Thursday 27 November 2014
Wednesday 19 November 2014
Tuesday 18 November 2014
Barry Keith Grant and Steve Neale's evolving genre
Barry Keith recognized how all genres feature a sub genre within
them, this means that a media text can be divided up into more specific
categories. He suggests that these sub genres allow audiences to identify a
product by their familiar and recognizable characteristics. Sub genres are identifiable sub-classes of a larger category for example biopics, chick-flicks, disaster films and many more.
As Barry Keith Grant
writes in the introduction of his genre reader, “the work of defining film
genres is surprisingly difficult and complex’” [1] because “…recognition of the
importance of genre in the cinema is a relatively recent development….although
chronologically it narrowly predates the early work of auteur criticism.” [2]
Grant takes notice that until the late 1940s and early 1950s – when Robert
Warshow and genre pioneer André Bazin wrote the first significant essays on
film genre (about gangster movies and about the Western) – films were only
distinguished by a phrase (for example, ‘a war movie’) “used as a convenient
label to give one an idea of what the story was like, what to expect generally
from a film.” [3] As before in literature, in painting and in other forms of
art, “genre became a critical term, providing another conceptual framework for
understanding movies.” [4] A genre classification can also double as a precise
commercial study because it evokes certain audience expectations and therefore
it allows one to establish classifications, comparisons, balance-sheets,
valuations for the future and so on. Although it has been helpful for cinema
studies, classifying films in accordance with their genre remains a difficult
and risky endeavor because genre ‘impurity’ is by now, some twenty years after
the solidification of genre study, a constant characteristic and a usual
practice of the cinema as art and as industry.
Some films trailers within the same genre but display Barry's concept of sub genres are:
Thor the movie is classed as an action, adventure and fantasy
Whereas Jumper however is seen as an action, adventure, science fiction. This is due to the sub genres within the film and the mise en scene within the film. Although both protagonists from both films have similar conventions as they are both 'heroes' the narrative within the film can categorize the films in separate genres.
Steve Neal then begins to explain how genre further processes as it is a form of systematization as it changes over time. This is from new conventions forming and culture changing. An example of this would be horror movies, in the early days of cinema horror movies would have been terrifying however since the audience became familiar with the conventions and cinematography they would now be seen as more of a comedy.
Within my product I am going to use current conventions in order appeal to the audience and make my product more consumable. In terms of sub genres I plan to use the diegesis to represent more of a superhero movie as my protagonist will be very selfless and heroic.
Sunday 16 November 2014
Laura Mulvey and the male gaze theory
The male gaze theory is the representation within the media of how women are portrayed. Laura Mulvey states that women are portrayed within the media as objects and aesthetic products, meaning they are there to be looked at. This is done by the way the camera portrays them through shot types and movement as within numerous products the camera focuses on women's assets and they are composed and choreographed to sexually appeal to the audience.
She refines this by looking at how men view the women within those images as the product and reason for the women used in these videos is to appeal to a male audience. In terms of female portrayal the women are often idolized and seen represented as the perfect image as in order to appeal they must attract. This is why the women featured in these media products are often models and very sexually appealing. The media creates the ideology of a perfect image and essentially create the conception of the subject in this video is what men want and what women should look like.
Mulvey suggests that these media products emphasize the curves (assets) of the female figure, they refer to them as objects and not people. The way the display the women is how men think women should be perceived in order to be classed as appealing. She also says the female viewers view the content through the eyes of a man, thus creating the sense of this is what I should look like in order to be appealing. Women are often sexualised and seen as objects and are portrayed specifically sexual desire and the way they look.
This theory describes how the audience or viewer is put into the perspective of a heterosexual male as the camera lingers over the curves of a woman's body. Mulvey states the within film women are typically the objects, rather than the possessors and this is displayed by the composition and control of the camera and cinematography in turn creating an idealistic view that women should follow. As this is a theory it is all subjective and an opinion as some women may disagree and say that this view of women within the media is empowering and liberating as they are seen as what men desire meaning they have the power.
Mulvey concluded that typically within the media the man is portrayed as a powerful character and is far more dominant and women are passive to the active gaze from the man.
