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u/Ambitious_Impress418

▲ 6 r/SelfHate

i hate my life

yesterday i was at a friends house after school til 6 pm because my mom wasn’t out of work yet so i was waiting for her and when calls me and tells me she’s outside. I turned to my friend and i told her, “I don’t want to go home. Everytime at home, She finds a way to fight with me.”

I sat in the car and she said “imma buy the flan today” and i said “okay..when are we going to buy groceries” and she said “later because i don’t have money right now” and i just sat there not on my phone and she says “what do you want to eat?” and i said “nothing just buy the flan” and she keeps asking and i keep responding the same way because if you don’t fucjing have money WHY would i expect you to buy food when we can wait for you to get money.

And then she wanted me to make spaghetti for dinner and i said okay cause i like that food and then my sister got in the car and my mom asked if she was hungry and then my mom pulled into a McDonald’s and asked what we wanted and i said nothing i’ll make spaghetti and she got MAD and she said i was ungrateful and the bitch started HITTING ME over 5 times and she started hitting herself and the car and screaming about how i’m so ungrateful and that i don’t deserve anything and then she said “GET OUT” multiple times screaming from the top of her lungs and saying she wanted me out of her life because i make her life harder and she started saying how i make her and my sister miserable.

and then yesterday when i was crying in my room, my mom comes in and gives me a whole lecture and REPEATS everything she told me in the car and i don’t talk or look at her. She tells me that she didn’t mean what she said and that she does want me in her life but i know that’s not true cause this is the second time she says it. When i went to new york she told me that. Her exact words were, “When you turn 18 i don’t want to talk to you. So bad i won’t even meet my grandchildren” That was in december but it stuck it me.

i didn’t even get to eat dinner last night bro. She was consistently telling me about everything she does for me and how i love to act like the victim (if you saw my last post you would know that my parents got divorced about 9 months ago, both have new partners, my mom was pregnant but then miscarried, and my dad left to another country to avoid work and to be with another woman. He told my grandma he only needed to pay a couple months for child support for me—i’m 18 in october—and 2 years for my sister.) I’m just a teenager dealing with so much and i already have body issues and anxiety so adding this just makes me feel like shit.

I have decided to never open my mouth around her so she won’t say i’m giving attitude cause that’s all i do apparently. Guess what. that didn’t work either because this morning she tried to give me money for food today (i was laying in bed dressed for school but i was facing the wall) and i didn’t talk. I just told her uh uh and she said “you are still going with this bad attitude? i don’t deserve this from you.” and she continued until she left the room. I cried this morning at 6 am.

I don’t know what to do. of course my mom doesn’t everything for me, she won’t help me register to take the test for my license or let me ride a bike or bus anywhere. She won’t even let me get a job. And I live in a city where walking is just not an option. What can i do? I don’t have a bank account or a card so i don’t have a way to work online or something.

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u/Ambitious_Impress418 — 1 day ago
▲ 7 r/AICEC

hey guys so mu exam is tomorrow, can any of y'all tell me how it is?

These are my case studies. I dont know what to expect. Im nervous.

FEAR STREET PART TWO: 1978

(2021)

GENRE: Horror/ Mystery

AGE RATING (CERTIFICATION): R

DIRECTOR: Leigh Janiak

DISTRIBUTING COMPANY: Netflix

 

DEVELOPMENT:

·      The rights were held by Chernin Entertainment. The development involved adapting R.L. Stine’s books into a "trilogy" rather than just a single movie—this is a franchise strategy.

PRE-PRODUCTION: 

·      They cast Sadie Sink (Ziggy), who was already a star in Netflix's Stranger Things. This is a strategic move to ensure the "Built-in Audience" followed her to this new project. The director was married to one of the duffer brothers and she borrowed some of the cast from stranger things and many new faces.

·      Scouting & Design: Production designers had to recreate "Camp Nightwing." They used Camp Rutledge in Georgia. Pre-production involved creating a "look book" to ensure the 1978 segment felt grainy and warm, distinct from the neon-blue 1994 segment.

·      The Script: The writers had to ensure "Easter eggs" were planted in the 1978 script that would pay off in the 1666 and 1994 movies.

PRODUCTION:

·      Back-to-Back Filming: To save money (Budget Efficiency), all three movies were filmed at the same time over a period of about 106 days. This allowed the crew to use the same equipment and locations for multiple films without packing up.

·      Technical Choice: Filmed digitally (Arri Alexa cameras) but used specific lenses to mimic the anamorphic lookof 1970s cinema.

