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Which clippings match 'Bank' keyword pg.1 of 1
15 FEBRUARY 2015

1980s television commercial for Westpac Bank, Australia

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1980sadadvertisement designAustraliabank • banking • cinematographycolour tintfilm editing • incomplete sentences • quick cutsselective focus • sentence fragments • shallow depth of fieldshallow focustelevision advertisement • television commercial • TVCWestpacWestpac Bank • Westpac Banking Corporation

CONTRIBUTOR

Simon Perkins
20 JANUARY 2015

Barclays Bank Code Playground

"We've built an online playground where kids can start to discover coding. It's a safe place where young explorers can try their hand at fun activities that are based on simple coding principles. Whet their appetite today."

(Barclays Bank)

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201421st century literaciesadvertising campaignbankBarclays Bank • Barclays Code Playground • basics of coding • childrencoding • coding principles • coding session • computer programming educationdesign and technology • Digital Eagles • digital skillsdigital skills for the future • discover coding • engineering and design • fun challenges • learn to codenational curriculum • online playground • scriptingtechnology educationtechnology instruction • young explorers

CONTRIBUTOR

Simon Perkins
09 SEPTEMBER 2011

Welles and Toland's use of deep screen space in Citizen Kane

"It begins with young Charles Kane in long shot, playing with his sled in the snow. The camera then pulls back to reveal that it has been shooting through a window. This effect creates a visual metaphor. The boy playing in the snow is not as free as he at first seems. Just as his image is suddenly confined by a window frame, so his life will be circumscribed by a decision that is being made for him inside the house. Kane's mother appears at the window calling out to her son to 'Be careful,' and 'Put your muffler around your neck, Charles.' As the camera tracks back, wards from the window into the space of the house, it reveals Mr. Thatcher standing at the right of the window. He says, 'We'll have to tell him now.' Ignoring this comment, the mother replies, 'I'll sign those papers now, Mr. Thatcher.' From frame left Kane's father appears, saying, 'You people seem to forget that I'm the boy's father.' The camera tracks backwards as Mrs. Kane walks over to a desk in the foreground of the image and sits down to sign the papers, with Thatcher seated next to her. An argument ensues in which the father, who appears in the middle ground of the image, strongly protests the mother's decision to hand his son over to a bank and threatens to take the case to court. The mother is icily adamant in honoring the agreement she has made with Thatcher. In exchange for the bank's full assumption of the management of the gold mine (the Colorado Lode), the bank which Thatcher represents will assume full responsibility for all matters concerning the boy's education and place of residence. Mr. and Mrs. Kane will receive fifty thousand dollars a year as long as they both live. This last bit of information, which Thatcher reads aloud, silences the father, who mutters, 'Well, let's hope it's all for the best.'

Throughout the scene, while all this activity takes place, we can see the boy Charles playing with his sled far in the back of the image, in extreme long shot, framed by the window pane, and totally oblivious to the momentous decision his mother has made about his life. Because of the length of the shot and the careful blocking of the action, our eye is free to focus on whichever player we choose, or our attention can wander from one player to another, as if we were spectators in the theater.

At the same time, the camera places us sufficiently close to the actors in the foreground of the image that we can read their expressions with much greater clarity than would be possible in the theater. We can look for clues in the frozen but somehow anguished expression of Mrs. Kane for why she is so determined to separate herself from her son. We can wonder in observing the slightly exasperated and nervous expression on Thatcher's face what kind of guardian he will make for a young boy. Or we can observe the father's angry, worried expression and wonder why he backs down. The father's position further back in the screen space makes him seem smaller than his wife and Mr. Thatcher, his diminished size somehow appropriate to his lack of power to influence his son's fate. The crowning brilliance of the scene is the tiny image of Charles Kane far in the depth of the screen space. Although the film is about him and in later scenes he will loom large indeed, here he is a tiny speck. On first viewing the film, some may not even notice him. But his understated presence playing outside the window, shouting 'Union forever' as his mother is about to send him off into the world without her, is one of the most poignant moments in film."