Mulvey also states that the female gaze is the same as the male gaze as women view themselves through the eyes of men, objectifying themselves whether they view themselves as attractive or not and whether they conform to the media perception of attractive.
By looking at three music videos I shall determine whether they comply with Mulvey's theory. The videos that I have chosen are the top three current tracks from http://www.bbc.co.uk/radio1/chart/singles.
The first is Meghan Trainor, All about that bass:
The song focuses on the subject of women's figures and how the media has created the concept of the perfect figure as really slim, often said to be size 6-8 and how more recent debates and controversy of artists within the media beginning to re-shape the ideal figure to larger (size 10) however ideally many people believe there shouldn't be an ideal figure and you should only conform to your own ideology of perfect and you should look how you want. With many current artists focusing on this, much like this artist they talk about their own figure as an example however in today's society they would still be classed as slim to many people but by classifying themselves within the "plus size" category can just create more controversy.
Regarding Mulvey's male gaze theory this video is a very good example as it mainly focuses on figure and more specifically curves as the lyrics refer directly to the whole concept and idea of women appealing to men. In terms of cinematography and camera movement the video shows many pans and tilts going down a women's body following her hands as they exaggerate curves. The video also featires some subjects dancing in a provocative manner "twerking" is one of them. In terms of outfits within this video many of the dancers, which are predominantly female are wearing leotards which fit around the body tightly and again emphasis the curves of the dancers figures.
The second video is Ed Sheeran, Thinking out loud:
This video featues an intimate dance between a male and female the male is a suit, whereas the woman is in a one pice outfit that shows both her legs and upper torso. Instantly you see Mulvey's theory within this video although it is more subtl and not as loud as it is in the first music video the camera still moves in a similar way as it follows the female in the opening scene and focuses on the lpower half of her body. Her legs are completely exposed as it is claessed as very sexual and since media has evolved things such as this become less vulgar and unexpected as there was a time when women couldn't show their ankles as it was too suggestive. The video shows a series of shots that emphasise the womens figure as well as her dancing ability.
The third music video that I looked at was Jessie J, Ariana Grande and Niki Minaj, Bang bang:
She refines this by looking at how men view the women within those images as the product and reason for the women used in these videos is to appeal to a male audience. In terms of female portrayal the women are often idolized and seen represented as the perfect image as in order to appeal they must attract. This is why the women featured in these media products are often models and very sexually appealing. The media creates the ideology of a perfect image and essentially create the conception of the subject in this video is what men want and what women should look like.
Mulvey suggests that these media products emphasize the curves (assets) of the female figure, they refer to them as objects and not people. The way the display the women is how men think women should be perceived in order to be classed as appealing. She also says the female viewers view the content through the eyes of a man, thus creating the sense of this is what I should look like in order to be appealing. Women are often sexualised and seen as objects and are portrayed specifically sexual desire and the way they look.
This theory describes how the audience or viewer is put into the perspective of a heterosexual male as the camera lingers over the curves of a woman's body. Mulvey states the within film women are typically the objects, rather than the possessors and this is displayed by the composition and control of the camera and cinematography in turn creating an idealistic view that women should follow. As this is a theory it is all subjective and an opinion as some women may disagree and say that this view of women within the media is empowering and liberating as they are seen as what men desire meaning they have the power.
Mulvey concluded that typically within the media the man is portrayed as a powerful character and is far more dominant and women are passive to the active gaze from the man.
Mulvey also states that the female gaze is the same as the male gaze as women view themselves through the eyes of men, objectifying themselves whether they view themselves as attractive or not and whether they conform to the media perception of attractive.
By looking at three music videos I shall determine whether they comply with Mulvey's theory. The videos that I have chosen are the top three current tracks from http://www.bbc.co.uk/radio1/chart/singles.
