Postmodernism challenges conventions in media through three main theories:
1) Jean Baudrillard's concept of hyperreality makes audiences question the boundaries between fictional and real worlds.
2) Jean-Francois Lyotard's idea was to challenge dominant ideologies by critiquing how values are portrayed in media.
3) Frederic Jameson believed pastiche and intertextuality could update old ideas by creating alternative realities that commented on society.
Postmodernism challenges conventions in media by pushing boundaries and originality. It can apply to media texts in three aspects: challenging dominant ideologies, creating references to other works, and blurring reality. Genres are typically categorized rigidly for commercial purposes but can also be defined more flexibly to reach niche audiences. Postmodern theories like intertextuality encourage mixing genres and styles to engage audiences.
Social realism is a genre that aims to portray realistic depictions of everyday life, often focusing on working-class characters and social issues. It typically uses handheld camera work, unknown actors, and gritty urban settings to represent the struggles of ordinary people. Films in the social realism genre commonly deal with controversial topics like poverty, relationships, and minority groups that were not typically represented in other films at the time. The genre became prominent in British cinema starting in the late 1950s as filmmakers sought to authentically capture the realities of working-class lives on screen.
A2 Case Study - The Hunger Games - Genre, Narrative, RepresentationElle Sullivan
The document discusses the film The Hunger Games and analyzes it through various genre and narrative theories. It finds that the film has elements of several genres including science fiction, action/adventure, and drama. The film follows classic narrative structures described by Todorov and Propp involving an initial equilibrium, disruption, and new resolution. It features many binary oppositions and enigma codes that drive the plot. Most notably, the film subverts gender stereotypes through the strong female protagonist Katniss Everdeen while also exploring representations of masculinity, femininity, sexuality, and power.
This document identifies and analyzes the target audiences for the film Star Trek Into Darkness. The primary audience consisted of action and science fiction fans aged 12-35, particularly male, who enjoyed previous Star Trek films. The secondary audience were older mainstream female viewers aged 25-45 who could relate to the characters. The tertiary audience were long-time Star Trek fans aged 35-55, predominantly male, who were excited by references to the franchise's history. The film appealed to these diverse groups through its high production values, focus on spectacle, representation of appealing lead characters, nostalgic elements, and ability to foster personal connections to the characters' relationships and journeys.
Hot Fuzz (2007) is an action-comedy film directed by Edgar Wright that draws on conventions of cop films and buddy movies. It contains abundant references to other films through techniques like intertextuality, parody, and pastiche. The film uses a "hip-hop montage" during a train sequence and other postmodern film techniques. It simultaneously pays homage to and parodies cop action films while also being self-reflective on its own techniques and references to popular culture.
Postmodernism allows creators to challenge conventions and interpret their art in innovative ways. It encourages non-linear narratives and drawing from various sources and genres through techniques like intertextuality, pastiche, and bricolage. Theorists like Lyotard, Jameson, and Baudrillard analyzed different aspects of postmodernism, with Lyotard focusing on metanarratives, Jameson on intertextuality and pastiche, and Baudrillard on the concept of hyperreality.
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
This document discusses postmodernism in films. It provides definitions of postmodern films, noting they subvert mainstream conventions and break down divides between high and low art. It then outlines some key concepts of postmodern films, including simulation, prefabrication, intertextuality, and bricolage. Several conventions of postmodern films are also defined, such as pastiche, flattened affect, hyperreality, and altered states. Examples like Pulp Fiction, Kick Ass, and Avatar are analyzed in depth. The document also discusses how postmodern films aim to challenge audiences' expectations and views of reality. It concludes by mentioning some criticisms of postmodernism from thinkers like Chomsky and Callinicos.
Postmodernism challenges conventions in media by pushing boundaries and originality. It can apply to media texts in three aspects: challenging dominant ideologies, creating references to other works, and blurring reality. Genres are typically categorized rigidly for commercial purposes but can also be defined more flexibly to reach niche audiences. Postmodern theories like intertextuality encourage mixing genres and styles to engage audiences.
Social realism is a genre that aims to portray realistic depictions of everyday life, often focusing on working-class characters and social issues. It typically uses handheld camera work, unknown actors, and gritty urban settings to represent the struggles of ordinary people. Films in the social realism genre commonly deal with controversial topics like poverty, relationships, and minority groups that were not typically represented in other films at the time. The genre became prominent in British cinema starting in the late 1950s as filmmakers sought to authentically capture the realities of working-class lives on screen.
A2 Case Study - The Hunger Games - Genre, Narrative, RepresentationElle Sullivan
The document discusses the film The Hunger Games and analyzes it through various genre and narrative theories. It finds that the film has elements of several genres including science fiction, action/adventure, and drama. The film follows classic narrative structures described by Todorov and Propp involving an initial equilibrium, disruption, and new resolution. It features many binary oppositions and enigma codes that drive the plot. Most notably, the film subverts gender stereotypes through the strong female protagonist Katniss Everdeen while also exploring representations of masculinity, femininity, sexuality, and power.
This document identifies and analyzes the target audiences for the film Star Trek Into Darkness. The primary audience consisted of action and science fiction fans aged 12-35, particularly male, who enjoyed previous Star Trek films. The secondary audience were older mainstream female viewers aged 25-45 who could relate to the characters. The tertiary audience were long-time Star Trek fans aged 35-55, predominantly male, who were excited by references to the franchise's history. The film appealed to these diverse groups through its high production values, focus on spectacle, representation of appealing lead characters, nostalgic elements, and ability to foster personal connections to the characters' relationships and journeys.
Hot Fuzz (2007) is an action-comedy film directed by Edgar Wright that draws on conventions of cop films and buddy movies. It contains abundant references to other films through techniques like intertextuality, parody, and pastiche. The film uses a "hip-hop montage" during a train sequence and other postmodern film techniques. It simultaneously pays homage to and parodies cop action films while also being self-reflective on its own techniques and references to popular culture.
