Regional identity question (Doc Martin)

Doc Martin Exam Question by Harry Pattison

Good example answer

What impact does media ownership have upon the range of products available to audiences in the media area you have studied?

Example answer:

All media is owned by a company or conglomerate, a media conglomerate is a multinational firm that distributes media products in the industry, six conglomerates hold 90% of what we read, listen to and watch therefore the public is easily manipulated without them knowing through the use of the hypodermic needle theory. Moreover these conglomerates tend to provide a variety of products to audiences to promote their brand or film through synergy. Walt Disney pioneered synergy; it is the promotion of a media product through numerous media platforms in the hope of attracting audiences, therefore making a large profit.

Big six companies such as Time Warner produce media to make a profit therefore they are given large sums of start-up capital and in return they expect large profits. With the large market share they have they can force their product onto audiences without they realising.

“The Hobbit Desolation of Smaug” was produced by Warner Brothers a subsidiary of Time Warner and is owned by Wingnut Films and Metro-Goldwyn-Mayer two giants in the media ownership market, therefore it was expected that their product would make a large profit ($735.4 million) with the pre-existing fan base from the previous Lord of The Rings Trilogy. “The Hobbit Desolation of Smaug” commits audiences to continue to watch the films as they have made it into a three part trilogy therefore making large profits and completing a successful synergistic production. Gratification Theory, realising that the audience is much more complex in modern times, the audience selects media products that best suits their needs and ambitions; “The Hobbit Desolation of Smaug” entices the audience as they too desire treks across ancient lands and battles with bloodthirsty orcs and enchanting elves. This captivation bodes well with Warner Brothers as with their games division they can produce videogames which further the experience viewers witness in cinemas.

On the other hand “12 Years A Slave,” produced by Fox Search Light, PlanB, River Roads Entertainment and Film4, does not have the funds that a Big 6 company would, it had $22 million to make the film, moreover it was originally made for a small film festival where viewers would pay to watch a screening of a film which they knew nothing about. Despite its content, the film's critical success has assisted its domestic distribution by Fox Searchlight that began with a limited released aimed primarily towards art house and African-American patrons. The film's release was slowly widened in subsequent weeks, similarly to how films such as Black Swan and The Descendants had done in previous years. In a clever marketing stunt the international release dates for 12 Years a Slave were largely delayed to early 2014 in order to take advantage of the attention created by awards seasons. This paid off as 12 Years made an astonishing $187.7 million at the box office. This is due to the actors and producers who evolved the production as Brad Pitt and Benedict Cumberbatch (actors) played key roles in advertising through the use of trailers therefore grasping the audience’s attention as they are ‘A listers.’ Furthermore the influence of Kanye West and Chris Rock proved imperative as 12 Years A Slave made it to the big screen eventually.

Big 6 companies tend to use over the line promotion stunts for example “The Hobbit Desolation of Smaug” released the trailers 3 month before the film was released therefore allowing fans to anticipate the release. Moreover a face book page was established allowing fans to communicate before the big release whilst adverts trolled the webpage promoting the film. The Cinema release promoted the film in 3D and widescreen HD creating an experience for cinema goers. Moreover using synergy to their advantage Time Warner made a deal with Lego allowing their characters to be present in the new release therefore the production was promoted and Lego receives greater revenue. Moreover synergy played a part in the production of a Lego Hobbit game. A tie in game was also made further promoting the film. As the Hobbit was originally a book the companies decided to renew the cover of the book and create an audiobook giving the rights to the audio book to ITunes and Amazon Prime. This creates problems such as Piracy as with media conglomerates they overprice products to create the greatest profits possible therefore hackers manage to publish online illegal versions of the film meaning revenue is lost by the larger companies. The producers decided to burn the tape to Blue Ray, Blue Ray 3D and then created a new cover once it received an Oscar.

