media

1. Unit 10: fictional film codes and conventions
Horror
The codes and conventions of the horror genre are very typical and
repetitive along the genre; all featuring things like jump scares, eerie
soundtracks, low-key and dark lit lighting etc. The typicality of this is
what appeals to the horror audience as they seek the thrill and the
chills from it. From analyzing the two films, Insidious (2011), and I.T
(2017), we can clearly look at how the narrative and stylistic codes
and conventions and the main characteristics of a horror film are
presented. The theory created by Steve Neale suggests that the
reason behind a genre is ‘repetition and difference’. He believes the
audiences seeks familiar characteristics in a genre, which is what
leads the audience to like a certain genre as they see recognizable
traits in horror films – jump scares, the chase etc. However, they still
appreciate the difference of storylines in the similar films as this is
what makes the film unique and interesting but still fitting to what
they enjoy. This theory can be clearly recognized in both Insidious
and I.T.
First of all, Insidious is a fantastic example of a generic horror film
that matches all the normal stylistic characteristics of the genre. The
main theme of the film is a family being haunted by demons, and the
suspense of what these demons/ghosts are is built up greatly until at
least half way into the film. This suspense is built so massively, firstly
through the use of sound. The soundtrack is used to build up an
unshakeable feeling for the audience and it creates a very specific
atmosphere for the scene. As an audience we can usually tell
something is coming when eerie sounds start to play or get louder,
and this is used to scare us and build tension.
For example, in this scene the song ‘tip toe through the tulips’ starts
playing randomly on a record player in their house. This is diegetic
sound, as the character can hear it and it is obvious by the look on
her face she doesn’t know where this music is coming from. The song

2. is incredibly creepy due to the context of the film and the high
pitched, repetitive voice it is sang in. Later on in the film, when the
main character is sent to ‘the further’ where all the tortured souls
live, this song starts playing again. This alerts the audience and they
remember it from the prior scene, which makes the atmosphere
really unsettling with the realization these demons have always been
there. This isn’t the only example of the use of music in Insidious that
connotes to eerie and threatening music; the screeching high pitch
of violins creates such an uncomfortable and unsettling atmosphere
for the audience that it amplifies the horror.
The whole of the films mise en scene is presented so dark and
miserably through the use of the low key lighting that is used – this is
another stylistic code. It is consistently filmed in dull, grey lighting
even when it is day time. This portrays the whole film as being sad,
dreary and Using all of these shadows and darkness can give the
effect that something can pop out of nowhere at any time, which
leaves the audience on the edge of their seat. Insidious relies on this
low-key lighting so that when one of the demons/ghosts come out it
intensifies the shock that the audience receives. This follows the
stylistic codes and conventions of horror films as it is meant to make
the audience feel nervous and terrified the whole way through, the
use of no bright and happy scenes keep the audience in that dull
state and to remain mystery.

3. The use of props in this film is also very important as the rattling
door handle and the long drawn out creak of doors are a consistent
theme in this film. It scares the audience and gives the audience an
idea of what’s happening (the demon trying to get in) without telling
us. The intense rattling presents urgency to the audience and that
the demon is going to come in. Rather than a jump scare, this builds
fearful suspense as we don’t know what’s behind the door but we
know somethings coming.
Similarly, the stylistic codes and conventions of horror are closely
followed by lighting and the props in I.T. Arguably the most iconic
scene in I.T and horrors in general is the drain scene, where we first
meet I.T as he lures Georgie down the drain. It first of all is very
noticeably a horror film due to the fact there is an evil clown in it,
and clowns are very closely linked to horror and Halloween; clowns
are also a worldwide fear. It identities the genre of the film straight
away. He is firstly presented as he comes out of the drain, only half
of his face and glowing eyes being shown which leaves mystery for
the audience. The lighting is very important in this scene as it is
responsible for creating the audience’s response by leaving the
mystery and building the suspense. The conversation between I.T
and Georgie is dragged out as it is the central focus of the film, and
as an audience we can feel the conversation growing creepier and
violent. This is intensified by the point of view shots from both