Postmodernism allows creators to challenge conventions and interpret their art in innovative ways. It encourages non-linear narratives and drawing from various sources and genres through techniques like intertextuality, pastiche, and bricolage. Theorists like Lyotard, Jameson, and Baudrillard analyzed different aspects of postmodernism, with Lyotard focusing on metanarratives, Jameson on intertextuality and pastiche, and Baudrillard on the concept of hyperreality.
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
This document discusses postmodernism in films. It provides definitions of postmodern films, noting they subvert mainstream conventions and break down divides between high and low art. It then outlines some key concepts of postmodern films, including simulation, prefabrication, intertextuality, and bricolage. Several conventions of postmodern films are also defined, such as pastiche, flattened affect, hyperreality, and altered states. Examples like Pulp Fiction, Kick Ass, and Avatar are analyzed in depth. The document also discusses how postmodern films aim to challenge audiences' expectations and views of reality. It concludes by mentioning some criticisms of postmodernism from thinkers like Chomsky and Callinicos.
A2 Media case study - The Hunger Games (genre)Elle Sullivan
The document discusses the film The Hunger Games and analyzes its genre. It is based on a book trilogy about Katniss Everdeen, a 16-year old girl who is thrown into a fight-to-the-death competition called the Hunger Games. The document examines the genres of science fiction, action/adventure, and discusses how the film uses techniques like handheld camera work and shallow depth of field to enhance realism, though it also contains science fiction elements like futuristic technology. Key terms discussed include genre codes, conventions, tropes, mise-en-scene, and hybrid genres.
This document provides an analysis of the political thriller film V for Vendetta. It summarizes the plot, in which V, a freedom fighter portrayed by Hugo Weaving, attempts to start a revolution against a fascist regime in the dystopian UK. Natalie Portman plays Evey, a woman caught up in V's mission. The film explores themes of revolution and fighting against oppression. It also references intertextual symbols used in the film, such as the red rose, that connect it to other genres like mafia films. Overall, the document analyzes the film through the lenses of characters, iconography, settings, narratives, and reception theory.
This document provides context and analysis of the 1974 film poster for "The Man with the Golden Gun". It summarizes the following key points:
1. The poster depicts Roger Moore as James Bond holding a gun, surrounded by enemies and explosions, hinting at the action/thriller plot. A golden gun is pointed at Bond.
2. The representation of gender shows two sexualized female bodies in bikinis but a third female is a martial artist, showing some progression. However, feminist perspectives could argue the women are still objectified.
3. The poster references the 1970s global energy crisis through images of a power plant, reflecting the film's incorporation of real world events into its storytelling
This document discusses key concepts in narrative theory, including definitions of narrative and story. It explores where narratives are encountered in everyday life and how they are structured. Common narrative devices are explained, such as openings that create enigma codes to grab attention, action codes that suggest narrative progression, and binary oppositions that establish meanings. Classical narrative models are summarized, including Tzvetan Todorov's equilibrium disruption-recognition-attempt to repair-restoration model and Vladimir Propp's spheres of action involving common character types. The concept of multi-strand narratives and differences between closed and open narrative endings are also briefly examined.
Tough Female Characters & Femme Fatales in Film & Video GamesJoanna Robinson
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
The document provides an overview and analysis of the film The Hunger Games. It discusses how the film is based on Suzanne Collins' novel and is set in a post-apocalyptic future where children are selected to fight to the death in an annual televised event. It then analyzes several ways the film can be considered postmodern, including through its dystopian narrative, use of hyperreality, flattening of viewer emotion, hybridization of genres, intertextual references, panopticon themes, and exploration of media effects on audiences. The document also provides some background on the film's production and box office success, and compares it to other genre films like Harry Potter that influenced its development of a female heroine
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
The document discusses representations of ethnicity in the BBC current affairs programme "Panorama" and the TV series "Top Boy" and "Luther".
In "Panorama", positive representations include profiles of Sol Campbell and Abdi, while a blurred face man represents criminality. In "Top Boy", Dushane and Ra'nell demonstrate both positive and negative stereotypes, while Leon initially challenges stereotypes.
Lenny Henry criticized "Luther" for not showing Idris Elba's character with any black friends or family, rejecting potential stereotypes. However, the show presents Luther's ethnicity as incidental, focusing on his role as a cop, and raises the visibility of a black lead in mainstream drama.
There are many genres of films including action, adventure, comedy, crime, drama, and science fiction. Genres are identified by conventions such as locations, props, characters, costumes, sound, cinematography, narrative, and themes. Over time, genres evolve in response to changes in society and audience tastes. For example, epic films now contain more action and focus on subgenres that audiences prefer such as biopics.
The document discusses hegemony and its application to the music industry. Hegemony refers to the power wielded by one social group over others through both direct control and gaining acceptance of domination. The document outlines Goodwin's theory on conventions in music videos and how record companies exert hegemonic control over production, distribution, and promotion of music to turn a profit. This control shapes the cultural values and popularity of artists.
The document discusses the narrative structures used in three TV programs - Luther, Top Boy, and Panorama. For Luther, it notes the show combines multiple narrative strands adhering to crime genre conventions, with morally ambiguous characters and topical issues reflecting its contemporary nature. Top Boy focuses on the hurdles faced by characters on their way to the top, using conventions like enigma and disequilibrium. Panorama aims to engage audiences through human interest stories within an overarching narrative of Campbell's investigation into unemployment issues.
This document discusses the history and key features of postmodern film. It provides examples of early postmodern films from the 1980s like Blade Runner that combined different time periods and genres. Films from the 1990s like Pulp Fiction used nonlinear narrative structures. More recent examples include horror films that parody the genre, like Scary Movie, as well as sci-fi films that experiment with time like Inception. Postmodern films often use pastiche, flatten emotion, create hyperreality, bend time, portray altered mental states, and question what it means to be human.