On the other hand as 12 years a Slave had little range of products as it was originally a novel. This novel was reproduced after 12 Years won numerous awards, the book was branded with the same images as on the DvD’s which were distributed. Moreover with the new title the book was concentrated into an audiobook where the dates of the release of the film were imprinted on the title. This continued before the release of the film in national cinemas. Moreover the film was advertised online through social networks and in trailer form displaying sneak peeks and interviews with the characters. Therefore attracting fans. The film rights where given to Amazon Prime where piracy was a threat. Small figurines were released after the film’s success however its main products where the dvd with multiple covers after awards season and the audio book.

Audiences were given every opportunity to receive products from both cases, some other products from other productions such as Battle ship failed in the promotion with a tie in game however the small production costs and minimum advertising has worked in 12 years favour as it was promoted as a work of art rather than a multimillion explosive Peter Jackson production. Products attract audiences and small children however many people now see big 6 companies as producing media products for the sake of profit.

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Kill list research

Kill List (2011)-                                                                                        IMDb rating: 6.3

   

Produced by: Claire Jones and Andy Starke

 

 

Written by: Amy Jump, Ben Wheatley

Director: Ben Wheatley

 

Ben Wheatley (born 1972) is an English director of feature films, TV comedy shows, adverts and idents, animated shorts and internet viral ads.

 

Awards:

Austin Fantastic Fest 2009- won best film and British Independent Film Awards 2009- rain dance award

 

 

Budget: $800,000
Box Office: $462,206

Actors
Neil Maskell- Jay

MyAnna Buring- Shel

Harry Simpson- Sam

Michael Smiley- Gal

Emma Fryer- Fiona




Warp X- is a British film production company, sister to Warp Films based in Sheffield, UK with further offices in Nottingham and London. The company was founded in 2005 and produces feature films. It is a digital film studio that produces feature films in the UK with budgets usually between £400,000 and £800,000.The studio serves as a format for new film directors to create movies for the first time on a lower budget scale with less expectation for high box office revenues on their initial feature foray.The film studio began with support from organizations including Warp Films, Film Four, the UK Film Council, EM Media and Screen Yorkshire. The intent of the film studio's creation was to add energy and vitality to the film industry in Britain.- This company was the studio of production and distributor of the film. 

·         A Complete History of My Sexual Failures (2008)

·         Donkey Punch (2008)

·         Hush (2009)

·         Tyrannosaur (2011)

·         Studio Canal- a key element within Studiocanal, the pan European film, production and sales distribution arm of French media group, Canal+. 

·         Paddington 2 (2017) ... Distributor (2017) (UK) (theatrical)

·         From the Land of the Moon (2016) ... Distributor (2016) (UK) (theatrical)

·         Bastille Day (2016) ... Distributor (2015) (UK) (theatrical)

·         Robinson Crusoe (2016) ... Distributor (2016) (UK) (theatrical)

·         Free Fire (2016) ... Distributor (2015) (UK) (all media)

·         Gold (2016/I) ... Distributor (2016) (UK) (all media)

·         The Circle (2016) ... Distributor (2016) (UK) (theatrical)

·         High-Rise (2015) ... Distributor (2015) (UK) (theatrical)

·         Legend (2015/I) ... Distributor (2015) (UK) (theatrical)

 Film Yorkshire (Screen Yorkshire)- Following a major review of the film infrastructure in the United Kingdom during 2000, the UK Film Council set up nine Regional Screen Agencies, one in each regions of England, to deliver support for film-making, exhibition and related media activities. They have a complex role spanning cultural, economic and social objectives. To be effective, they have found it essential to engage actively with other regional partners and to involve stakeholders including local film and television producers, broadcasters, games developers, museums and other cultural organisations.Each agency has interpreted the brief from the UK Film Council in its own way. Typically, this focusses on the provision of operational activities such training schemes, administration of funding for activities such as film festivals and film education, and the operation of investment funds and local services designed to make a region an attractive place for film-makers to bring inward investment.

Film Four- is a British film production company owned by Channel Four Television Corporation. The company has been responsible for backing a large number of films made in the United Kingdom. 