·      Practical Gore: During the shoot, they used "practical effects" (fake blood, prosthetics) rather than just CGI to stay true to the "Slasher" genre conventions.

 

POST-PRODUCTION:

·      The "Film Look": In the editing suite, they added digital grain and adjusted the color grading to give it a "vintage" feel.

·      Soundscape: Music was the biggest part of Post-Production. They spent a significant portion of the budget on Music Licensing for hits by Kansas, The Buzzcocks, and Blue Öyster Cult to anchor the audience in the 1970s.

·      Distribution Shift: Since theaters were closed during the pandemic, the "Post" phase involved prepping the files for Global Streaming rather than a theatrical "DCP" (Digital Cinema Package).

 

BUDGET:$10 million 

MARKETING:

·      Netflix marketed the trilogy as a unique, three-week event rather than a standard movie release, aiming for a "binge" feel.

·      The campaign featured heavily on social media, including a street poster campaign in various cities with a neon, dripping text aesthetic, and teasers showcasing the masked killer.

 

TARGET AUDIENCE: Teenagers, young adults, and adults who grew up with the Fear Street books by R.L Stine.

 

STEREOTYPES:

·      The Final Girl (Reconstructed): Cindy Berman represents the traditional Final Girl, while her sister Ziggy fits the rebellious counterpart but instead reconstructs this trope by forcing them to survive in a doomed environment rather than merely being lucky.

·      Summer Camp Archetypes: A homage to Friday the 13th by featuring the arrogant jock (Kurt), the popular bully (Sheila), and counselors who engage in sex and drugs before being killed.

·      Class Stereotypes (Shadyside vs. Sunnyvale):  Shadysiders (poor) are seen as troubled or destined to be killers, while Sunnyvalers (wealthy) are seen as privileged, arrogant, and safe, mirroring 70s teen slasher dynamics where elite kids survive.

·      Promiscuous/Rebellious Victim: Alice, and other campers who engage in intimate activities, are framed to be slaughtered, adhering strictly to classic slasher rules.

·      The "Burnout" Hippie: Characters like Alice use drugs as a mechanism for dealing with the harsh reality of their town's curse and the social pressures.

 

PROTAGONIST VS. ANTAGONIST: CINDY AND ZIGGY BERMAN VS TOMMY SLATER, (SARAH FIER), AND NICK GOODE

 

COMMERCIAL VS. ARTISTIC: Primarily Commercial. It’s designed as a "content event" for Netflix. However, it is Artistically significant for its "period-accurate" cinematography.

 

SOCIAL/POLITICAL MESSAGE:

·      Systemic Oppression and Classism: The core theme is the socioeconomic divide between wealthy Sunnyvale and impoverished Shadyside. Shadyside is treated as "Killer Capital, U.S.A.," trapped in a cycle of poverty and violence that serves to protect the privileged status of the other town.

·      Technology used: Fear Street Part Two: 1978 uses a mix of modern filmmaking technology and period-appropriate 1970s tools to create its atmosphere. Behind the scenes, the movie was filmed with an Arri Alexa Mini digital camera and Panavision anamorphic lenses, then recorded in high-quality ARRIRAW and finished in 4K, giving it a polished, cinematic look. Color grading and editing techniques were used to add film grain, darker tones, and warm lighting to mimic the style of classic 1970s horror films, while Dolby Digital sound design enhances tension and mood. At the same time, the technology shown within the story reflects the limited tools of a summer camp in 1978, including radios, cassette players, landline phones, and flashlights, with no modern devices like cell phones or the internet. This lack of advanced technology increases the sense of isolation and danger. The film also relies heavily on practical effects, such as fake blood and prosthetics, rather than CGI, which adds to its realistic and vintage horror feel.

·      Technological Advancements: Several technological advancements in recent decades improved the production, marketing, and distribution of Fear Street Part Two: 1978. In production, digital filmmaking tools such as high-resolution cameras like the Arri Alexa and advanced editing and color-grading software like Adobe Premiere Pro and DaVinci Resolve allow filmmakers to capture, edit, and enhance footage with far greater speed and precision than traditional film methods. Sound technology like Dolby Digital also improves the clarity and intensity of the audio experience. For marketing, social media platforms such as Instagram, TikTok, and YouTube make it possible to promote trailers and clips instantly to global audiences and create viral campaigns that build hype quickly. For distribution, streaming services like Netflix have transformed how audiences access films by allowing worldwide, on-demand viewing without needing physical media or theater-only releases, making movies more accessible and widely available than ever before.