4. Georgie and the killers side; these type of shots is commonly used in
horror films where we are put in the shoes of the character to
simulate their horror.
One of the main props throughout I.T is the red balloon that
infamously follows the clown around. It symbolizes his presence and
that something bad is about to happen, along with the catch phrase
“you’ll float too”. We see scenes such as Ben getting beaten up only
to have a car just drive with a red balloon in it and Beverly’s father
not seeing the bloody bathroom Pennywise makes. This theme of the
balloon prop fits in with the use of the main killer being a clown, and
ultimately links back to the theme of children being Penny Wise’s
target as they’re the weakest and vulnerable. The re-occurring
theme of children in horror films amplifies the audience’s fear, due
to the vulnerability and innocence of children; this links in with
insidious, which features the main character who gets possessed
being a child, and that child having to be saved from the demon.
These two films follow the common codes and conventions of horror
films as the innocence of children is a popular theme used to
enhance the vulnerability and inability to escape from the terrifying
situation. It also increases sympathy from the audience more greatly
because we tend to pity and want to help children, animals and old
people more than adults.
The setting is filmed in a small town, a very repetitive location being
the sewers and the river linked to the sewers. This is used in both
insidious and I.T – the place where the demon/killer resides is a
popular location. However, some of scenes are filmed in broad
daylight and pictures the children being happy and having fun, even
though they’re figuring out how to kill this evil clown. In comparison
to insidious, which is filmed in a permanent state of low-key lighting
and mystery, this doesn’t follow typical horror film codes and
conventions. However, it could’ve been done as a major contrast to
the scenes which are dark and evil, therefore emphasizing the fear

5. and darkness of the scene due to the audience watching previously
happy scenes.
As we can tell, both films are especially recognized as the horror
genre, both using a range of the stylistic codes that are repetitive
and effectively pleasure the audience throughout the genre. This
follows Steve Neal’s theory, as both of these films have a lot of
similarities e.g. the low-key lighting that casts shadows on the villains
face, the theme of children, the use of non-diegetic and diegetic
sound to amplify the horror of a certain scene. The horror genre is
represented through cinematography as well as props and
symbolism in these specific films, and follow the expected codes
from the audience quite well.
Narrative codes and conventions
As well as the stylistic codes and conventions that use special effects,
sound and cinematography to shape the genre of a film, there is also
the narrative codes and conventions that are used to form the
structure of the film. The theorist Tsetzvan Todorv suggests that
narratives will have structurally have a beginning, a middle and an
end through five different sections: equilibrium, disruption by an
event, recognition disruption has taken place, an attempt to repair

6. the disruption, and the return to equilibrium. This is a common
pattern that can be recognized in horror films and displayed in
Insidious and I.T.
It can be debated that most horror films adapt to this structure and
there is evidence that I.T and Insidious both follow a similar pattern.
They both include a disruption of equilibrium – e.g. in I.T Georgie
going missing and numerous children evidently being killed, and in
Insidious the haunting of their house which leads to their son being
comatose and possessed. Both of these disruptions are caused by
murder and possession, which are both popular horror genre tropes.
Recognition and an attempt to repair are significantly evident in I.T,
being the main part of the story – this is when the children figure out
why lots of other children are going missing and being killed, such as
Georgie, and set out to the sewers where they try to kill the clown.
Similarly, in Insidious, the recognition of the fact their son is being
possessed leads them to hire an exorcist and ghost hunter to come
out to cleanse and save him.
The two films also both give some evidence towards a return to
equilibrium, like the case being solved, or peace again etc. In I.T the
children manage to kill the clown and rid him for another 27 years
until he grows enough strength to return, which gives the audience
the pleasure of a good ending for the characters but also leaves
them on an unsatisfactory cliffhanger knowing the evil clown isn’t
gone for good. There is also an adaptation of equilibrium in the film
Insidious, as the demon is rid from the son and he is rescued,
however a different demon is transferred to the father and we are
left on a violent ending where he kills the ghost hunter.
These films could be seen as subverting from the narrative
conventions due to these endings, as rather than closure for the
audience we are almost left with a lingering sense of unsatisfaction.
This technique of not granting full equilibrium is common in the
horror genre as since it’s horror, a happy ending would technically