·         High-Rise (2015) ... Production Company (financier)

·         Suffragette (2015) ... Production Company

·         Youth (2015/I) ... Production Company (in association with)

·         Carol (2015) ... Production Company

·         The Lobster (2015) ... Production Company (presents)

·         Slow West (2015) ... Production Company

·         Ex Machina (2015) ... Production Company

·         American Honey (2015) ... Production Company

UK Film Council-  a non-departmental public body set up in 2000 to develop and promote the film industry in the UK. It was constituted as a private company limited by guarantee, owned by the Secretary of State for Culture, Media and Sport, and governed by a board of 15 directors. It was funded from various sources including the National Lottery. John Woodward was the Chief Executive Officer of the UKFC. As at 30 June 2008, the company had 90 full-time members of staff. It distributed more than £160m of lottery money to over 900 films. Lord Puttnam described the Council as "a layer of strategic glue that's helped bind the many parts of our disparate industry together."

·         Rook Films-  small production company that produces vinyl, digital and posters of films to bring them promotion.  

Kill List - Original Soundtrack on very limited edition vinyl

Then do the same for the distributors:

·         Optimum Releasing (UK)- StudioCanal UK (formerly Optimum Releasing) is a film distributing company working in the United Kingdom and Ireland. The company releases many films, including foreign language films, anime releases such as Studio Ghibli's films, and independent British, Irish, and American films in the United Kingdom and sometimes Ireland. 

Optimum released over 200 films a year and were one of the most prominent distributors in the UK independent film and world cinema market, since the closure of Tartan Films in 2008. Kill List, The Guard, and a re-release of Whisky Galore! were the last titles released under the Optimum Releasing banner

In September 2011, the company was renamed StudioCanal UK. Tinker Tailor Soldier Spy, Tyrannosaur, Don't Be Afraid of the Dark, The Awakening, and W.E. were among the first films released under the new name.

·         IFC Midnight- IFC Films is an American film distribution company based in New York City, an offshoot of IFC owned by AMC Networks. It distributes independent films and documentaries under the IFC Films, Sundance Selects and IFC Midnight brands. It operates the IFC Center. 

·         Y Tu Mamá También (2001) — by Alfonso Cuarón

·         Casa de los Babys (2002) — by John Sayles

·         My Big Fat Greek Wedding (2002) — by Joel Zwick

·         Return of the Secaucus 7 (1980, restored 2002) — by John Sayles

·         XX/XY (2002) — by Austin Chick

Representation of class and status

Find two examples (a mixture of images and clips) from UK and US TV dramas for each of the following:

• Upper Class (rich/posh)
• Middle Class (neither rich nor poor/in the middle)
• Working Class (poor/common)

Add a brief justification for each choice.

Representations of the upper class and wealth

Neo-Marxists argue that mass media representations of social class tend to celebrate hierarchy and wealth. Those who benefit from these processes, i.e. the monarchy, the upper class and the very wealthy, generally receive a positive press as celebrities who are somehow deserving of their position. The British mass media hardly ever portray the upper classes in a critical light, nor do they often draw any serious attention to inequalities in wealth and pay or the overrepresentation of public-school products in positions of power.

Newman (2006) argues that the media focus very positively on the concerns of the wealthy and the privileged. He notes that the media over-focuses on consumer items such as luxury cars, costly holiday spots and fashion accessories that only the wealthy can afford. He also notes the enormous amount of print and broadcast media dedicated to daily business news and stock market quotations, despite the fact that few people in Britain own stocks and shares.

Representations of the middle classes
 

Four broad sociological observations can be made with regard to mass media
representations of the middle classes.

• The middle class are over-represented on TV dramas and situation comedies.
• Part of the British newspaper market is specifically aimed at the middle classes and their consumption, tastes and interests, e.g. the Daily Mail.
• The content of newspapers such as the Daily Mail suggests that journalists believe that the middle classes of middle England are generally anxious about the decline of moral standards in society and that they are proud of their British identity and heritage. It is assumed that their readership feels threatened by alien influences such as the Euro, asylum seekers and terrorism. Consequently, newspapers, such as the Daily Mail, often crusade on behalf of the middle classes and initiate moral panics on issues such as video nasties, paedophilia and asylum seekers.
• Most of the creative personnel in the media are themselves middle class. In news and current affairs, the middle classes dominate positions of authority – the ‘expert’ is invariably middle class