The document discusses various narrative theories and how they apply to Christopher Nolan's Dark Knight trilogy of Batman films. It explains key concepts like narrative vs story, linear vs non-linear narratives, Vladimir Propp's character archetypes seen in the films, and theories from Todorov, Levi-Strauss, and Barthes that provide ways to analyze the narrative structures. Examples are given of how The Dark Knight specifically incorporates elements like binary oppositions between Batman and the Joker.
The document discusses various academic theories that can be applied to analyze the television drama Deutschland 83, including theories of representation, identity, gender, feminism, and ethnicity. It provides context on the characters and historical setting of Deutschland 83 and suggests how concepts from theorists like Hall, Gauntlett, van Zoonen, hooks, Butler, and Gilroy could be employed to examine representations and issues of gender, identity, and power in the show.
A2 Media The Hunger Games Genre Narrative and RepresentationElle Sullivan
The Hunger Games is a film based on the first book in a trilogy. It tells the story of Katniss Everdeen, a 16-year-old girl from District 12 who is chosen to compete in the annual Hunger Games, a battle to the death where 24 tributes fight each other. The genre is science fiction/action drama, with elements of social realism. While Katniss takes on more masculine traits like hunting, she also shows some feminine traits like caring for her sister. The film offers a positive representation of a strong female lead, while also challenging some gender stereotypes.
Personal study project male gaze in disney dhssuserd19d04
The document discusses the theory of the male gaze and how it is relevant to analyzing Walt Disney productions. It provides context on the origins of the theory from Laura Mulvey and John Berger and how Mulvey applied it to critique traditional representations of women in cinema. Specifically, it analyzes how Disney films like Sleeping Beauty and Cinderella portray the main female characters as passive objects to be looked at by emphasizing their physical attractiveness and having them rescued by male characters. While Disney films helped popularize unrealistic standards of femininity, more recent Disney works are taking a slightly different approach by giving female characters more substantial roles.
The document discusses conventions of the crime genre in film. It provides details on common character types like gangsters and bank robbers who operate outside the law. Narratives often follow the life of a criminal or their rise and fall through conflicts. Settings typically involve large cities and dark locations like alleyways and nightclubs to give the films a dark feel and signal the genre to audiences.
The document discusses conventions of social realism films including:
- Realistic settings that depict working class lives and economic hardship
- Believable filming techniques with gritty urban locations
- Focus on how location and characters' choices shape the narratives
- Key characters are often working class heroes who try to overcome struggles
Crime films emerged in the 1940s as a new genre called film noir, characterized by dark, downbeat themes. These films depicted corrupt characters like cops, gangsters and criminals operating outside the law. In the 1930s, crime films became popular during the prohibition era, depicting the exploits of bootleggers and urban gangsters. Warner Bros established stars like Edward G. Robinson through gritty films about ruthless criminals like Little Caesar in 1930. In the 1970s, Francis Ford Coppola further developed the genre with epics like The Godfather films, chronicling the rise of a powerful Sicilian crime family in New York through violence and corruption.
The document provides guidance for answering exam questions about films that depict "Living With Crime". It suggests focusing on how the circumstances and choices available to characters relate to their social class. Responses should discuss how film techniques like cinematography, lighting and editing represent social class. The best answers will recognize that films construct social representations and that social class is constructed through both macro elements of genre and narrative as well as micro elements.
Genre theory examines texts and audience responses by categorizing works into genres based on common elements and conventions. Some key points of genre theory include that all genres have subgenres, genres evolve over time through negotiation between creators and audiences, and hybrid genres emerge that fuse elements of multiple genres. Analyzing genres considers both semantics, or iconography, as well as syntax, or how narrative elements work together.
A2 Media case study - The Hunger Games (genre)Elle Sullivan
The document discusses the film The Hunger Games and analyzes its genre. It is based on a book trilogy about Katniss Everdeen, a 16-year old girl who is thrown into a fight-to-the-death competition called the Hunger Games. The document examines the genres of science fiction, action/adventure, and discusses how the film uses techniques like handheld camera work and shallow depth of field to enhance realism, though it also contains science fiction elements like futuristic technology. Key terms discussed include genre codes, conventions, tropes, mise-en-scene, and hybrid genres.
This document provides an analysis of the political thriller film V for Vendetta. It summarizes the plot, in which V, a freedom fighter portrayed by Hugo Weaving, attempts to start a revolution against a fascist regime in the dystopian UK. Natalie Portman plays Evey, a woman caught up in V's mission. The film explores themes of revolution and fighting against oppression. It also references intertextual symbols used in the film, such as the red rose, that connect it to other genres like mafia films. Overall, the document analyzes the film through the lenses of characters, iconography, settings, narratives, and reception theory.
This document provides context and analysis of the 1974 film poster for "The Man with the Golden Gun". It summarizes the following key points:
1. The poster depicts Roger Moore as James Bond holding a gun, surrounded by enemies and explosions, hinting at the action/thriller plot. A golden gun is pointed at Bond.
2. The representation of gender shows two sexualized female bodies in bikinis but a third female is a martial artist, showing some progression. However, feminist perspectives could argue the women are still objectified.
3. The poster references the 1970s global energy crisis through images of a power plant, reflecting the film's incorporation of real world events into its storytelling
This document discusses key concepts in narrative theory, including definitions of narrative and story. It explores where narratives are encountered in everyday life and how they are structured. Common narrative devices are explained, such as openings that create enigma codes to grab attention, action codes that suggest narrative progression, and binary oppositions that establish meanings. Classical narrative models are summarized, including Tzvetan Todorov's equilibrium disruption-recognition-attempt to repair-restoration model and Vladimir Propp's spheres of action involving common character types. The concept of multi-strand narratives and differences between closed and open narrative endings are also briefly examined.
Tough Female Characters & Femme Fatales in Film & Video GamesJoanna Robinson
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
The document provides an overview and analysis of the film The Hunger Games. It discusses how the film is based on Suzanne Collins' novel and is set in a post-apocalyptic future where children are selected to fight to the death in an annual televised event. It then analyzes several ways the film can be considered postmodern, including through its dystopian narrative, use of hyperreality, flattening of viewer emotion, hybridization of genres, intertextual references, panopticon themes, and exploration of media effects on audiences. The document also provides some background on the film's production and box office success, and compares it to other genre films like Harry Potter that influenced its development of a female heroine
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
The document discusses representations of ethnicity in the BBC current affairs programme "Panorama" and the TV series "Top Boy" and "Luther".