 

Filmed back-to-back (106 days) to save money.

 

 

 

 

 

 

 

 

UNTIL DAWN

(2025)

GENRE: Horror/Survival

AGE RATING (CERTIFICATION): R

DIRECTOR: David F. Sandberg

DISTRIBUTING COMPANY: Screen Gems & Sony’s Picture Releasing

BUDGET: $15 million

FILM BOX: Over $54 million

MARKETING: 

·      Promotion included a "Until Dawn all-nighter" challenge for fans to watch the film on a loop to win $5,000.

·      Cross-Media Synergy: Sony released a Remastered version of the Until Dawn game (late 2024) just months before the movie’s release. This "primed" the audience, getting people to play the game again so they would be excited for the film.

·      Influencer Marketing: Sony sent "survival kits" to major gaming YouTubers and streamers, encouraging them to react to the trailer and play the remaster, creating a "hype cycle" between the two industries.

TARGET AUDIENCE: 

·      Young Adults (18–34). Specifically, fans of the original PlayStation game and fans of "Elevated Slasher" films.

 

DEVELOPMENT: 

·      Announced in Jan 2024. Written by Gary Dauberman (IT, Annabelle). It was developed as a "standalone expansion" of the game's lore rather than a 1:1 remake.

PRE-PRODUCTION: 

·      Cast rising stars like Ella Rubin and Sadie Sink's contemporaries (Michael Cimino). Peter Stormare was cast to reprise his role as Dr. Hill to provide "Fan Service."

PRODUCTION: 

·      Filmed in Budapest, Hungary (August–October 2024) to maximize tax incentives and use gothic European forest locations.

POST-PRODUCTION: Focused on a "Time Loop" mechanic added to the film. Significant work was done on color grading to create a cold, blue, winter atmosphere.

STEREOTYPES: Deconstructs the "Slasher Archetypes" (The Jock, The Final Girl, The Nerd). Like the game, it initially presents characters as "shallow" but adds layers through trauma.

PROTAGONIST VS. ANTAGONIST: The Protagonists are a group of friends; the Antagonist is a mix of Internal (the mystery of the "Time Loop") and External (the Wendigo creatures kept in shadow).

COMMERCIAL VS. ARTISTIC: Commercial. It is a "Synergy" product designed to sell the Until Dawn game remaster on PS5.

SOCIAL/POLITICAL MESSAGE: Explores the "Butterfly Effect"—how small, selfish choices can lead to systemic tragedy.

 

·      Technology used: Until Dawn uses a combination of modern filmmaking and video game–inspired technology in its production. It relies on high-resolution digital cinema cameras, extensive computer-generated imagery (CGI), and advanced visual effects to create realistic horror environments and creatures. Because it is based on an interactive video game, it also uses performance capture and motion capture technology to record actors’ facial expressions and body movements so they can be translated into highly detailed digital characters. Some scenes may also use virtual production techniques, such as LED volume stages and real-time rendering with tools like Unreal Engine, allowing filmmakers to build and adjust environments digitally while filming. Alongside this, practical effects and professional sound design are used to make the horror elements feel more physical and immersive.

·      Advancements: Over the past few decades, several technological advancements have greatly improved how Until Dawn is produced, marketed, and distributed. In production, the shift from film to digital cameras and the rise of powerful editing and visual effects software like Adobe Premiere Pro, DaVinci Resolve, and Unreal Engine allow filmmakers to create highly detailed visuals and edit scenes much faster than in the past. For marketing, social media platforms such as YouTube, TikTok, and Instagram make it possible to reach global audiences instantly and build hype through trailers, clips, and viral content. For distribution, modern streaming and digital release systems allow films to reach international audiences much more quickly and efficiently than traditional theater-only releases, making movies more accessible and widely available worldwide.

 

Filmed in Hungary for tax incentives.

 

 

 

 

 

 

 

 

 

FIVE NIGHTS AT FREDDYS

(2023)

GENRE:Horror/Mystery

AGE RATING (CERTIFICATION): PG-13

DIRECTOR: Emma Tammi

DISTRIBUTING COMPANY: Universal Pictures (Theatrical) and Peacock (Streaming). COMCAST

BUDGET: $20 million 

FILM BOX: $297 million

MARKETING: 

·      Focused on Lore and Easter Eggs. The trailers were designed for fans to "frame-by-frame" analyze. They used Peacock Day-and-Date release, meaning it hit theaters and streaming at the same time to maximize hype.