Representations of the working class

Newman argues that when news organisations focus on the working class, it is generally to label them as a problem, e.g. as welfare cheats, drug addicts or criminals. Working class groups, e.g. youth sub-cultures such as mods or skinheads, are often the subject of moral panics, whilst reporting of issues such as poverty, unemployment or single-parent families often suggests that personal inadequacy is the main cause of these social problems, rather than government policies or poor business practices. Studies of industrial relations reporting by the Glasgow University Media Group suggest that the media portray ‘unreasonable’ workers as making trouble for ‘reasonable’ employers.

Curran and Seaton (2003) note that newspapers aimed at working class audiences assume that they are uninterested in serious analysis of either the political or social organisation of British society. Political debate is often reduced simplistically to conflict between personalities. The content of newspapers such as The Sun and the Daily Star assumes that such audiences want to read about celebrity gossip and lifestyles, trivial human interest stories and sport.

Source: http://revisionworld.com/a2-level-level-revision/sociology/mass-media-0/age-social-class-ethnicity-gender-sexuality-disability

Examples of upper class and wealth:


Here is an example taken from the BBC show merlin. It shows the distinct difference in class between lower and upper. It does this as it conforms to the stereotype that all upper class citizens are uncompassionate and also ungrateful, this by showing Arthurs disgust at him being awarded a slave. Also this extract shows us that upper class people feel as if they are deserved of there position and are un equal, this through the fact that they see awarding someone for saving his sons life they let him be his slave to say a sort of thank you. This clip conforms to these stereotypes. 

Exam question ethnicity

Clip: http://www.bbc.co.uk/programmes/p00vd137





Discuss the ways in which the extract constructs the representation of ethnicity using the followers:




Camerawork is the area that I am focusing on when analysing the extract taking from the TV drama "Line of duty". This Drama is shown on the BBC.




The first scene in this extract is partaken in the office where it shows the lead character looking upon a screen in utter disbelief. An extreme close up is used in this scene. This creates the image of his disbelief showing his opened mouth which may suggest that he is completely lost for words. Also the way he looks upon the computer screen with pure astonishment. This shot is used by the director to make the audience on edge as they firstly do not understand why the character is so in awe at his screen. This extreme close up and throughout the office scene the camera is angled downwards. This is used to make the character look weaker in the scene to the audience. This is because it allows the audience to look down upon a certain character and feel above him. This may make suggestions that the black character is weaker within comparison to the white woman. This because whenever the white character is shown to the audience it is always at an eye level shot meaning that she is also confused and relatively neutral in the situation but still has more power than the black character. The fast paced slight zoom when looking at the computer screen is used by the director in order to build up the tension to the audience. And also to highlight a key part of information to give the audience knowledge on the topic and situation. A handled camera is used and is relatively shaky. This is used in order to reflect the black characters mental well being as he has suddenly become on edge and very erratic. During the conversation many different lengths and angle shots are used. This is used by the director to again create a greater tension and make the audience feel like something big is about to happen. A  long shot over the females shoulder is used to highlight the black character is walking away from her without fully answering her questions prior to their interaction. This may suggest that the black male character is superior to her in his field of work and he can treat her as she is beneath him, disregarding her opinions and leaving her questions unanswered. This is a countertype of the ethnicity. Consistently through the office scene the camera, which is handheld, follows the movements of the black character. This suggests that he is in control of the scene and may be the most important aspect when in relation to the narrative. They do this through crabbing left to right. This is also used to show fluency by the director throughout the scene.




