For our AS and A2 course work we have researched into multiple media products as to influenced our own

We’ve looked at multiple opening sequences in AS and have carefully chosen features in terms of cinematography and mise-en-scene that are in synchrony with the conventions of the genre we’ve chosen.

For our AS Coursework my group designed a company logo that would come up in the beginning. We looked over multiple examples on the Internet. When we chose what we wanted we spend days on Youtube, looking at tutorials in Photoshop until we get the hang of working with photopshop.

As for the A2 Course work, our ideas were influenced by multiple trailers in terms of the narrative structure and genre they own and how is that relevant to our work.

We looked at posters and film magazine covers to get an image of how we’d like our marketing campaign to be presented. After we picked our designs, the creation process was a bit of a challenge in terms of using photoshop. It took us quite a while to get used to the program and manipulate the images the way we want them to look, but the final result taught us a lot in terms of skills.

Trough both years I have developed my research skills in terms of using the web and the photoshop, also my knowledge of film’s genre conventions has improved a great deal. This is very useful when it comes to evaluating my work and comparing my work to already existing media products. 

An explanation on the Five Narrative Codes of linguist Roland Barthes

The hermeneutic code (HER.) 

This type of narrative evolves around the hermeneutic code. A clear exmple would be the narrative structure of detective films . Tha audience witnesses a murder and the rest of the narrative is devoted to answering the questions that are raised by the initial scene of violence (why did it happen? who did it? would they get caught) . The detective (along with the audience) spends the story reading the clues that, only at the end, reconstructs the reason behind the murder. Star Trek is similar in using the hermeneutic code .

The proairetic code (ACT.)

This code applies to any action that implies a further narrative action. For example, a character pulls his gun out and the audience wonders what the resolution of this action will be. They wait to see if he kills his opponent or is wounded himself. Suspense is thus created by action rather than by a reader's or a viewer's wish to have mysteries explained.

The semantic code (SEM.) 

This code refers to connotation within the story that gives additional meaning over the basic denotative meaning of the word.

It is by the use of extended meaning that can be applied to words that authors can paint rich pictures with relatively limited text and the way they do this is a common indication of their writing skills. As with the use of mise-enscene in films to present a certain character in a certain way .

The Symbolic Code (SYM)

This is very similar to the Semantic Code, but acts at a wider level, organizing semantic meanings into broader and deeper sets of meaning.

This is typically done in the use of antithesis, where new meaning arises out of opposing and conflict ideas.

The Cultural Code (REF)

This code refers to anything that is founded on some kind of canonical works that cannot be challenged and is assumed to be a foundation for truth.

Typically this involves either science or religion, although other canons such as magical truths may be used in fantasy stories. The Gnomic Code is a cultural code that particularly refers to sayings, proverbs, clichés and other common meaning-giving word sets.