In "Panorama", positive representations include profiles of Sol Campbell and Abdi, while a blurred face man represents criminality. In "Top Boy", Dushane and Ra'nell demonstrate both positive and negative stereotypes, while Leon initially challenges stereotypes.
Lenny Henry criticized "Luther" for not showing Idris Elba's character with any black friends or family, rejecting potential stereotypes. However, the show presents Luther's ethnicity as incidental, focusing on his role as a cop, and raises the visibility of a black lead in mainstream drama.
There are many genres of films including action, adventure, comedy, crime, drama, and science fiction. Genres are identified by conventions such as locations, props, characters, costumes, sound, cinematography, narrative, and themes. Over time, genres evolve in response to changes in society and audience tastes. For example, epic films now contain more action and focus on subgenres that audiences prefer such as biopics.
The document discusses hegemony and its application to the music industry. Hegemony refers to the power wielded by one social group over others through both direct control and gaining acceptance of domination. The document outlines Goodwin's theory on conventions in music videos and how record companies exert hegemonic control over production, distribution, and promotion of music to turn a profit. This control shapes the cultural values and popularity of artists.
The document discusses the narrative structures used in three TV programs - Luther, Top Boy, and Panorama. For Luther, it notes the show combines multiple narrative strands adhering to crime genre conventions, with morally ambiguous characters and topical issues reflecting its contemporary nature. Top Boy focuses on the hurdles faced by characters on their way to the top, using conventions like enigma and disequilibrium. Panorama aims to engage audiences through human interest stories within an overarching narrative of Campbell's investigation into unemployment issues.
This document discusses the history and key features of postmodern film. It provides examples of early postmodern films from the 1980s like Blade Runner that combined different time periods and genres. Films from the 1990s like Pulp Fiction used nonlinear narrative structures. More recent examples include horror films that parody the genre, like Scary Movie, as well as sci-fi films that experiment with time like Inception. Postmodern films often use pastiche, flatten emotion, create hyperreality, bend time, portray altered mental states, and question what it means to be human.
The document discusses various narrative theories and how they apply to Christopher Nolan's Dark Knight trilogy of Batman films. It explains key concepts like narrative vs story, linear vs non-linear narratives, Vladimir Propp's character archetypes seen in the films, and theories from Todorov, Levi-Strauss, and Barthes that provide ways to analyze the narrative structures. Examples are given of how The Dark Knight specifically incorporates elements like binary oppositions between Batman and the Joker.
The document discusses various academic theories that can be applied to analyze the television drama Deutschland 83, including theories of representation, identity, gender, feminism, and ethnicity. It provides context on the characters and historical setting of Deutschland 83 and suggests how concepts from theorists like Hall, Gauntlett, van Zoonen, hooks, Butler, and Gilroy could be employed to examine representations and issues of gender, identity, and power in the show.
A2 Media The Hunger Games Genre Narrative and RepresentationElle Sullivan
The Hunger Games is a film based on the first book in a trilogy. It tells the story of Katniss Everdeen, a 16-year-old girl from District 12 who is chosen to compete in the annual Hunger Games, a battle to the death where 24 tributes fight each other. The genre is science fiction/action drama, with elements of social realism. While Katniss takes on more masculine traits like hunting, she also shows some feminine traits like caring for her sister. The film offers a positive representation of a strong female lead, while also challenging some gender stereotypes.
Personal study project male gaze in disney dhssuserd19d04
The document discusses the theory of the male gaze and how it is relevant to analyzing Walt Disney productions. It provides context on the origins of the theory from Laura Mulvey and John Berger and how Mulvey applied it to critique traditional representations of women in cinema. Specifically, it analyzes how Disney films like Sleeping Beauty and Cinderella portray the main female characters as passive objects to be looked at by emphasizing their physical attractiveness and having them rescued by male characters. While Disney films helped popularize unrealistic standards of femininity, more recent Disney works are taking a slightly different approach by giving female characters more substantial roles.
The document discusses conventions of the crime genre in film. It provides details on common character types like gangsters and bank robbers who operate outside the law. Narratives often follow the life of a criminal or their rise and fall through conflicts. Settings typically involve large cities and dark locations like alleyways and nightclubs to give the films a dark feel and signal the genre to audiences.
The document discusses conventions of social realism films including:
- Realistic settings that depict working class lives and economic hardship
- Believable filming techniques with gritty urban locations
- Focus on how location and characters' choices shape the narratives
- Key characters are often working class heroes who try to overcome struggles
Crime films emerged in the 1940s as a new genre called film noir, characterized by dark, downbeat themes. These films depicted corrupt characters like cops, gangsters and criminals operating outside the law. In the 1930s, crime films became popular during the prohibition era, depicting the exploits of bootleggers and urban gangsters. Warner Bros established stars like Edward G. Robinson through gritty films about ruthless criminals like Little Caesar in 1930. In the 1970s, Francis Ford Coppola further developed the genre with epics like The Godfather films, chronicling the rise of a powerful Sicilian crime family in New York through violence and corruption.
The document provides guidance for answering exam questions about films that depict "Living With Crime". It suggests focusing on how the circumstances and choices available to characters relate to their social class. Responses should discuss how film techniques like cinematography, lighting and editing represent social class. The best answers will recognize that films construct social representations and that social class is constructed through both macro elements of genre and narrative as well as micro elements.
Genre theory examines texts and audience responses by categorizing works into genres based on common elements and conventions. Some key points of genre theory include that all genres have subgenres, genres evolve over time through negotiation between creators and audiences, and hybrid genres emerge that fuse elements of multiple genres. Analyzing genres considers both semantics, or iconography, as well as syntax, or how narrative elements work together.