7. not be following the standard codes and conventions of the
mysterious and terrifying themes. These ‘open’ endings leave no
definite solutions for the audience, and are commonly employed in
horror films because they don’t give the audience the reassuring
closure they want.
Another popular narrative feature of the horror genre is the ‘Binary
Oppositions’ theory by Levi Strauss. He said that binary oppositions
are a pair or related terms or concepts that are opposites in
meaning. Binary opposites are used quite frequently in films. These
binary opposites create a plot for a film, for example, a hero and a
villain (good and evil) creates a storyline where the hero attempts to
defeat the villain. Binary opposites have been said to create a
‘balance’ in the world. For example, if there were no evil in a horror
film, there wouldn’t be a horror storyline. This narrative feature is
popularly used in horror films as it forms the general plot line of the
fight between good vs evil, human vs supernatural etc. and it’s what
gives the horror genre an actual storyline. The narrative codes and
conventions of the horror genre are used to structurally build the
film and storyline.
Action
The action genre also gives us an excellent opportunity to analyze
the stylistic codes and conventions, due to it being so
distinguishable. By looking at two recognizable action films
‘Guardians of The Galaxy’ 2014 and ‘Wonder Woman’ 2017, we can
clearly establish the generic and conventional stylistic features.
Action films always have fast moving plots, usually containing
violence and adventure. They mostly consist of heroes (‘the good
guy’) who are put against challenges that pose serious threat, war
and death etc. This threat creates the plot line of the action genre
and is ultimately what grips the audience.

8. Guardians of the galaxy is a classic example of the fast-paced plot
line which always keeps the audience gripped, as something is
always happening. All the fighting and action scenes in the film are
edited so that there is an incredibly smooth and fast paced rhythm to
them.
For example, in this scene 3 different characters are fighting over a
precious object and as an audience we easily can interpret it is
intense. The editing shots are taken from a range of different angles
and are all edited together so quickly and smoothly that they are
seamless. These editing cuts reflect the quick pace of the fight,
almost mimicking how fast and surreal everything is. There is a fast,
thrilling soundtrack which almost mimics the sound of an incredibly
fast heart beat with low sounding violins – this is a popular type of
music in the genre as it amplifies the intensity of the action and
chase; it creates a more on edge excitement for the audience, and
from the music playing they can interpret its going to be a significant
scene which causes an immediate response of thrill. There is also a
lot of editing of sound effects, such as punching noises, running, gun
shots etc. This represents the stylistic codes and conventions,
following the fast-paced events and shots that relate to the
connotations of action and adventure.
The shots took in Wonder Woman are also done very skillfully. For
example, in this next reference, we get a slow motion, front facing

9. view of Diana smashing straight through a glass window with her
shield. Because it’s a wide front facing shot, we see her burst
through the glass as all the shards of glass come towards us. This
angle they’ve shot the scene from emphasizes the action so much, as
it’s as if we as an audience are actually in front of her. The use of
slow motion in action films for intense scenes is significant because it
opposes the actual fast-moving, thrilling situation and demonstrates
how important the use of editing is. Even though it subverts from the
typical codes and conventions of a fast paced fight and action, the
slow scenes are used to contrast against the rest of the fast and
sharp scenes. Ultimately it adds a great spine chilling effect for the
audience.
Another example of stylistic codes and conventions in action is the
use of props in the mise en scene. In action, it can very frequently be
cross bred with other genres like sci-fi and superhero. These genres
are individual, but also contribute greatly to action. The props that
are repetitively used in action include guns, weaponry, scientific
weaponry (etc. new world technology), character types, clothing and
makeup. Props and setting ensure the audience is aware of the
atmosphere and period of time that the film is set in. For example, in
Wonder Woman the use of weaponry, armor and powerful

10. technology that the women possess’ add to the action aspect
incredibly and remind us it is a dystopian world mixed with our
normal world. Action films are also very typically set in urban places
and cities – locations which are quite busy and full of buildings etc.
This is because the damage caused to a city is much greater and has
much greater impact than what you could do fighting in a country
side. The view of skyscrapers and buildings also give the audience a
better sense of how fast the characters may be rushing or flying
through the town, and a fight in the middle of New York city would
contrast and look much more dangerous than a fight in the middle of
a park. The use of Wonder Woman’s metal armor and protective
shield in this reference photo all indicate towards fighting and action,
which follow the typical codes and conventions of this genre. Setting
and props are very important to portraying the genre and characters
well.
The lighting used in the scenes in the guardians of the galaxy is
almost always bright, colorful and vibrant. An action film is not
meant to be dull and thrilling in a scary way it is meant to rile up and
excite the audience, which is why the use of color, the look of
expensive costumes and CGI is very important. This all still fits in with
the mise en scene. For example, even this explosion is colorful and
more exciting than a normal orange fire. As well as making it look
bright, intense and vibrant for the audience, it is also done as most
action films are Hollywood films, and feature in the cinemas. The
effects down to the smallest details need to be utilized for it to be of
the highest quality at a cinematic experience.

