CONCLUSION:In conclusion, we have used a variety of media language techniques to make meaning and portray our chosen hybrid genre to an audience.TIME MANIPULATION: To manipulate and portray the meaning of time in our film, we have focuses on the time 3 O clock. To inform the audience this is the time the story begins, we have used many clocks displaying the time as well as various voice overs repeating its 3 o clock, its 3 o clock. Throughout the film, the audience can assume the time is progressing as real time up until the ending where the film flashes back to the little girl beginning to play with the doll again, when an audience can understand we have returned to 3 o clock. This creates a circular narrative and shows the constant cycle of emotions the doll/young girl feels and is trapped in.BARTHES (WITH SELF SCHEMA): To create meaning through mise en scene we relied a lot on Barthes cultural and symbolic codes by including props such as mirrors and a TV set. We chose to include this combination as a connection could be made between the idea of beauty presented by the mirror and the way the media portrays it, represented by the TV. An arthouse audience (our target audience) are likely to decode deeper meanings in our film and see the mirrors as a symbol of self-reflection on themselves in regard to how the media effects them (something which will be relatable as they are watching a media product). We also made our main character a doll and a culturally aware audience are likely to understand the connotations of the perfect female that this presents as well as it representing how impossible and fake the standards popular media sets for women are. Mirrors are related to personal appearance and within our film we use them as a symbolic code for the insecurities the doll has about her appearance and even her identity as an individual. This identity crisis is also represented through her multiple reflections, particularly on the shot where the doll is sat between two slanted mirrors and turns to look at both then herself. This also plays on the self-schema theory the audience are likely to be a part of which states we judge ourselves based on the people around us and the image the media creates for us.INTRODUCTION: For A2 Media I was part of a group who created a surreal, arthouse-thriller entitled Reflection containing issues of how the media effects young girls which we conveyed through various media language techniques.CAMERAWORK TO DEFINE GENRE: Media language has been important to us successfully defining the genre of our film and we have used a variety of camera work techniques to do this. For example, to give our film the thriller elements necessary to be recognised as a part of the genre, we included many extreme close ups, often on canted angles to create a sense of discomfort and conform to typical thriller camerawork the audience themselves will recognise. To include surreal conventions and make the hybrid genre clear to the audience, we decided to break the fourth wall to personally include viewers through direct mode of address when the doll stares directly down the camera lens. This is particularly surreal as it defies expectations of a normal film and adds a more abstract viewing point than an outsider for the audience. We further showed the surreal genre through canted angles to create a sense of disorientation and increased lack of security. To make the film identifiable as arthouse to our target audience (15-25 arthouse fans), we opted to add a black and white filter as arthouse films are typically coloured this way.MISE-EN-SCENE TO MAKE MEANING: Mise en scene was key to creating further meanings in our film. The black and white filter not only identifies the film as arthouse, it also conveys messages about the dolls state of mind. The two opposite colours (black and white) represent her two binary opposite emotions (happy and sad) while the grey shows how these two emotions are crossing over as she battles to become neutral. Black and white also represents the two worlds in the film reality and the thoughts of the young girl. When the film is black and white we understand the doll is a lesser reality in a white boxed set with no sign of life or the reality we live. However, as the colour returns at the end of the film in hallway setting, the audience can recognise the setting as reality then know and live in.EDITING TO MAKE MEANING: To further show an audience the two worlds (reality vs thoughts) are separate, we included a fade to black at the end of the dolls appearance when she collapses and falls backwards. Fade to black is commonly used in films to signal how a moment has ended and the film is moving on to a new time/location which an audience may recognise. In our case, this signifies the changeover in worlds and introduces the flashback in time to when the events first began, this time from the new perspective of the young girl. By fading our final shot to black with the sound of hysterical, creepy laughing from the doll was dismal while the contrapuntal laughing implements thriller conventions, hinting that further bad events will occur.MEDIA QUESTION 1B: MEDIA LANGUAGE