The document provides revision material on the films "Bullet Boy" and "London to Brighton" for a section B question on the theme of "Living with Crime". It includes information on the directors, release years, budgets and revenues of the films. It also lists key concepts to discuss such as narrative, genre, themes/issues and representation, providing examples of areas to back up with evidence from the films. Sample PEECE paragraphs are provided analyzing narrative elements in Bullet Boy and representation in both films. An exemplar introduction is given answering how the theme is explored through the narratives.
This document discusses genre conventions in film. It defines genre as a type or category of film, such as horror, sci-fi, romance, etc. Generic conventions refer to common narrative structures, character types, visual elements, themes, and other expected features that define a particular genre. Identifying generic conventions allows viewers to recognize that a film belongs to a genre based on familiar tropes. However, films can also challenge conventions to create hybrid genres or surprise audiences. While genre categorization helps audiences and producers, overreliance on conventions can make films repetitive.
The document defines and discusses various film genres and subgenres. It provides examples of primary genres like action, adventure, comedy, crime, drama, epics, horror, musicals, science fiction, war films, and westerns. For each genre, it lists representative subgenres and provides brief descriptive definitions.
This document discusses postmodernism in film. It defines postmodernism and identifies three key elements: hyper-reality, challenging meta-narratives, and intertextuality/pastiche. It gives examples of how films can incorporate each of these elements, such as using a nonlinear narrative or animation within a live-action film to create hyper-reality. The document also discusses two genres - dystopia and British crime - and how they relate to postmodern concepts, such as dystopian films often depicting a future world where science or technology have gone wrong.
This document discusses several key concepts related to media studies including genre, narrative, representation, and audience. It provides definitions and theories for each concept. For genre, it discusses how genres are developed and categorized. For narrative, it outlines different narrative structures and relevant theorists like Propp and Todorov. For representation, it discusses representation in media and relevant theories from thinkers like Berger and Willis. It also discusses stereotypes, ideology, and hegemony. For audience, it outlines different audience theories like the hypodermic needle model.
The document provides information about narrative theory and concepts that can be used to analyze media productions for an exam. It discusses several narrative theories and concepts, including:
1. Tzvetan Todorov's concept of narrative structure as involving an initial equilibrium, a disruption of equilibrium (disequilibrium), and a resolution or new equilibrium.
2. Vladimir Propp's concept of character archetypes in narratives, such as the hero, villain, helper, donor, princess, dispatcher, and false hero.
3. Roland Barthes' concepts of the hermeneutic (enigma) code and proairetic (action) code that create mystery and suspense in narratives.
4.
Here is an analysis of the trailer for the 2003 remake of The Italian Job:
The trailer establishes the key elements of the British crime caper genre:
- A group of "loveable rogues" planning an elaborate heist (Mark Wahlberg, Edward Norton, Charlize Theron)
- A lighthearted, comedic tone despite the criminal activities
- Exotic European settings that provide an escape from everyday life
Specifically, it pays homage to the 1969 original film through:
- Scouting the location of the gold bullion truck in Venice
- Driving the iconic Mini Coopers
- The heist being centered around stealing gold
However, it puts a postmodern twist on
Postmodern films draw attention to their constructed nature through techniques like self-referential elements, nonlinear narratives, and mixing of genres. They reference other media and popular culture to keep audiences at a distance. Landmark postmodern films include Scream, Kiss Kiss Bang Bang, Cabin in the Woods, Tropic Thunder, Zombie Land, and Shaun of the Dead. Postmodern films question social norms and allow audiences to understand intertextual references. However, some criticize that they lack coherent internal logic. Postmodern film emerged in reaction to modernist cinema's focus on formal elements and authorial vision.
This document provides an introduction to postmodernism. It begins by discussing some previous artistic movements and "isms" that preceded postmodernism. It then addresses some of the key concepts of postmodernism, including an inability to create anything truly new, experimentation with existing forms, and a loss of clear distinctions between high and low art. The document goes on to define and provide examples of several postmodern features, such as pastiche, parody, intertextuality, and self-reflexivity. It concludes by discussing how postmodern artists attempt to create new works in a postmodern world and assigns the students a homework task analyzing a postmodern text using some of the key terms and concepts covered.
This document provides an overview of genre theory and its academic uses in media studies. Genre theory allows films to be grouped and compared based on similarities, which provides insights into meanings, cultural influences, and how audiences respond. Genres are not fixed categories and can blend elements. A film's genre is informed by stylistic elements, settings, narratives, characters, themes, and target audiences. Genre also influences industrial filmmaking practices aimed at maximizing profits.
This document introduces genre theory and key concepts about how genres are used to categorize different types of media texts. It discusses how genres share common narrative elements, visual styles, characters, and other features to help audiences identify and make sense of different types of texts. While genres provide a useful framework, the document also notes that genres are not rigid and can evolve and blend over time as new works push genre boundaries.
The document discusses several key aspects of horror film narratives including:
1. Typical 3-act narrative structures involving an onset phase, discovery phase, and disruption phase where order is typically restored.
2. Theories of narrative structure from scholars like Noel Carroll, Tzvetan Todorov, Vladimir Propp, and Claude Levi-Strauss which analyze common patterns involving equilibrium, disequilibrium, and resolution or use of character archetypes and binary oppositions.
3. Technical filmmaking elements like editing, camerawork, lighting, and sound that are manipulated in horror films to elicit emotional responses from audiences.
Genre is a way of classifying texts into categories to help audiences understand and engage with them. There are three main types of genre: major genres, sub-genres, and hybrid genres which combine elements of multiple genres. Genres are defined by common narrative structures, character types, settings, visual elements, and themes. They help audiences understand what to expect and target specific viewer demographics. While genres provide predictability, they also evolve over time to reflect societal changes.
This document provides an overview of genre theory and its academic approaches. It discusses how genre is a critical tool that helps scholars study films and audience responses. Genre theory allows for a scientific methodology in comparing similarities between films within and across genres. It examines how genres are dynamic and not fixed, and explores some of the common elements that can be used to construct generic descriptions, such as iconography, style, narrative, characters, themes, audience response, target audience, and industrial context.
