Sunday, 16 November 2014
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.
Wednesday, 22 October 2014
Tzvetan Todorov and narrative structure
Todorov proposed that all forms of narrative (live performances, books, film ect) contain five fundamental stages. The first been the state of equilibrium, this is conventionally the world that is established within the beginning of the film and how the protagonist is represented to the audience.
Then there is the disruption, this disrupts the balance between the protagonists equilibrium causing a chain of events that will be used to establish and advance the narrative. During the disruption there will be the recognition that the disorder has occurred this is often a symbolic or verbal code as the protagonist realises the disorder. This is followed by an attempt to repair the damage of the disruption creating a solution and in film this often around the second half of the film as it is often more entertaining. And finally the stage of restoration seen as the new equilibrium where the protagonist has resolved the disruption and found a new balance thus creating a new form of equilibrium.
How I plan to use Todorov's narrative structure within my product,
Then there is the disruption, this disrupts the balance between the protagonists equilibrium causing a chain of events that will be used to establish and advance the narrative. During the disruption there will be the recognition that the disorder has occurred this is often a symbolic or verbal code as the protagonist realises the disorder. This is followed by an attempt to repair the damage of the disruption creating a solution and in film this often around the second half of the film as it is often more entertaining. And finally the stage of restoration seen as the new equilibrium where the protagonist has resolved the disruption and found a new balance thus creating a new form of equilibrium.
How I plan to use Todorov's narrative structure within my product,
Wednesday, 15 October 2014
General Plot/ Synopsis
My trailer will feature the protagonist, seen as an outcast and strange as he has presumed physiological issues as he hears voices in his head, which when acknowledged lead him to the disruption (related to Todorov's theory). He takes medication to prevent the voices until one day the bullies discard his medication leaving the voices in his head very loud and irritating causing him to react during a lecture and making him aggravated and run out of college and keeps running until he realises the voices have stopped as they guided him to the ring (disruption). He equips the ring to then black out and somehow wake up in his bed the next day. Heads to college but misses the bus as he notices he no longer needs to wear his glasses and he doesn't hear any voices. As a result of this he begins to run to college and unknown to him teleports to college. With this new found mystery he begins to document his abilities until one day he is confronted and chased by the antagonist who has recently began tracking the ring as his farther had been tracking it for years and failed as he died due to an illness. The protagonist realises how serious and deadly the antagonist is as he captures the protagonists best/ only friend. He then gives up the ring to the antagonist to then see he uses it for evil and self gain. After a short while the protagonist regrets giving the ring as it is been miss-used. The voices then come back
Wednesday, 1 October 2014
Treatment
Treatment
My concept is to create a trailer that represents the sci-fi
and action drama. To do this my trailer will have a range of paces, starting
climactic and slowing down towards the end. To do this I plan on having the
trailer start/ portray the later stages known as the disruption and then
suggesting the equilibrium towards the end as it rewinds, much like the
Chronicle trailer at 1:46.
The beginning of the trailer will feature the protagonist in
a beaten and bloody state then featuring a flashback of some key scenes within
the film that capture the general plot. I may even feature a rewind instead of
a flashback as this may look more effective as well as help establish the
story by including a female interest it will help establish a sub plot. The trailer will also feature the protagonist’s current equilibrium of
being bullied and seen as a misfit and outcast. This is due to alleged mental
issues however these voices lead him to a ring that grants him powers (Much like Steven from The Tomorrow People).
I shall
have a narrative within the trailer of an older figure saying that the ring
chose him as this helps represent the protagonist’s role as a hero. Similar to the scene within the Flash trailer at 0:40 seconds.
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