The scene moves into the house. This is where the extract climax's to the audience as they're is a confrontation. The scene starts with a long establishing shot which highlights the woman lavish lifestyle. It also does this by using a shallow focus which focus's on the car and the background as the black character walks past. The director has done this to make the audience notice the anger within the black male character. A handheld camera is used throughout this scene yet again to create fluency within the extract and also to ramp up the tension and intensity. During the confrontation between the white woman and black male close ups are used to show the characters emotions as the narrative continues. Also the women is seen to keep trying to get too close to the male character suggesting a sexual relationship may have already or is in the process of forming between the characters. This matches the stereotype that all white woman are sexual deviants and will sell themselves to get what they want. This is backed up when he says to her "No you loved his money!".  Every time the black character looses his temper and his voice increases in volume the camera zooms in slightly further, this again to reflect the characters mental wellbeing. Eye level shots are used throughout to show that both characters are on par with each other when fighting to gain control of the scene. An extreme close up is used as the black male character pause's in his speech. The director has done this in order to show the character is thinking and he does this by highlighting his expressions. This in partner with eh pause in sound increases tension massively in the scene and keeps the audience on edge as they do not know what to expect from the character. This also puts the black character in power of the scene. The scene ends as it started again using a shallow focus to highlight the violent shutting of the door. This goes with the stereotype that black people have a short temper and prey on white women. This again to show the audience the tension in the scene and the mental state of the male character as he is the one in control of the scene.






Finally the last scene is taken place in the car. This scene is less intense when in comparison to the last and is relatively equal to the first scene. This again to show fluency in the extract. The scene begins with both characters in the car driving fast on the motorway as a medium shot shows this out of the window. And also focusing the camera on the black character who is shown to be driving, again in control. This may suggest that he is on edge about his decision to arrest the other character. A canted angle is used throughout the extract, this to look up at the black male and down at the white female. This is used by the director to suggest his morale correctness in his decisions. The shaky camera again reflecting on is uneasy mental state. It zooms finally at the end this time to highlight his emotion and his speech as he is saying "Don't talk about my kids" as if the woman as weakened him and made him feel weak, also maybe he sees mentioning them as taboo. Consistently throughout this scene the director has used the camera work to show the character looking away from the woman as if he is trying to forget about what he has done and maybe he feels a certain level of guilt and uneasiness. This goes against the stereotype that all black people are thuggish and feel no remorse when making mistakes.

British film industry

British Film Industry

Stereotypes of Disability in media

Dominant notions of disability: the individual model

The societal view of disability generally conforms to the individual or overcoming or medical model of disability. This holds that disability is inherent in the individual, whose responsibility it is to ‘overcome’ her or his ‘tragic’ disability.

Often this ‘overcoming’ is achieved through medical intervention, such as attempts at ‘cures’. For example, top wheelchair athlete Tanni Grey-Thompson was forced as a child to wear heavy leg callipers which gave her blisters, rather than being offered the simple and practical option of using a wheelchair.

This approach to disability aims for the normalisation of disabled people, often through the medicalization of their condition.

The social model of disability:

This distinguishes between impairment (the physical or mental 'problem') and disability (the way society views it as being a negative). It holds that impairments are not inherently disabling, but that disability is caused by society which fails to provide for people with impairments, and which puts obstacles in their way.

Examples include access: the built environment often does not allow access for people with mobility problems. Discriminatory attitudes are also disabling: for example, the idea that disability is a personal tragedy for the ‘sufferer’ impinges upon disabled people in a variety of negative ways, from their social relationships to their ability to get jobs.

"Disability is produced in different forms, and in different proportions, in different cultures" (Oliver, 1996).

Difference:

It has been argued that dominant notions of ‘normality’ and beauty do not allow for the natural range of difference in human form. These notions are not only prejudicial to the acceptance of disabled people, but also increasingly impact on non-disabled people. Charlotte Cooper, for example, applies the social model to obesity, and concludes that there are some important categories through which obesity can be defined as a disability:

• A slender body is ‘normal’

• Fatness is a deviation from the norm.

• Fat and disabled people share low social status.

• Fatness is medicalised (e.g. jaw-wiring and stomach-stapling).

• Fat people are blamed for their greed and lack of control over their bodies.

Consider why it is that fat people or disabled people are rarely portrayed as sexually attractive.

