Film and TV: Connectors, Nominalization, and Modal Verbs

Understanding Advertisements and Film Concepts

Analyzing an Advertisement

Advert 3: The image of an alligator crawling on a street in Orlando, Florida, evokes the risks of being close to nature, as the person taking the picture likely was. The 'second closest' we could be to nature is by reading *National Geographic Kids* magazine, as it includes captivating pictures like this one. The target audience of the advertisement is kids (as potential readers) and parents (as potential buyers).

Español Advert 3: La imagen de un caimán arrastrándose por una calle de Orlando, Florida, quiere hacernos pensar en los riesgos de estar muy cerca de la naturaleza, como probablemente lo estuvo quien tomó la fotografía. Lo "segundo más cercano" a la naturaleza que podríamos estar es leer la revista *National Geographic Kids*, ya que incluye fotografías fantásticas como ésta. El público objetivo del anuncio son los niños (como lectores potenciales) y los padres (como compradores potenciales).

Pitching a Film

Pitching involves outlining key elements of a film, such as:

• Genre
• Title
• Logline
• Hooks (lead actors expected, box office potential, soundtrack, lighting, location, target audience, and any other elements of interest)

Crafting a Logline

The logline succinctly describes the film's core concept, including:

• An interesting character
• What they want
• The obstacle

It typically uses the simple present tense and nominalizations.

Writing a Film Review

The film review provides a critical assessment, typically including:

• An introduction to the film
• What is difficult
• The good aspects
• The bad aspects
• A conclusion

It often uses the simple present tense and nominalizations.

Understanding Screenplay Structure and Style

Screenplay parts typically include the background, main conflict, and resolution. The style often involves:

• Present tenses
• Abbreviations
• Missing subjects
• Incomplete sentences

Connectors in Film and TV Discourse

Use of connectors: Connectors are crucial for creating coherent and cohesive narratives. Examples include:

• yet, since, however, and, but, so, thus, although, though, first of all, secondly, nevertheless, nonetheless, because of, finally, meanwhile, despite, in spite of, instead of, even though, even if,...

Unit 1: Film - Connectors

Here's a breakdown of different types of connectors:

• Contrast: but, yet, in spite of, despite, although, even though, while, on the other hand...
• Addition: in addition to, besides, apart from, and, too, also, moreover, furthermore...
• Reason: because, thanks to, because of...
• Purpose: in order to, so that...
• Giving Examples: that is, such as, as an example, for example...
• Time: before, until, till, since, for, while, meanwhile, later, after, then, soon, finally...
• Direction: here, there, beyond, under, opposite...
• Emphasis: especially, also, in particular, of course...
• Comparison: as...as, as if, similar, like, in the same way...

Nominalization in Film Reviews

Nominalization involves converting verbs into nouns. For example, instead of writing "We analyzed the plot," you might write "The analysis of the plot..."

Unit 2: TV - Modal Verbs

Modal verbs are auxiliary verbs that express a range of meanings:

• Can: ability/possibility (present)
• Can't: inability
• Be able to: (future of "can")
• Must: obligation/necessity (stronger than "have to"/"need to")
• Mustn't: prohibition (stronger than "can't")
• Have to / Need to: obligation/necessity
• Should / Ought to: advice/opinion
• Had better: advice (stronger than "should"/"ought to")
• May / Might: possibility (may = more likely / might = less likely)
• Could: past ability/past possibility (past of "can")
• Would: offer