The first is Meghan Trainor, All about that bass:
The song focuses on the subject of women's figures and how the media has created the concept of the perfect figure as really slim, often said to be size 6-8 and how more recent debates and controversy of artists within the media beginning to re-shape the ideal figure to larger (size 10) however ideally many people believe there shouldn't be an ideal figure and you should only conform to your own ideology of perfect and you should look how you want. With many current artists focusing on this, much like this artist they talk about their own figure as an example however in today's society they would still be classed as slim to many people but by classifying themselves within the "plus size" category can just create more controversy.
Regarding Mulvey's male gaze theory this video is a very good example as it mainly focuses on figure and more specifically curves as the lyrics refer directly to the whole concept and idea of women appealing to men. In terms of cinematography and camera movement the video shows many pans and tilts going down a women's body following her hands as they exaggerate curves. The video also featires some subjects dancing in a provocative manner "twerking" is one of them. In terms of outfits within this video many of the dancers, which are predominantly female are wearing leotards which fit around the body tightly and again emphasis the curves of the dancers figures.
The second video is Ed Sheeran, Thinking out loud:
This video featues an intimate dance between a male and female the male is a suit, whereas the woman is in a one pice outfit that shows both her legs and upper torso. Instantly you see Mulvey's theory within this video although it is more subtl and not as loud as it is in the first music video the camera still moves in a similar way as it follows the female in the opening scene and focuses on the lpower half of her body. Her legs are completely exposed as it is claessed as very sexual and since media has evolved things such as this become less vulgar and unexpected as there was a time when women couldn't show their ankles as it was too suggestive. The video shows a series of shots that emphasise the womens figure as well as her dancing ability.
The third music video that I looked at was Jessie J, Ariana Grande and Niki Minaj, Bang bang:
This song is a prime example of Laura's theory and not only through the video but the lyrics also. The lyrics within some popular music currently are very vulgar and talk and refer to sex directly there are many lyrics within this song that prove this. Here is a video that I found which highlights many of these lyrics and they comment on how they are portrayed to an audience:
Regarding the music video to this the majority of women in this video are dressed to appeal to men, this is even displayed within the video as the three main singers are dressed in revealing clothing that emphasise their curves and the camera shows men linger around them and are represented as though they desire the women.
Within film trailers the theory is less more prominent but can still be featured especially as a subplot as typically films include a love interest. The trailer that I am going to look at is Chronicle (2012)
With a film lead with male characters, especially teenage ones there is bound to be love interset somewhere as relationships within film are very conventional in terms of subplots. The first shot that Mulvey's theory applies is a quick pan across a football field were a group of cheerleaders are practicing, this was clearly added to appeal to a male audience as the conventional stereotype of cheerleaders are athletic and pretty also by using found footage for this shot as the teenage boys film them connotes how men find such things appealing due to the conventional cheerleading outfit can be somewhat revealing and in the actual film they filmed them numerous times. The only other scene within the trailer that relates to the theory is around 1:06 as there is the protagonists girlfriend/ love interest who is topless and in her underwear the reason for this is to establish a sense of maturity to the film maybe say a viewership of 15 as its target audience is teenagers. By showing her half naked and through the perspective of the handheld camera connotes that she is an object and meant to be looked for entertainment.
Within my film trailer I plan to feature a love interest for my protagonist as a sub-plot as this has became a convention for most films not just specific genres. However I don't think I am going to use a female character in order to appeal to my audience as I only plan to show shots to imply that there is a love interest.
Within film trailers the theory is less more prominent but can still be featured especially as a subplot as typically films include a love interest. The trailer that I am going to look at is Chronicle (2012)
With a film lead with male characters, especially teenage ones there is bound to be love interset somewhere as relationships within film are very conventional in terms of subplots. The first shot that Mulvey's theory applies is a quick pan across a football field were a group of cheerleaders are practicing, this was clearly added to appeal to a male audience as the conventional stereotype of cheerleaders are athletic and pretty also by using found footage for this shot as the teenage boys film them connotes how men find such things appealing due to the conventional cheerleading outfit can be somewhat revealing and in the actual film they filmed them numerous times. The only other scene within the trailer that relates to the theory is around 1:06 as there is the protagonists girlfriend/ love interest who is topless and in her underwear the reason for this is to establish a sense of maturity to the film maybe say a viewership of 15 as its target audience is teenagers. By showing her half naked and through the perspective of the handheld camera connotes that she is an object and meant to be looked for entertainment.
