create and aesthetic and gripping tension ...