dgsfbshrttshgf

1. Fictional Film Codes and Conventions
Crime genre
I have chosen the crime genre. The two films I have picked are The Silence of the Lambs (1991)
(TSOTL) and Seven (1995) I’ve chosen these movies as they are both iconic of this genre.
Section one
There are a lot of stylistic conventions of the crime genre; conventions which are cemented into the
crime genre. Genres are instances of repetition and difference; this is creates a target audience.
This was suggested by Steve Neale.
EVALUATE – WHAT IS THE EFFECT ON AUDIENCE? HOW IS THIS EFFECTUVE IN TERMS OF THE AIMS
OF THE GENRE?
One convention of this genre is setting. Crime movies mostly take place in a city or suburbia. This
instantly derives tension as it makes the threat relatable. In Seven the location is almost its own
character; the city isn’t named in the movie but this allows the setting to be more sinister. The city is
always raining. This could be pathetic fallacy where the weather mirrors the narrative. In the film we
are shown police investigations which have nothing to do with the main narrative but it shows the city
is a place of crime. There are newspapers with headlines which show the horror of the city. This gives
depth to the city and makes it feel lived in; also it may even suggest why the killer is doing what he is
doing. In the silence of the lambs the setting is more realistic than in seven, this makes the silence of
the lambs seem more realistic than seven which makes it more terrifying and relatable for the
audience.
Also; another convention is justice vs injustice, often mind games. In TSOTL Hannibal is playing mind
games throughout the narrative. He is constantly the one with the information and is constantly one
step ahead. Whilst re-watching the movie you can see the steps to his plan to escape play out. In
Seven John Doe is constantly one step ahead of our hero’s. This convention creates tension in a crime
movie. Both movies use this convention and so does other crime movies like Prisoners. I believe when
compared these movies use the convention differently. In TSOTL in is Hannibal who’s one step ahead
and he isn’t the main antagonist. However, in Seven it is John Doe who is one step ahead at all times;
I believe seven uses the trop more effectively as it is literally justice vs injustice. This convention, and
its use in the movie, makes the audience root for the protagonists and that they find the killer.
For props of the genre I argue it’s not the prop its self which is linked to the genre, it’s the meaning
behind the prop. In TSOTL one now infamous prop is Hannibal’s mask. It suggests mystery (which
links to genre) and covers his face which dehumanises his character. In seven Summerset has a
pendulum swing which shows that he is methodical; he thinks before he acts. This links to his
character being a by the books cop which is a genre convention.
All these conventions link directly with the target audience. The target audience will be primarily male;
women would also appreciate these movies. Especially TSOTL as it has a strong female lead. However,
the target audience will be primarily male and will enjoy the mystery aspects. They watch the genre to
try guess the mystery themselves and both films invite their audience to crack the case with hero’s. In
addition, the target audience will always side with the hero’s, since both movies are very clear about
good vs bad the target audience would enjoy siding with the hero’s and rooting for them.
One stylistic convention used in both movies is low key lighting. Low key lighting ads mystery as it
shows something hidden in the darkness. This ads mystery and tension which is what the target
audience want. Both films use it. For example, in TSOTL when Hannibal escapes he leaves the body of
the guard in and low key lighting is used.

2. Leaving the body in this position is reminiscent of the moths that Buffalo Bill uses. This links Hannibal
to Buffalo Bill as they are almost two sides of the same coin which links to the false hero character
type.
In seven low-key lighting is used to hide the identity of the killer. This will add to the mystery
element and further perpetuates the good vs evil in the movie which is a genre convention. Low key
lighting is used in both silence of the lambs and seven and other thrillers making it a genre
convention.
This shot also is a low angle shot; it has the killer out of focus in the background, this ads to the
hidden identity convention of crime movies. The gun is in the foreground of the shot and is in focus
which further ads to the dreed of the scene. Furthermore: the shot uses the rule of thirds as the gun
is positioned in the left of the shot and the figure is to the right.
To compare these uses of low key lighting; they both use the lighting to show the power these
antagonists have. However, they differentiate in their intent. In Seven John Doe shows power but also