By portraying disabled characters according to stereotypes, the media are perpetuating (continuing) out-dated ideas about disability.  The media itself is arguably responsible for misconceptions about ability and disability, by regurgitating portrayals of disabled characters that fit stereotypical ideas about disability.  Paul Hunt, in his 1991 study states:

Stereotype assumptions about people with impairments are based on superstition, myths and beliefs from earlier less enlightened times. They are inherent to our culture and persist partly because they are constantly reproduced through the communications media; books, films, television, newspapers and advertising.


Shakespeare (1999) presents a potential reason behind the use of one of these stereotypes:


"The use of disability as character trait, plot device, or as atmosphere is a lazy short-cut. These representations are not accurate or fair reflections of the actual experience of disabled people. Such stereotypes reinforce negative attitudes towards disabled people, and ignorance about the nature of disability"

In other words, the disability itself is often used as a hook by writers and film-makers to draw audiences into the story. These one-dimensional stereotypes are often distanced from the audience - where characters are only viewed through their impairment, and not valued as people.

Shakespeare (1999) continues:

"Above all, the dominant images [of disabled people] are crude, one-dimensional and simplistic."

The stereotypes:

In his 1991 study, Paul Hunt found that there are 10 stereotypes of disabled people, used in the media:

1. The disabled person as pitiable or pathetic
2. An object of curiosity or violence
3. Sinister or evil
4. The super cripple
5. As atmosphere
6. Laughable
7. His/her own worst enemy
8. As a burden
9. As Non-sexual
10. Being unable to participate in daily life

Examples of the disabled areas that are stereotyped in TV:

here is an example of the sixth out of the 10 points because they consistently make jokes about a disabled character and how the fact that because he is disabled he wouldn't be able to climb a tree.
here is a clip from Narnia: Prince Caspian where in this fight scene numbers 2 and 5 are used as the smaller people are used commonly in medieval fight scenes to create atmosphere.
here is a scene from the film Dodgeball where number 4 is used as he uses a cloth to blind himself but wins and make the antagonist look laughable.
here is a clip taken from the film Kingsman, in this clip the antagonist, being played by Samuel L Jackson, has a speech impediment and kills one of the antagonists, meaning that this is an example of number 3.