Within my film trailer I plan to feature a love interest for my protagonist as a sub-plot as this has became a convention for most films not just specific genres. However I don't think I am going to use a female character in order to appeal to my audience as I only plan to show shots to imply that there is a love interest.
Friday 14 November 2014
Christian Metz development of genre (Film trailer History)
Christian Metz looks and the characteristics of genres and the development stages that can be applied. His theory looks at the four developmental stages that can be applied to genre; Classical, experimental, parody and deconstruction.
The classical characteristic is an original piece of work which developed the initial codes and conventions of the chosen genre, essentially this looks at texts that become seen as iconic and then create the genres conventions.
The experimental stage is all about the progression of the formed conventions of the classical stage. By developing new conventions you then influence future products for an audience, the seismology would be seen as experimental.
The third stage is the parody stage, the codes and conventions within genres are mocked and expected by the audience as it appeals far less.
The final stage from Metz's theory is deconstruction this consists of picking effective and key features and generic elements from numerous genres to form a hybrid genre.
For my film trailer I aim to connote deconstruction by applying conventions from action, thriller and Sci-Fi. My trailer will feature intense action scenes with violence resulting in climactic and thrilling suspense for the audience. By demonstrating supernatural powers and escapism to my product. I feel as though by doing this the genre of my product will be evident.
Below are some examples of films within the Sci-Fi genre that follow Metz's theory:
In 1927 the first ever feature length science fiction movie was released called Metropolis.
This is seen as the classical stage as it managed to capture the optimistic and advanced technology of the speculated future. They used mise en scene heavily within the trailer as this is a great connotation that the film is set in the future as the machines shown in the trailer would have been very impressive and absurd in 1927.
The next trailer that features the experimental stage is Stanley Kubrick's 2001: A space Odyssey released in 1968.
This film began a new era of Sci-Fi as the experimental idea of space and an achievable future appealed to a mass audience. So much that it gave new life to the genre and is the reason why Sci-Fi is so popular today. The film speculated the future of space travel and landing on the moon which since has became somewhat of a convention of science fiction.
Thirdly there is the parody stage Austin Powers is a well known parody with elements from the Sci-Fi genre.
Austin Powers International man of mystery (1997); This movie uses bizzarre technology often seen in Sci-Fi movies set in the future but in this film set in the 1960's. It then moves on and features a large number of other absurd scenes and weapons.
The final trailer applies to the deconstruction stage the well known 007 series, a high action fast paced movie.
This renowned series uses advanced weaponry, with a Sci-Fi element in order to emphasise the action scenes and create a larger sense of escapism and adrenaline. The films often feature a weaponised vehicle with missiles and many other forms of explosives.
The classical characteristic is an original piece of work which developed the initial codes and conventions of the chosen genre, essentially this looks at texts that become seen as iconic and then create the genres conventions.
The experimental stage is all about the progression of the formed conventions of the classical stage. By developing new conventions you then influence future products for an audience, the seismology would be seen as experimental.
The third stage is the parody stage, the codes and conventions within genres are mocked and expected by the audience as it appeals far less.
The final stage from Metz's theory is deconstruction this consists of picking effective and key features and generic elements from numerous genres to form a hybrid genre.
For my film trailer I aim to connote deconstruction by applying conventions from action, thriller and Sci-Fi. My trailer will feature intense action scenes with violence resulting in climactic and thrilling suspense for the audience. By demonstrating supernatural powers and escapism to my product. I feel as though by doing this the genre of my product will be evident.
Below are some examples of films within the Sci-Fi genre that follow Metz's theory:
In 1927 the first ever feature length science fiction movie was released called Metropolis.
This is seen as the classical stage as it managed to capture the optimistic and advanced technology of the speculated future. They used mise en scene heavily within the trailer as this is a great connotation that the film is set in the future as the machines shown in the trailer would have been very impressive and absurd in 1927.
The next trailer that features the experimental stage is Stanley Kubrick's 2001: A space Odyssey released in 1968.