3. restraint as he doesn’t kill Miles. But in TSOTL it is showing power and pride of what he’s been able to
do.
Furthermore; like seven TSOTL uses low angle shots to make the villain seem more powerful and that
they have the power in the situation. This makes the audience feel threatened by the villain. This is a
stylised shot used in other crime movies like Prisoners. It’s a well-used shot as it makes the audience
feel that the villain is dominant and this is used in both movies. In addition, these images are even
framed the same. Making use if the rule of thirds to frame the subject to be dominate and take a lot of
the screen up. This makes the audience know his power.
Seven scene https://www.youtube.com/watch?v=1giVzxyoclE&t=28s
In the final act of Seven we get a scene which summarises how seven is a part of the crime genre.
There are shown exterior establishing long shots of the new location (bright desert which contrasts
from dark city) as loud none diegetic music plays as they are led by John Doe. The music shows that
John has power. When they arrive at the location the music stops as the characters believe they are in
safety. John is on his knees suggesting he doesn’t have the power. Miles even stands above him to
reinforce this point. When the box arrives and is being opened it’s in a close up shot showing its
importance, also there is little sound. Over punctuated sounds of the knife, the box and helicopter to
build suspense as it’s a stark contrast to the loud score. When Summerset opens the box, he steps
back in shock and we get a close up of him then switching back to the box. The music kicks in again
as John has the upper hand again. John then starts to explain and he is shot from below showing his
power. During this Brad Pitt is shot with a hand held camera, this shows he is unstable. Kevin Space’s
character is shown with a low angle shot to show he is the dominate one. Also the light (back lighting)
creates a halo around his head which foreshadows that he is about to fulfil his religious act. John Doe
is being shot with a still camera creates a contrast to Mills being shot with hand held camera and
shows John Doe is in control. Miles steps to John and points his gun on his face, mirroring the previous
shot when John had his gun on Miles. But when John was in control with his gun, Miles is hysterical
showing that John is still in control.

4. https://www.youtube.com/watch?v=QU8jKn7sMwU Silence of the lambs scene
In the silence of the lambs Hannibal is the binary opposite to Clarice; the director (Jonathan Demme)
needed to create a power dynamic between the characters, also to show that Hannibal is a both a
threat and helper to Clarice. He does this in the short lead up and the introductorily scene to Hannibal.
He does this by creating audience expectation. Before we see Hannibal Crawford and other charters
say what he’s done and sets the audiences expectation of the psychopath. When Clarice is walking to
his cell the camera movement is a Steadicam and there are lot of cuts whilst we get an explanation of
a terrible act he’s done. This makes the audience feel unconfutable and sets the audience expectation.
As Clarice walks to Hannibal’s cell it’s a steady-cam and shows three other prisoners, each escalating
in insanity as she walks up the corridor. This shows that Hannibal must be the evillest an insane one
in the asylum. The first time we see Hannibal he is standing politely; this shatters the audience’s
expectation as the. In the scene the camera flips from back to forth. It flips between over the shoulder
shots of Hannibal and Clarice; this shows they both have their guards up and that its going to by a
psychological battle. Hannibal then says “come closer” and she steps forward; she obeys him showing
an instant power dynamic. The camera continues to flip back and forth but now the characters are
staring into the lenses in close up shots; this means when the camera flips between we are switching
from their perspectives. Staring into the lenses instantly shows the characters as binary opposites but
also equal; furthermore, it shows them at odds with each other. Hannibal starts the first attack with
asking about her FBI id card and the camera switches back to the over the shoulder shots. Clarice is at
a slight angle; we are looking down at her and up at Hannibal showing the power dynamic. Hannibal
has the power over Clarice. The camera switches between close up of Hannibal looking into the
camera and over the shoulder shots of Hannibal looking down at Clarice. Since Hannibal is looking into
the lenses (Carice’s perspective) and Clarice in the over the shoulder is looking away from the lenses
it shows she’s unconfutable. Shots from her perspective show the art of Hannibal’s set but then pans
back into the close up of Hannibal to re-enforce this point. However, the camera again goes for a close
up of Clarice when she is getting the information she wants; she is almost in control now. We then get
a close up shot of the survey she has given to Hannibal showing the props importance in the scene.
Then the previously still camera starts to dolly in on both charters. On Hannibal the camera moves
close and ends still on his close up but in Clarice’s dolly the camera moves till she is of centre and
shows her unconfutable in a unconfutable shot. Hannibal then ends the convocation and turns his back
on her walking away, this shot is mirrored in Carice as she walks away. However, Hannibal then
shouts her back and gives her the information she needs and the characters are shown in the same
shot for the first time. This shows that although they are at odds they can come to a compromise. In
conclusion this scene is a perfect example of the crime genre. It shows conventions of the genre like:
mind games between the protagonist and antagonist, the antagonist being the dominate one. It also
sets the tone for the movie that time is valuable as Hannibal shouts “go now” which is a convention of
the crime genre which fans of the genre (target audience) want to see.