The document provides an overview of a lesson on postmodernism that introduces some of the basic ideas and concepts of postmodernism, including its origins and wider effects. It addresses examining postmodern themes through considering examples from media and pop culture and assessing how postmodernism challenges traditional views of art, culture, and society. The lesson also discusses preparing for an exam on postmodernism by reviewing key terms and previous exam questions.
Postmodernist films are characterized by self-conscious use of styles and conventions, mixing of styles and media, and distrust of theories. They challenge mainstream narratives and aim to destroy audience suspension of disbelief. Key conventions include pastiche, flattened emotion, hyperreality, time bending, and altered states. Pulp Fiction and Run Lola Run are examples that blend genres, have nonlinear narratives, and reference other works. However, some philosophers criticize postmodernism as meaningless and unable to add analytical knowledge.
Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
Postmodernism challenges conventional relationships between audiences and media texts through techniques like nonlinear narratives, challenging representations, and blurring distinctions between genres. Films like Pulp Fiction and Kill Bill exemplify these techniques by using nonlinear storytelling, borrowing from different genres, and playing with audience expectations. Carrie and other remakes also demonstrate postmodern intertextuality through their references and adaptations of previous works. Analyzing trailers and films through concepts like genre, representations, and narrative structure provides insight into postmodern media.
The document discusses several film theories that could be applied to the production of a thriller film opening, including:
- Auteur theory, which focuses on the director's creative influence, will be used to reflect the directors' views through characters and plotlines.
- Genre theory examines conventions of genres like thriller; the opening will mainly follow thriller conventions while adding unconventional elements.
- Representation theory analyzes how media portrays people and events; the opening will present a realistic world and storyline that audiences can relate to.
- Audience and narrative theories like uses and gratifications, reception, and Barthes' will be used to engage audiences and associate elements with the thriller genre. Propp's theory
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including its skepticism of grand narratives and emphasis on individual experimentation. The document outlines some previous artistic and cultural movements like modernism to provide context. It also examines some key postmodern features such as pastiche, parody, intertextuality, and self-reflexivity. Students are assigned a task to create a presentation on a postmodern text that demonstrates at least two of these concepts.
Postmodern media rejects notions of objective value and truth, and blurs boundaries between reality and representation. It utilizes techniques like pastiche, parody, and bricolage to mix styles and genres. Narratives may be nonlinear and disjointed, undermining traditional story structures. In a media-saturated world, the distinction between reality and its simulation has collapsed, as we experience a state of hyperreality defined by images rather than pure reality.
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and follow common story structures identified by theorists like Propp and Todorov. Representation in media involves intentionally constructing artificial versions of reality. Audience theory considers how audiences interpret and are influenced by media texts. Research and planning are required to systematically develop knowledge and create goals for making a horror film, such as analyzing films and planning elements like plot, characters, and locations.
This document provides information about the Year 11 Media Studies exam on science fiction film. The exam is 1.5 hours long and consists of 4 questions worth equal marks. It makes up 40% of the student's final grade. The questions will be based on a brief given 4 weeks in advance and will assess knowledge of key concepts like media language, audience, representation, and institutions. The document then provides information and exercises on various aspects of media language as it relates to science fiction film, including conventions, mise-en-scene, narrative theory, genres, and reflection theory. It also covers audience profiles, appeal using uses and gratifications theory, subcultures, and imagined communities.
1. P O S T M O D E R N I S M .
R E S E A R C H O N
2. P O S T M O D E R N I S M
• The postmodernist concept is a theory within media that allows
producers, directors, writers and all those involved in the
construction and those whose concepts went into the creation of
the story line to challenge the conventions, ideologies and forms
within media production.
• It originates from the postmodernist movement within the late 19th
century.
• It challenges stereotypical film conventions to push boundaries
within the conventions of post modernism to create and stimulate
originality within modern Media forms. However post modernism
can apply to any media form in three differentiating formations.
3. T H R E E P O S T M O D E R N I S T T H E O R I E S -
J E A N B A U D R I L L A R D
• To make an audience aware of Hyperreality.
• These are ideas in which the production and creative teams
push the audiences ability to trust the boundaries of the
fictional reality on the screens, a interesting way to do this is
the idea of breaking the forth wall.
• This is representational to the fact that whilst watching
conventional films and television, we treat them as if they are
immersed in reality, and challenging the conventions of
society mirroring our own makes us challenge our own
ideologies and values.
4. T H R E E P O S T M O D E R N I S T T H E O R I E S -
J E A N F R A N C O I S - L Y O T A R D
• To challenge Meta-Narratives.
• Lyotard says that we must challenge dominant
ideologies present within our own society and
challenge the values that are represented through
media platforms in society.
5. T H R E E P O S T M O D E R N I S T T H E O R I E S -
F R E D E R I C K J A M E S O N .
• To use Pastiche/Intertextuality was to offer updated ideas, from ‘old’ ideas.
• He said that as we are constantly bombarded by hyperrealism in our media (such
as american sitcoms like ‘Friends’) that there was no longer room for critique. His
concept was to create new realities within ‘Pastiches’ of the already created ones,
and within this intertextuality was inevitable.
• These texts being alternative realities of conventional life - such as the Simpsons or
Family guy challenging the conventions of the American ‘Nuclear’ Family - Eg Male
and Female parents, with 2/3 children and a family pet. Not only do these examples
challenge the conventions of the modern family but within the ‘Pastiche’ of a family
there is intertextuality of many current political, social and economical events
documented in a typically post-modern way throughout these programs.
• Therefore these media text’s do what ‘Pastiches’ purpose are - to make an
audience aware and to challenge traditional ideologies.
6. H Y P E R R E A L I T Y
• To create an artificial world in a style that is opposing to reality and its conventions.