(Marilyn Fabe, 2004, p.85–86)

3). Marilyn Fabe (2004). "Chapter 5 Expressive Realism" in "Closely Watched Films: An Introduction to the Art of Narrative Film Technique", University of California Press (3 Aug 2004)

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1941bank • blocking of the action • boycamera • Charles Kane • cinematography • circumscribed • Citizen Kane • Colorado Lode • composition • confined • deep focusdepth of the screen spacedesign formalism • diminished size • editing through selection • extreme long shot • fatefigures in spacefilmframe • frame-within-a-frame • framed by the windowframingfreedom • gold mine • Gregg Toland • lack of power • length of the shot • long shot • long takesmise-en-sceneOrson Wellesphotographyplayingscene • screen image • screen space • significant actions • sled • snowsnowballtheatrical spacetracking camera • union forever • visual designvisual languagevisual metaphorwindowwindow frame

CONTRIBUTOR

Simon Perkins
11 NOVEMBER 2008

Bank loses face over Brian the Sumo fake

"One of the world's biggest banks has been accused of 'cultural insensitivity' after dressing up an overweight white man to look like a sumo wrestler.

HSBC, which calls itself 'the world's local bank', is running a series of billboard and print advertisements featuring the wrestler alongside the slogan: 'Fixed savings rates that won't budge.'

The campaign has upset members of Britain's Japanese community, who claim that the man's skin tone has been darkened and that make–up has been applied that appears to narrow his eyes. The pseudo sumo – a model known only as Brian – has been given a Japanese–style wig and is dressed in a traditional mawashi belt.
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Although HSBC has denied making the model look as if he is from 'a specific country or region', a spokesman admitted that make–up had been applied to his face and eyes and that his skin tone had been made to appear more tanned."

(Elizabeth Day, The Observer, UK, Sunday August 24 2008)

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adadvertising • approximation • bankbillboardcultural codescultural practicecultural sensitivityculturedesignfakeHSBCidentityintercultural • overweight • representation • Sumo • UKvisual analogyvisual identity

CONTRIBUTOR

Lynne Ciochetto
11 NOVEMBER 2007

Facebook viral campaign

"Forget old–fashioned occupations and sit–ins: student protest has gone 'viral'. Online networking phenomenon Facebook has emerged as the venue for a rapidly proliferating campaign that has already brought in thousands of recent graduates. It's called 'Stop the Great HSBC Graduate Rip–Off!'

Students with HSBC bank accounts, graduating this summer, have been astonished to discover they face unexpected bills of up to £140 a year for running an overdraft after the bank withdrew its interest–free deal in July. In previous years HSBC, like other high street banks, has allowed students an interest–free overdraft – typically up to £1,500–£2,000 – for the first couple of years after graduation. But in July it became the first high street bank to scrap free overdrafts for university leavers. It charges interest at 9.9%.

But HSBC didn't reckon on a cyber–rebellion, begun by Wes Streeting, a Cambridge NUS vice–president opening up the Facebook group. Over the past few weeks it has exploded, with more than 2,500 graduates signed up and dozens more joining every day.

The group's 'wall' contains hundreds of angry postings. Typical is this one from a student at Hertfordshire University: 'I have closed my account [at HSBC] . . . and paid my overdraft with an interest–free account! The charges r crazy . . . how r we ever supposed to get outta debt after uni!'

Leeds University graduate Johnny Chatterton first heard about the overdraft charge via Facebook. 'When I first went to university, the deal at HSBC was that the interest–free overdraft would be gradually phased out over a number of years after you left. Out of the blue, I received a letter giving me two weeks' notice it would be withdrawn on July 28. I have a £1,750 overdraft and it has really overshadowed my summer. I've been working for a small charity before returning to do a masters degree, but now I'll have to leave and get a better paying job.'

Mr Streeting, a veteran NUS campaigner, says even he's been taken aback by the scale of the protest. 'I invited my friends on Facebook to respond, and it has turned into a viral campaign. It's a lot better than email and gives people a place where they can protest."

(Patrick Collinson and Tony Levene, 25 August 2007, The Guardian)

TAGS

ad campaignbankcampaign • cyber-rebellion • FacebookHSBCnetworking • NUS • overdraft • rebellionuniversityviral • Wes Streeting
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