5. Section two Narrative
One narrative convention of the crime genre which both films comply to is the hostage/ countdown to
next victim convention and the editing techniques used. This is in both as in TSOTL we see scenes
through the film with Buffalo Bill’s hostage and each time we see her she is in a more desperate than
she was previously. This makes growing tension as time is limited. In Seven we know the murderer is
going to have 7 victims by the end. This convention gives a layer of tension to the movie as the
audience know the hero/hero’s need to solve the case as soon as possible. This convention of limited
time till the death of the innocent creates increasing tension throughout the film. This will intrigue the
target audience as they want to 0see genre conventions. Since both movies use this convention a
comparison can be made; in silence of the lambs since we see the victim coming closer and closer to
death whilst our protagonist is getting closer to finding Bill the tension increases throughout the
movie. However, in seven we don’t know the killer or how close he is to killing so in Seven it’s more a
shook than a rise in tension. This is in line with how the genre is meant to make us feel; however,
since Seven is a restrictive narrative we are more shocked as we only know what our protagonists
know. TSOTL is a none restrictive narrative which creates tension through the movie as we know more
than the protagonist does.
Todorv’s narrative
Both films start in the way theorist Todorov suggests. He suggests that films start with a equilibrium
and a disturbance of this peace; then the realization of the disturbance, trying to fix this, then a new
equilibrium .
In TSOTL the film starts with Clarice Starling (Jodie Foster) training in the fib camp. The first shot of
the movie is a still shot and it remains still until you so Clarice climb up the hill. You can hear her
before you see her creating suspense. The audiences first impression of Clarice is that she is
determinant. The equilibrium is then quickly broken when she is called into to follow the case. The rest
of the movie is to try fix this disturbance and then in the final act we believe we have returned to the
equilibrium; however we get a final twist when Hannibal calls Clarice and we know he is free. In the
beginning of the movie she is training to be a FBI agent and the last scene shows her graduating and
becoming an agent which completes here character ark.
In Seven the opening shots show through mise en scene the characters personality. Morgan
Freeman’s characters apartment is clean and so is his costume; in contrast Brad Pits character is
shown to have a unclean apartment and costume showing their personality’s. The equilibrium is
broken when they find the first victim. The rest of the movie is fixing the disturbance by trying to find
hos responsible for the murders. Again however; the final equilibrium is broken by the twist when the
murderer has one last plan and Brad Pits character is shown a box but the audience isn’t aware of
what’s inside. This is a restrictive narrative and allows the viewer to only speculate “what’s in the
box”. In Seven Summersets character ark is that in the beginning he is very negative and wants to
leave the city. He is pessimistic at the begging but leaves the movie strangely osmatic. He uses the
quote by ErnestHemingway,"The world is a fine place and worth fighting for." This shows thathe is now optimistic
and he even goes againstwhathe said earlier.In the begging Summersetis seton leaving the city, but at the end he
says he’ll stay showing his change.
This is typical of mystery movies; the characters will be at first at an equilibrium (Todorov’s narrative
theory) until that equilibrium is broke by some sort of threat. Then they will have to catch the person
responsible to and the end return to a new equilibrium. However, most crime movies leave the movie
on a ambiguous ending which is narrative convention of the genre. Both films with the characters
hearing about the killer and starting an investigation (genre convention). This is the disturbance of
equilibrium. The then show the characters trying to fix this by catching the killer though police
investigation (genre convention) till they find the killer. Both films have a distorted equilibrium (cliff
hanger) which is a genre narrative convention.
Vladimir Propp

6. Propp is a theorist who is popular for is 8 characters of a folklore story; however the theory is relevant
to film. These are the characters:
 The villain: Locked in a constant struggle with the hero, often trying to harm princess.
 The donor: Gives the hero an object or a piece of information that helps them
prepare for what is to come.
 The helper: Assists the hero with their quest, often referred to as their 'sidekick'.
 The princess: Needs assistance from the hero, usually because they are in some
form of danger, typically the princess is the victim within the narrative.
 The dispatcher: Is the character who sends that hero on their mission or quest.
 Hero: Reacts to the donor and saves the princess, often resulting in them falling in
love with the princess.
 False hero: May appear good but has an ulterior motive, or attempts to take credit
for the hero's actions.
 The father: Constrains the princess, or sends the hero on a quest to save her –
protective of his daughter
Both movies follow the detective character type in crime movies. In TSOTL Clarice is a “rookie” which
is a genre convention. In seven there is a worn out, by the books cop (convention) partnered with a
new to the scene cop who doesn’t play by the rules (convention).
For TSOTL the villain is Buffalo Bill; this is because he captures a female. Hannibal could be seen as
the donor. This is because he gives key information about Bill which is true of the donor. Jack
Crawford would be the dispatcher as he puts Clarice on the case and Clarice would be the hero.
In seven Somerset (Morgan Freeman) and Milles (Brad Pitt) would be the hero’s; however, they are
binary opposites as theorist Claude Lévi-Strauss suggests. Binary opposites create tension in the
narrative as two people who are nothing alike have to solve the case. The villain would be John Doe
(Kevin Spacey). His character is a mystery until the final act. Kevin Spacey was even left out the
marketing and opening credits.
These movies are similar in structure. They both follow their protagonists (seven has two protagonists
which is how it’s different) as they try to solve a movie case with limited time before the next murder.
The use of time to create tension is used in other crime movies like: prisoners, zodiac and gone baby
gone. Its used in the genre a lot and it creates tension by making the viewer believe there isn’t time
to spare and that they must solve the mystery as soon as possible. However, the movies are different
as in The Silence Of The Lambs we know the killers identity whilst in Seven we don’t.