• META REFERENCING - When the audience is made aware that they are watching a ‘film’. This can
be done by breaking the fourth wall an example of this is in the french film Amelie (2001) where she
breaks the forth wall by talking to an audience within a cinema. Link to Amelie.
• Simulacra/ Hyperreality - hyperreality is the conventions of reality without an origin,[3] it is a
representation without an original reference behind it. Baudrillard believes that hyperreality goes
further than blending the concept of what is real and creating something that symbolises it, it
involves creating something that represents a reality or person that does not actually exist, like the
believe of the tooth fairy or Santa Claus within children. As such hyperreality sets out to challenge
this such as the use of an virtual reality within the Matrix.
• High Art - A concept that allows producers to challenge conventional ideas. High art film in itself isn't
always post modern however a famous example of high art style going well with postmodern
technique is A Clockwork Orange which challenges conventions of film in several ways Democracy
or Dictator (challenging conventions of society by questioning what is dictatorship) in addition to this
the society brainwashing the character Alex into no longer following delinquent ways is challanging
the conventions of choice.
7. C H A L L E N G I N G M E T A - N A R R A T I V E
• Non-Linear Narrative - Challenging the 3 act convention by disrupting the chronological order within the narrative
sequence. An example of this is the opening scene or ‘Prologue’ of Pulp Fiction, (Link to Prologue) it begins with
a diner hold up featuring two of the antagonists ‘Pumpkin and Honey Bunny’. However it is also the epilogue,
furthermore it once again challenges the conventions of film by being told in a different narrative from the
prologue. It could be hypothesised that by engaging the audience in a non-linear narrative it makes them more
active viewers and more likely to engage with the story line and remember it.
• Narrative themes that challenge conventions of film narratives, eg the most common narrative within film is the
good versus evil rivalry with the good guy (protagonist) defeating a bad guy (antagonist). However in challenging
meta-narratives they may focus on the narrative from the viewpoint of the antagonist like following the narrative
of Pinky within Brighton Rock. Or following a protagonist in which there is no clear definition between whether he
is good or evil such as routing for Vincent Vega in Pulp Fiction although he is part of the mafiosa scene. As well
as this another way of challenging this narrative is challenging male and female role stereotypes such as damsel
in distress character archetype within action movies by casting a female lead.
• Another form of challenging conventional narratives is questioning whether modern progress is for the good of
society, the nature of critiquing society is typically post modern. Two infamous examples of this are films such as
1988 film they live (Link to THEY LIVE) which question the consumerist nature or the western world. Another
example of this is the 1982 dystopian film Blade Runner, in which genetically modified human robots, and then
banned after being deemed dangerous, this film is infamously questioning the safety of technological
progression. (Link to Blade Runner trailer.)
8. C H A L L E N G I N G M E T A - N A R R A T I V E
C O N T I N U E D .
• The Anti Narrative - This is the disruption or blurring of the narrative.
Whether it is done in a way in which it is due to an edit procedure to
emphasise a feature. For instance THE FREEZE FRAME IN THE
MATRIX. To emphasise the importance of Neo’s powers within the
Matrix.
• Then Mixing or Blurring Genres is another way to challenge the narrative.
By challenging the conventions of genres in creating hybrid genres such
as the somewhat recent creation of popular hybrid genre British Science
fiction, that became popular in the ‘The Flavour Cornetto Trilogy’ that is
‘The Worlds End, Hot Fuzz and Shaun of the Dead’. This is the blend of
classic british comedy and horror that ends up to be a perfect mix of the
genres and extremely popular, infiltrating mainstream cinema.
9. I N T E R T E X T U A L I T Y
• Pastiches are typically artistically a copy of another work, within film this
means remaking them such as Let Me In being a Hollywood remake of
Swedish Horror Film Let The Right One In. Horror enthusiast maintain
that like the original Japanese movie ‘The Ring’ that the hollywood
pastiche of Let The Right One In does not compare to the original
Swedish film due to the scenes being more authentic in the original.
However other more prominent styles of Pastiche include book to film
pastiche e.g Twilight, Divergent, The Clockwork Orange, The Hunger
Games and many more films from all genres.
• A Bricolage is something that takes inspirations in a major or minor
way, or objects from certain genres of film. Usually with the concept of
creating a new meaning.
10. I N T E R T E X T U A L I T Y C O N T I N U E D .
• A Homage is used to respect for films that they have referenced,
normally to react positively in context to the similarities and differenced
between media texts. This element is also used to create a parodical or
satirical representation of certain subjects a good example of this is the
representation of celebrities and social situations such as in this scene
where they pay homage to both Miley Cyrus by referencing her as a
famous person and King Kong. Furthermore Homages do not just have to
be satirical representations of something. For instance Tarentino's
Django Unchained pays homage to Django (1966) and Kill Bill is paying
homage to several different elements - he pays homage to anime , Bruce
Lees Game of Death , Samurai Fiction , Once Upon A Time in the West ,
Death Rides of a Horse , Lady Snowblood , and many more Japanese
and American movies as well as Indian Movie - Aalavandhan,
Blaxploitation movies, grindhouse genre and pulp novels.
11. G E N R E
• Genre is a French word that means kind or type. Yet within it allows for media products
such as television or movie to be categorised according to what definitions and
similarities they conform to. This is done so the producer can respond or challenge the
needs of the consumer audience.
• The mainstream genre definitions are ones that cover a range of movies that are
popular in the box office. E.g that conforms to consumerist needs between the
distributor and the customer. However these are over simplified in order to attract a
mass audience in the cinema. For these purposes they are categorised into the rigid
definitions of Comedy, Romance, Horror, Fantasy. Which can then be sorted into sub
genres by the audience.
• This is the broadening of the categorisation which allows for definitions that are more
flexible such as ‘Romantic Comedy’. Then Hybrid genres such as Indie-Romance are
created to reach a independent audience. This can then mean by being able to narrow
down genres you can find anything from British Sci-Fi Comedy such as The Worlds End
to Independent Music Romance Comedy You Instead - that is set at a music festival.