TARGET AUDIENCE: Gen Z and Alpha (who grew up with the games) and YouTube/Gaming communities.

 

DEVELOPMENT: A "Development Hell" case study. It was stuck for 8 years (2015–2023). It moved from Warner Bros. to Blumhouse because the creator, Scott Cawthon, wanted total creative control over the script.

 

PRE-PRODUCTION: The most critical step was hiring Jim Henson’s Creature Shop to build the animatronics. This ensured the film felt "authentic" rather than looking like cheap CGI.

PRODUCTION: Filmed in New Orleans. To keep costs low, they used practical sets for the pizzeria, which allowed for more natural "Media Language" (lighting and shadows).

 

POST-PRODUCTION: Focused on the Sound Mix—layering in the mechanical whirring of the robots and the iconic "Freddy laugh" from the games to satisfy fans.

 

STEREOTYPES: Subverts the "Deadbeat Protagonist"—Mike is struggling not because he’s lazy, but because of systemic trauma and the need to care for his sister (Abby).

 

PROTAGONIST VS. ANTAGONIST: Mike (The Guard) represents the "Working Class Struggle," while William Afton (The Yellow Rabbit) represents the "Hidden Evil" in authority/parental figures.

COMMERCIAL VS. ARTISTIC: Highly Commercial. The film’s primary goal was to solidify the FNAF brand as a multi-media empire (Games, Books, Movies, Merch).

 

SOCIAL/POLITICAL MESSAGE: Explores Childhood Trauma and how the "ghosts of the past" can literally and figuratively consume the present.

 

Technology used: The 2023 film Five Nights at Freddy’s uses a mix of practical effects, digital filmmaking tools, and modern visual effects technology to bring its horror world to life. A major part of the production relies on highly detailed practical animatronics created by Jim Henson’s Creature Shop, which were physically built and puppeteered on set to make Freddy, Bonnie, and Chica feel realistic. These were combined with digital CGI and motion control techniques for movements or scenes that were too complex or unsafe to film practically. The movie was also shot using advanced digital cinema cameras, allowing high-resolution footage that can easily be edited and enhanced in post-production, along with professional sound design software to build tension through audio effects and music.

 

Advancements: Over the past decades, several technological advancements have significantly improved the production, marketing, and distribution of Five Nights at Freddy’s. In production, the shift from traditional film to digital cinematography and the rise of powerful editing and visual effects tools like Adobe Premiere Pro, DaVinci Resolve, and advanced CGI systems allow filmmakers to blend practical effects with digital enhancements much more efficiently than before. Motion capture and animatronic integration technology also help create more lifelike characters by combining human performance with digital rendering. For marketing, social media platforms such as TikTok, Instagram, and YouTube allow studios to promote trailers, teasers, and behind-the-scenes content instantly to global audiences, often creating viral hype before release. For distribution, streaming services like Peacock and theatrical-digital hybrid releases allow films to reach audiences both in cinemas and at home at the same time, making distribution faster, more flexible, and more accessible worldwide.

 

 

 

 

"Development Hell" for 8 years; Blumhouse took over.

 

 

 

 

 

 

 

 

 

TAROT

(2024)

GENRE: Horror/Supernatural

AGE RATING (CERTIFICATION): PG-13

DIRECTOR: Spenser Cohen and Anna Halberg

DISTRIBUTING COMPANY: Produced by Screen Gems, Alloy Entertainment, and Ground Control, distributed by Sony Pictures Releasing.

BUDGET:$8 million

FILM BOX:$49 million

MARKETING: Heavily leaned into Aesthetic and Ritual. The trailers focused on the "Rules" of the tarot reading. They partnered with TikTok influencers to do "Live Tarot Readings" to capitalize on the "Spirituality/Astrology" trend among Gen Z.

TARGET AUDIENCE: Gen Z (13–24). Specifically targeting those interested in "Astrology TikTok" and supernatural trends.

 

DEVELOPMENT: Originally titled Horrorscope. It was adapted from a 1992 novel by Nicholas Adams. Sony developed it to fill a gap in their Q2 release schedule for a "cheap" horror hit.

PRE-PRODUCTION: The most important task was the Concept Art for the monsters. Each creature (The High Priestess, The Magician, The Hermit) had to look like a physical version of a tarot card. This was the "Unique Selling Point" (USP).

PRODUCTION: Filmed in Serbia to save money. Using Eastern European locations allowed the production to look "expensive" and "gothic" while paying lower crew rates and getting tax rebates.