This film began a new era of Sci-Fi as the experimental idea of space and an achievable future appealed to a mass audience. So much that it gave new life to the genre and is the reason why Sci-Fi is so popular today. The film speculated the future of space travel and landing on the moon which since has became somewhat of a convention of science fiction.
Thirdly there is the parody stage Austin Powers is a well known parody with elements from the Sci-Fi genre.
Austin Powers International man of mystery (1997); This movie uses bizzarre technology often seen in Sci-Fi movies set in the future but in this film set in the 1960's. It then moves on and features a large number of other absurd scenes and weapons.
The final trailer applies to the deconstruction stage the well known 007 series, a high action fast paced movie.
Thursday 13 November 2014
Rick Altman and the three pleasures
Rick Altman suggested that each genre within film offers the audience "a set of pleasures" these are generally defined by the media language within the product for example, semantic elements and codes within a western are conventionally guns, horses, landscapes and stars like Clint Eastwood or John Wayne. As well as the semantic approach he also said they could be defined by syntactic elements too by using ideologies and narrative.
He declared that there are three main pleasure within film.
The first would be emotional pleasures; this is where the pleasure offered to the audience of genre films are significant and generate a strong audience response, this causes controversy and passion.
The next is visceral pleasures, this response is defined by the films stylistic construction and elicits a physical effect upon its audience, for example a feeling of revulsion, kinetic speed or a roller coaster ride.
The final pleasure is intellectual puzzles as particular genres such as thrillers offer the pleasure of mystery or puzzle for the audience to speculate. This pleasure is derived from trying to decipher the plot and forecast the ending.
I aim to apply the intellectual puzzle pleasure to my film trailer as it is a convention of most trailers as they are supposed to hold some form of mystery for the viewer as the plot should be briefly established.
A film that applies to the emotional pleasure would be Gone Girl:
A film that applies to the visceral pleasure would be Avengers Assemble:
A film that applies to the intellectual puzzles would be Now You See Me:
He declared that there are three main pleasure within film.
The first would be emotional pleasures; this is where the pleasure offered to the audience of genre films are significant and generate a strong audience response, this causes controversy and passion.
The next is visceral pleasures, this response is defined by the films stylistic construction and elicits a physical effect upon its audience, for example a feeling of revulsion, kinetic speed or a roller coaster ride.
The final pleasure is intellectual puzzles as particular genres such as thrillers offer the pleasure of mystery or puzzle for the audience to speculate. This pleasure is derived from trying to decipher the plot and forecast the ending.
I aim to apply the intellectual puzzle pleasure to my film trailer as it is a convention of most trailers as they are supposed to hold some form of mystery for the viewer as the plot should be briefly established.
A film that applies to the emotional pleasure would be Gone Girl:
A film that applies to the visceral pleasure would be Avengers Assemble:
A film that applies to the intellectual puzzles would be Now You See Me:
Tuesday 11 November 2014
Narrative structure within the trailer for Chronicle
I am going to be looking at the narrative structure within the trailer for the movie Chronicle and how the trailer is used to represent and establish the plot. The opening scene o the trailer shows the three lead characters, a this point they are represented as the protagonists. It shows three teenage guys driving a car and singing along to the radio as they have fun and laugh. This instantly establishes the audience and direction of the film as by these first few seconds show the theme and style of the film as it is fun and aimed at a teenage audience. Regarding narrative theory, more specifically Tzvetan Todorov's narrative structure this has established the equilibrium as there has been no sign of disruption.
The next scene establishes the setting for the film and clarifies both the target audience as well as the age of the characters as the trailer shows a college campus then pans to a group of cheerleaders. The reason for this is due to teenage stereotypes of teenagers and sex. Relating to Roland Barthes these are displays of semic code as these scenes connote the setting and theme of the film.
The trailer then moves past the point of disruption due to an event within the movie as one of the characters stabs the other in the hand with a fork. The way this is portrayed is something like a dare as the character that is stabbed seems to be compliant. As he stabs him the fork bends an the characters and is fine, they all laugh about it. This instantly triggers Roland Barthes narrative code but more specifically enigma code as the reason behind the characters powers is hidden creating intrigue.