12. G E N R E T H E O R Y - A G U I D E T O R I G I D
D E F I N I T I O N
• Genre although a French word, was first used within the creative industries in the Greek theatre by
Aristotle to establish a kind if quality control, this lead to deviation from genre to become extremely
frowned upon and discouraged.
• This has lead there to be a stigma between deviation. And over the years people have become
accustom to genres. In 1957 the formalist literary theorist Northrop Frye presented certain universal
genres and modes as the key to organising the entire literary corpus. This translated back to media
outlets as well. Furthermore theorist have such as Carolyn Miller suggests that 'the number of genres in
any society... depends on the complexity and diversity of society’ meaning that classification of genre is
not valuable. Other theorist such as Robert Stam says genres should be referred to via other
differentiating factors such as budget, fictitious derivative or real life narrative. Another linguist Charles
Sanders Pierce studied meaning within a text and hypothesised that there were fixed meanings/ iconic
signs within a text and therefore genre therefore follows strict conventions to establish particular meaning
within a text
• Another example of this can be seen in the appearance of iconography of genre and within that certain
film. If we look at a comparison between the 1980s trilogy Superman to the modern franchise the
iconography between poster design in clearly identifiable. Furthermore both posters look as if they are
trying to maintain to an audience that Superman is ‘your hero’ as he is directly coming towards the
audience.
13. G E N R E T H E O R Y - F L E X I B L E
T E R M S
• Critiques of conventional genre theory, for instance Adorno and Horkheimer
state that mass production can only create a standardisation of convention
ruled by ideology however Tzvetan Todorov argues that 'a new genre is
always the transformation of one or several old genres’. As every appearance
in genre has the ability to change the formation of its convention.
• Theorist Nick Lacey then states that genre is a negotiation between the
audience and the producer. However the ideological differences in a media
texts genre can between the producer and audience at release could be
different and that is how the formation of sub genres has happened.
• Post-Modern theory allows producers to challenge these conventions and
create hybrid genres
14. C R I M E G E N R E
• Crime genre is focused on films that revolve around the lives of criminals or detectives. Conventionally if they revolve
around a criminal protagonist they abide by the conventions of an anti-hero character archetype.
• Crime films are usually developed around the sinister actions of criminals particularly conventional to the genre are
the characterisation of bank robbers, hoodlums and gang warfare. These people operate outside the law, stealing and
violently hurting people
• Crime genre often highlights the life of the police detective, the criminal or the victim. If focusing on the criminal they
will often justify the actions of the criminal by giving an elaborate back story that makes the actions make sense, or a
big change in personality that leaves the audience rooting for the criminal.
• If showing the police and detective world a common feature is making a social comment on how much corruption
there is within the justice system especially in America.
• Typical criminal character archetypes for protagonists are materialistic, street smart, some what immoral, menlo
maniac, and self destructive. Or people that have been at the wrong place at the wrong time and ropped into doing
work with a criminal underworld
• Other character archetypes often portray women in either a beautiful, street smart, strong and money orientated
femme fatele characterisation or a pretty and intelligent damsel in distress in need of being saved.
• Antagonists are usually characterised by being extremely evil in personality to make the differenciating personality
between the criminal and ‘criminal lord’ different.
15. S U B A N D H Y B R I D C R I M E
G E N R E S
• Crime Comedy - The hybrid genre between comedy and crime, a good example of a successful crime
comedy is Lock, Stock and Two Smoking Barrels. The comedy that is shown within this genre is usually
dark satire or complete incompetence in criminal activity.
• Crime Thriller - These are thrillers that centre around crime, conventionally the main character is usually
the perpetrator of the crime or the investigating body a good example of an effective crime thriller is the
movie Se7en which centres around criminal activity to do with biblical references and is guaranteed to
keep the audience engaged.
• Film Noir - This is the genre notorious in the 1940’s and 1950’s and influential to the formation to film as
we know it. Film Noir are conventionally centred around mystery cases within crime. Common
characterisations within these kinds of movie are being private detectives. A good example of
characterisation and conventions in Film Noir is Kiss Me Deadly that is a film noir masterpiece.
• Hood Films - Hood films have been a rising sub genre within the crime genre due to the rise of gang
crime within the last few decades. They often deal with grittier and more socio-realist elements than
other sub genres within crime. Another thing that separates this sub genre is sometimes the
characterisation and back story or effect to all bystanders and characters is more featured within the film
than the crime in itself. A good example of this is the story of Kidulthood in which the story of the gang
conflict is more apparent then the crime.
16. S U B A N D H Y B R I D C R I M E G E N R E S -
C O N T I N U E D
• Mafia Crime - These are films that focus on serious organised crime and the impact
and effects of if you betray the mafia family. A convention of this is the portrayal of
mafia lifestyle.
• Heist Films - Films that conventionally deal with a group of criminals trying to pull of
some kind of theft for instance the Italian Job , usually if the heist film includes a
satirical element they are a different sub genre called Caper films like A fish called
Wanda.
• Legal Drama - These is a crime sub genre that is focused on proving the innocence
of a client conventionally within a courtroom, an interesting take on this is the film
True Story is the true story between a journalist and convicted murderer.
• Mystery Crime - Usually involving a mysterious death or a crime to be solved. In a
closed circle of suspects, each suspect must have a motive therefore leading to a
genre with many defined conventions.
17. B R I T I S H C R I M E
• Conventionally in British crimes they are characterised by being very independent,
the main protagonist anti-hero archetype is defined by being very anti social and
lacking trust towards people, with a talent for having no consideration for other
characters within the storyline.
• There is often a love interest which is deeply entangled within either the antagonist
or protagonist live that is either used as a McGuffin ‘damsel in distress’ to further
the story to an extreme point where the main protagonist changes his ways or a
big shoot out occurs.
• Many crime films are set in gang, urban or derelict settings and will conventionally
revolve around an anti hero.
• Current day British crime is notorious for using post modern elements within the
narrative of the storyline a prime example of this is the examples of time
remapping within Snatch.