POST-PRODUCTION: A heavy focus on Jump-Scare Timing. The editing was tightened to ensure a scare happened every 10–12 minutes to keep the "TikTok-length" attention span of the target audience engaged.

 

STEREOTYPES: It uses the "Group of Friends" trope seen in Until Dawn or Final Destination. You have "The Skeptic," "The Believer," and "The Joker." These archetypes make the characters easily replaceable and the plot easy to follow.

 

PROTAGONIST VS. ANTAGONIST: The protagonists are "modern and bright" (dressed in trendy streetwear), while the Antagonists (the Tarot Monsters) are "ancient and tactile" (heavy textures, wood, old fabric).

 

COMMERCIAL VS. ARTISTIC: Purely Commercial. The film follows a "Formulaic" structure. It isn't trying to change the genre; it’s trying to provide a reliable "Product" for a Friday night at the cinema.

 

SOCIAL/POLITICAL MESSAGE: Fate vs. Free Will. It asks the question: "Are we defined by our past/destiny, or can we change our future?"

Technology used: The 2024 horror film Tarot uses modern filmmaking technology to create its supernatural effects and suspenseful atmosphere. It is shot with high-resolution digital cinema cameras, allowing for sharp, detailed visuals that enhance dark lighting and eerie environments. The film relies heavily on computer-generated imagery (CGI) and visual effects to bring its tarot-inspired supernatural entities and cursed imagery to life, blending them with live-action footage. Practical effects, makeup, and set design are also used to ground the horror in reality, while advanced sound design software builds tension through unsettling audio cues, sudden shifts in volume, and atmospheric background noise. Color grading tools are used in post-production to create a dark, moody visual tone that supports the film’s horror aesthetic.

 

Advancements: Over the past decades, several technological advancements have significantly improved how Tarot is produced, marketed, and distributed. In production, the shift from analog film to digital cinematography and the development of powerful editing and visual effects software like Adobe Premiere Pro, DaVinci Resolve, and advanced CGI tools allow filmmakers to create complex supernatural visuals more efficiently and realistically than ever before. For marketing, social media platforms such as TikTok, Instagram, and YouTube enable studios to release trailers, clips, and viral horror content instantly to global audiences, building hype quickly. For distribution, modern streaming platforms and digital release systems allow films to reach worldwide audiences almost immediately after theatrical release, making access faster, more flexible, and far more widespread than traditional distribution methods.

 

Filmed in Serbia to look "expensive" on a low budget. Tarot used "Live Tarot Readings" on TikTok to reach the "Astrology TikTok" subculture.

 

 

 

Synergy:  two or more media institutions work together to create a brand or image for a single product, enhancing its success. 

EX: Wonder Woman partnered with Dr. Pepper for branded cans

Convergence: The ability to stream movies, read news, and browse social media on a single device, such as a smart TV or tablet.

EX: DISNEY+

 

 

 

 

 

 

 

C

-Over The Shoulder

-Low Angle

-High Angle

-Mid Shot

-Tilt

-Panning

-Long Shot

-Close Up

-Dolly Shot

- Depth Of Field (Shallow Or Deep)

-Steady Cam

-Establishing Shot

-Master Shot

-Pov Shot

- Two-Shot

-Mid Shot

-Wide Shot

-Hand Held

-Zoom

-Reverse Zoom

 

 

E

-Blur

-Shot Reverse Shot

-Wipe

-Match On Action

-Dissolve

-Cross Cutting

-Eyeline Match

-Cut

-Graphic Match

-Cut Away

-Insert

-Fade In And Out

-Action Match

-Text

-jump cut

M

-Props

-Costume

-Set Design

-(Location)

-Lighting

-Hair And Makeup

-Color Pallete

 

S

-Music

-Ambient Sounds

-Dialogue

-Sound Effects

-Diegetic Sounds Characters Can Hear It (Dialogue, Radio In The Car).

- Non-Diegetic Sounds Only The Audience Can Hear It (Soundtrack, Narrator).

-Sychronous

-Asychronous Sound

-Voice Over

-Score

 

 

Section B: Media Contexts (25 Marks)

You will answer one question about Audience and Institutions using your case studies.

  • Case Study Tip: If asked about Synergy, use your Until Dawn example: Sony released the remastered game just before the movie to "prime" the audience.
  • Case Study Tip: If asked about Distribution, use Five Nights at Freddy’s. Discuss the "Day-and-Date" release on both Peacock and in theaters to maximize global hype.
u/Ambitious_Impress418 — 17 days ago