Mad Max: Fury Road notes/research

• Producer (include green light)- Kennedy Miller Productions, Village Roadshow Pictures.
• Distributor- Alexandra Films, Cocinsa, Cuvision, Galaxy Studios, Golden Village Pictures, InterCom, NOS Audiovisuais, Roadshow Films, SF Films Finland, Svensk Filmindustri, Tanweer Alliances, Twentieth Century Fox, Warner Bros.
• Script Writer- George Miller, Brendan McCarthy, Nick Lathouris.
• Budget- $150,000,000 (estimated).
• Box Office Gross- $153.6M (US Box Office).
• Director- George Miller.
• Actors-
  Tom Hardy (Max Rockatansky)- His breakthrough was in Interception, playing Eames, director of the film was Christopher Nolen. Since that performance, he has been brought to attention of the mainstream audiences throughout the world. A versatile actor, Hardy has been working on both stage and screen since he made his debut in television in 2001, starring in Band Of Brothers.  Hardy was cast Black Dawn in that same year. A year later, he was villain Shinzon in Star Trek: Nemesis. Hardy went to drama schools to further improve his acting and also his looks were recognised from an early age as he won a modelling competition aged at only 21 years. He also had a short contract with Models One.
  One of Hardy's best performance came in the year of 2012, playing the villain Bane in 'The Dark Knight Rises' he got a lot of attention for his role as his mouth was non visible and so he did well to show his emotions whilst having the Bane mask on. Recently, he has been well credited for his double performance in Legend, playing both Kray twins. One of the most unique things about Hardy is his ability to change his voice, make his voice impressions sound realistic, and once again this is demonstrated in Mad Max: Fury Road.
  Charlize Theron (Imperator Furiosa)- South- African born, Theron wanted to leave as there wasn't much opportunity in South Africa for acting, her mother bought her a one way ticket to LA in 1994, she then started to go and visit on Hollywood Boulevard. She went to a bank to exchange a $500 cheque, only to then find out it was out of stake. She made a scene in the bank and then an agent came up to her and gave her his card, in exchange, she had to learn the language, which she did by watching soap operas.
  Since then, she has starred in movies such as 'The Italian Job', 'A Million Way To Die', 'Snow White And The Huntsman', 'Dark Places', 'Monster' and of course Mad Max: Fury Road, which is getting her a lot of attention because of how well she played the role of Furiosa.
  Nicholas Hoult (Nux)- Hoult has starred in films such as 'Clash Of The Titans', 'Dark Places', 'X-Men: Apocalypse', 'Jack The Giant Slayer', 'About A Boy', 'X-Men: First Class', 'X-Men: Days Of Future Past'. He is a great actor who has played various roles in all films getting him good recognition from the mainstream audiences.
  Hugh Keays Bryne (Immortan Joe)- Born in India, Hugh moved to Australia where he began his acting career. In Australia he is a well recognised theatre, TV and film actor. He became noticed from films such as 'Stone', 'Mad Dog Morgan', he became internationally known from his performance in Mad Max (1979) playing Toecutter.
  Rosie Huntington- Whiteley (Splendid)-  Modelling since 2003, Whiteley has been widely noticed for her looks, modelling for many clothiers such as Abercrombie& Fitch, Burberry, Bloomingdale's, Ralph Lauren, DKNY and Victoria's Secret. Her first film role was replaced Megan Fox in 'Transformers: Dark Of The Moon'.
  Zoe Kravitz (Toast The Knowing)- She has starred in films such as 'X-Men: Fits Class', 'Divergent', 'Dope', 'Good Kill' and a few more. She isn't highly recognised but is a good enough actor to play her role in Mad Max: Fury Road.
  Riley Keough (Capable)- Grandchild of the great Elvis Presley. Keough started modelling when she was a teenager. her acting debut came in 2010 in 'The Runaways' and she also starred in 'The Good Doctor', 'Jack& Diane' and she also was in Magic Mike (2012).
  Abbey Lee Kershaw (The Dag)- Mad Max: Fury Road is her first movie she has starred in.
  Courtney Eaton (Fragile)- previously starred in 'Up Close With Carrie Keagan and her latest film was Mad Max: Furry Road.
  Nathan Jones (Rictus Erectus)- Jones has been an actor for a number of years, including films such as 'Warrior Kings', 'Fearless' and many more. He also has a couple of movies that are in pre production that are due in the next few years.

• Marketing (Poster, Trailers, Adverts, Websites)- To advertise Mad Max: Fury Road, posters, adverts, trailers and websites were made to let people know worldwide that the movie was upcoming. Posters at/ on bus stops, billboards, busses were used. There was trailers and adverts on television, Youtube and social Media played also a big part to advertise the movie. An official website was also created. 
• Critical reception- 
  Metacritic- On Metacritic, all critic reviews gave the film a mark of 50 or over (out of 100), based on the Metascore, the film got 89/100 which is outstanding and it has certainly. The user score on Metacritic, the film got 8.7/10, which again is an outstanding rating for a film. 
  Rotten Tomatoes- On Rotten Tomatoes, critic reviews were fairly positive for the film, out of 303 reviews counted, the film averaged a rating of 8.7/10 which is extremely good. For the audience score, out of 108,991 reviews counted, the film got an average rating of 4.2/5 which again is an outstanding score to get.
  Rebooting such a successful film franchise was a big risk as they didn't know whether this film would be as successful as the previous three and i feel that, it was crucial for George Miller to make this movie as good as, if not better than the previous three. Miller has ensured, with this reboot that the franchise of Mad Max still has an extremely high status to all mainstream audiences.

• Awards the Australian film institute 2016, nominated this film for 6 awards (AACTA awards) including best lead actress, best film and best editing. At the Hollywood film awards, USA 2015 it won the make up of the year and production designer of the year. at the San Sebastian international film festival 2015 it also won the film of the year award. And finally at the Teen choice awards 2015 it has been nominated for the best sci-fi fantasy film and the scene stealer for Nicholas Hoult's role in the film.
• Technology: