#52 Research: Regulation

        

    Hey everyone, welcome back to my blog! I'm here with another post, and today I will be talking about Regulation in my case on Film industry with A24 and Sean Baker.

    Regulation in the film industry has changed a lot over time. Today, it’s less about banning content and more about rating films to guide audiences. In this blog, I’ll explore how regulation affects two very different players in the film world: A24, a bold independent company, and Sean Baker, a creative filmmaker working outside the mainstream.

Part 1: Company Profiles  A Goliath and a David

Goliath: A24 A24 is an independent film company started in 2012. It’s not owned by a big media group like Disney or Warner Bros. Instead, it focuses on original, artistic films like Moonlight, Lady Bird, Hereditary, and Everything Everywhere All at Once. A24 supports creative voices while still aiming for box office success.

David: Sean Baker Sean Baker is a filmmaker who works with small budgets and real people. His movies often show stories from communities that don’t get much attention in Hollywood. He uses real locations and even iPhones to film. His best-known works include Tangerine, The Florida Project, Red Rocket, and Anora.

Theory: Curran and Seaton Curran and Seaton say that big companies make safe, money-focused content. Baker proves that independence allows more creativity. A24 challenges this idea by showing that a mid-sized company can be both artistic and successful.

Part 2: The Rules and the Regulators

Regulator: Motion Picture Association (MPA) The MPA gives age ratings (like G, PG, R) and helps fight piracy. Both A24 and Baker must follow these rules when releasing films in theaters.

Example: Red Rocket was rated R for sexual content and language. That rating didn’t ban the film, but it did limit how it could be advertised and who could watch it.

History of Regulation In the past, the Hays Code banned things like swearing and nudity. In 1952, a court case gave films free speech rights. By 1968, the MPA rating system replaced the old rules, giving filmmakers more freedom. With streaming and social media, it’s now harder to control what people watch.

Part 3: Modern Challenges to Regulation

The Internet’s Impact A24 uses streaming and social media to promote films. Baker builds hype online with small budgets. But global access makes it hard to regulate films can be watched anywhere, even in countries with different rules.

Theory: Livingstone & Lunt They say regulators must balance protection and freedom. A24’s big releases are easier to rate and monitor. Baker’s indie films, often shown at festivals or online, are harder to control.

Theory: Dan Gillmor ‘We the Media’ Gillmor believes audiences now have power through user-generated content. This helps Baker more than A24. Reviews, fan posts, and online buzz help his films reach people directly.

Problems with User Content:

• Misinformation spreads fast

• Offensive material can slip through

• Copyright issues are common 

• Hard to block age-inappropriate content

• Too much content to regulate everything

Part 4: Case Study Anora (2024)

Anora, directed by Sean Baker and backed by A24, tells the story of a sex worker who marries a rich Russian man’s son. It was rated R by the MPA for mature themes. Because Baker is independent, the film was seen as thoughtful and artistic not exploitative. A24’s support helped it reach a wider audience and win awards.

This case study shows that film regulation today is more about classification than censorship. A24 and Sean Baker represent two sides of modern filmmaking: one focused on independent success, the other on creative freedom. Both face challenges in a digital world where content spreads fast and rules are harder to enforce. Regulators now must balance protecting viewers with supporting innovation.

#51 Planning: Decision Static

    Hey everyone, welcome back to my blog! I’m really excited to share an update about our media project. After a lot of discussion and planning, we’ve finally made our decision we’re creating two movie trailers and two posters for our original crime/thriller film titled Static.

    We decided to make two trailers because it allows us to show different perspectives and tones. One will focus more on mystery and suspense, while the other will highlight the action and danger. This approach also reflects real film marketing strategies, where studios release both teaser and full trailers to build anticipation and engage the audience across different platforms.

Why We Chose the Crime/Thriller Genre:

    Our group decided on the crime/thriller genre because it gives us the chance to experiment with tension, secrecy, and suspense all conventions typical of this genre. We plan to use techniques like low-key lighting, quick-paced editing, and dramatic sound effects to create a sense of danger and uncertainty.

    Films like Gone Girl and Seven inspired our concept. Both use mystery, realistic settings, and psychological tension to keep audiences guessing something we want to achieve with Static as well.

Target Audience:

    Our target audience is people aged 16 to 30, especially those who enjoy mystery, suspense, and emotional tension. By including relatable characters and realistic fears (like being watched or hunted), we aim to make the story engaging and immersive. The goal is for our audience to question everything who’s watching, who can be trusted, and what’s really on that flash drive.

Narrative and Enigma:

    The first trailer begins with a woman holding a flash drive that contains secret information. She meets her coworker at a park, unaware that a man is watching from a distance. We plan to use a POV shot from the man’s perspective to build suspense and make the audience feel like they are part of the scene.

    During their conversation, the coworker angrily asks why the woman kept the flash drive. The woman replies, “They’re erasing everything.” The coworker responds, “Then we’re next.”

    We chose this dialogue because it instantly builds tension and mystery, applying Barthes’ Enigma Code encouraging the audience to ask questions like What’s on the flash drive? and Who’s erasing everything?

Visual and Sound Planning:

    Next, the trailer cuts to a garage door closing, where the woman discovers a hidden camera. She hears a faint voice whisper, “You should’ve deleted it.” Her expression changes to pure panic a key moment we’ll show through her facial acting and mise-en-scène.

    This transitions into a non-diegetic sound mix of a creepy hum and a heartbeat, symbolizing her fear and increasing suspense. Then a montage of quick shots follows: a fake knife on a desk, the man chasing the woman through an empty street, and distorted audio that creates tension and confusion.

    These moments will rely heavily on editing rhythm and sound design to match thriller conventions.

Here is the idea of the setting:

Second Trailer Concept:

    The second trailer starts with the woman running through a dimly lit parking lot, while the man walks towards her calmly. A voiceover says, “She kept the file… now he’s coming to erase it.”

    We then show another montage the woman hiding the flash drive in a toolbox, the coworker panicking and saying “He knows where we are,” and a phone call warning “They’re watching everything.”

    The trailer ends with fast-paced music and the tagline:

    “One file. Three lives. No escape.”

    This tagline summarizes the film’s central conflict and emotional tone the idea of being trapped by one dangerous secret.

 Group Collaboration:

    As a group, we divided our responsibilities to make the process efficient and professional. I’ll be focusing on script development and sound planning, while my teammates handle cinematography, editing, and poster design. This teamwork reflects how professional production teams collaborate in the film industry.

Creative Intent:

    Overall, our decision to create Static reflects our goal to produce a thrilling, fast-paced, and mysterious narrative that hooks the audience through enigma and tension. Even though we’re still in the planning stage, our ideas already focus on strong visual storytelling, genre conventions, and audience engagement.

    We’re confident that by combining suspenseful cinematography, intense sound design, and emotionally driven characters, Static will represent a well-developed and creative interpretation of the crime/thriller genre.