11. Narrative codes and conventions
In action, aside from the incredible CGI, costumes, props and editing
that forms the fast-paced beat of the film, there is also the narrative
structural features and expectations that the genre has to uphold to
shape the film. In action, there is always usually a predictable chain
of events that will include a war, a fight or some kind of chase. This is
what the film builds up to the whole way through, and is usually the
most expected but highest point of the film from the middle to the
end. This usually always needs to happen in an action film, as the
whole genre is based around adventure and a fight, and it will be the
main point of thrill the audience is looking for from the genre. For
example, in Wonder Woman the whole film is built around Diana
helping the British side win the war, and it all eventuates down to
her fight with the villain who is discovered to have orchestrated it all.
As the audience, we always know and expect a big scene at the end –
this is due to the structural form most action films follow as it is an
important and common narrative feature, and without this
repetition of events throughout most action films, the genre would
cease to exist. This links in with Steve Neale’s theory of repetition
and difference throughout genres – the repetition is the chain of
events and way action films are structured so that the audience
know there is a big war/ action scene coming, and the difference is
the fact characters are all made differently and each films features
different, unique plotlines.

12. Another common narrative feature, is the humorous dialogue and
the romantic sub-plot that usually comes with action films. These are
used to give the audience an extra storyline they can follow, as well
as the action; the writers do this because too much action and
seriousness may bore the audience, especially due to most
superhero films target audience’s being fairly young. This, alongside
the humorous dialogue from usually the character of the “side kick”,
helps to structure more than just an action filled storyline.
Both films, Wonder Woman and Guardians of the galaxy, have a
romantic sub plot involving the two female and male leads;
Guardians of The Galaxy also has the two side characters, Rocket and
Groot (refer to reference), who play into the role of the comedic
characters especially well. The fact they are also fighting on the same
team as the main characters against the evil could be seen as
comedic in itself, as they are a raccoon and a baby tree. This
entertains the audience for the most parts where they need to be
amused, and the partial light heartedness softens and allows the
audience to relate, instead of them being swallowed by too much
fighting to the point where it doesn’t thrill them anymore. The subtle
sub plots also suck the audience into the storyline more, as an
unbalance of action to humor could remind them it’s only a film;
whereas adding human emotion into the plot lines keeps them
gripped and can diffuse on edge situations.

13. We can also apply Vladimir Propp’s narrative theory towards both of
our films for the character archetypes that are repetitive and always
clear in action films. These character types are used because they are
a typical set of characters which have repetitively been
demonstrated that engage the audience. The character types
suggested are:
1. The villain – Fighting against the hero, trying to harm the
‘princess’
2. The donor – Gives the hero something that helps them prepare
for what is to come.
3. The helper – Assists the hero, often referred to as the ‘sidekick’
4. The princess – Usually the character in some sort of danger,
the victim within the narrative who needs help.
5. The dispatcher – The character who sends the hero on their
quest.
6. Hero – Reacts to the donor and saves the princess, usually the
romantic sub plot involves the hero and princess falling in love.
7. False hero – appears good but has an ulterior motive.
In Guardians of the galaxy we can easily identify the characters, the
Hero is ‘Quill’, The false hero and the villain is ‘Quill’s dad’, the helper
is Rocket’ aka the sidekick etc. However, the conventions are
subverted due to female lead also being a secondary hero, and not
the princess but her and Quill still have a romantic sub-plot.
However, this is reversed in Wonder Women, where Diana features
as the ‘hero’ but her male partner could fit the ‘princess’ archetype.
This is because he is the one she is helping, and they develop a
romantic sub-plot. This is a huge subvert from typical narrative codes
and conventions, as the princess character type is hugely recognized
as a female role due to the gender stereotype of women needing to
be rescued by a man. This has been done because Diana is the hero,
and her rescuing her male partner and the whole British side of the
army enforces such a powerful and dominant view of her which links
directly into the action genre; without this she wouldn’t have been
seen as the powerful heroine.