The trailer continues to use the enigma code as it display a series of comical events where hey use their Powers in entertaining ways. The way they use the cinematography is meant to create a sense of confusion later within the film as the audience would assume the boy holding the camera, as the film uses found footage for various shots He wold the be the main character, the protagonist however he quickly is presented as he becomes the antagonist as the disruption is then seen as them developing their powers.
During the trailer they talk briefly of their powers, this connotes that they must have recently got them a they are trying to explain it and develop their powers. The series of scenes where they are playing with their powers begins to link to Levi-Strauss and binary oppositions as they soon find themselves choosing/ struggling to right and wrong, funny versus cruel and many more. The antagonist, who was seen as the main protagonist at one point; faces lots of binary oppositions within the trailer as he becomes power hungry and loses his friends this creates the conflict of power or friendship.
The trailer then begins to reach the climactic point within the film, known from Todorov's theory as the conflict. As Andrew the recently established antagonist has became corrupt and power crazy as the protagonist try to stop him. The scene that shows Andrew crushing a car with an angry look on his face this connotes his recent role. The montage of climactic scenes of violence and explosions are voiced over with numerous characters shouting at Andrew telling him to stop and warning him.
The trailer then rewinds to show the initial disruption as it shows the scene of where they initially got their powers. And then Ends, within the trailer their is no new equilibrium as is a convention within film trailers as this would show how the film would have ended, for example the hero would have clearly won. However with this films, since their are so many perspectives and potential protagonists it is much less clear to who would have won creating a great sense of suspense for the audience. Overall, the narrative structure of the film would be that of a circular structure as it goes from various points of the film, end to beginning as the trailer rewinds.
The next scene establishes the setting for the film and clarifies both the target audience as well as the age of the characters as the trailer shows a college campus then pans to a group of cheerleaders. The reason for this is due to teenage stereotypes of teenagers and sex. Relating to Roland Barthes these are displays of semic code as these scenes connote the setting and theme of the film.
The trailer then moves past the point of disruption due to an event within the movie as one of the characters stabs the other in the hand with a fork. The way this is portrayed is something like a dare as the character that is stabbed seems to be compliant. As he stabs him the fork bends an the characters and is fine, they all laugh about it. This instantly triggers Roland Barthes narrative code but more specifically enigma code as the reason behind the characters powers is hidden creating intrigue.
The trailer continues to use the enigma code as it display a series of comical events where hey use their Powers in entertaining ways. The way they use the cinematography is meant to create a sense of confusion later within the film as the audience would assume the boy holding the camera, as the film uses found footage for various shots He wold the be the main character, the protagonist however he quickly is presented as he becomes the antagonist as the disruption is then seen as them developing their powers.
During the trailer they talk briefly of their powers, this connotes that they must have recently got them a they are trying to explain it and develop their powers. The series of scenes where they are playing with their powers begins to link to Levi-Strauss and binary oppositions as they soon find themselves choosing/ struggling to right and wrong, funny versus cruel and many more. The antagonist, who was seen as the main protagonist at one point; faces lots of binary oppositions within the trailer as he becomes power hungry and loses his friends this creates the conflict of power or friendship.
The trailer then begins to reach the climactic point within the film, known from Todorov's theory as the conflict. As Andrew the recently established antagonist has became corrupt and power crazy as the protagonist try to stop him. The scene that shows Andrew crushing a car with an angry look on his face this connotes his recent role. The montage of climactic scenes of violence and explosions are voiced over with numerous characters shouting at Andrew telling him to stop and warning him.
The trailer then rewinds to show the initial disruption as it shows the scene of where they initially got their powers. And then Ends, within the trailer their is no new equilibrium as is a convention within film trailers as this would show how the film would have ended, for example the hero would have clearly won. However with this films, since their are so many perspectives and potential protagonists it is much less clear to who would have won creating a great sense of suspense for the audience. Overall, the narrative structure of the film would be that of a circular structure as it goes from various points of the film, end to beginning as the trailer rewinds.
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