This document discusses genre theory and its importance in media studies. It defines genre as a category or type of media text that shares common elements. Genre is important because it helps both audiences and industries classify large numbers of media into smaller groups. This allows audiences to understand what to expect from a genre and industries to develop and market genres to meet audience demand. However, genres are dynamic and evolve over time in response to changes in society and audience tastes. While genres provide structure and familiarity, they can also constrain creativity and fail to recognize uniqueness in individual texts.
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
The document discusses genre theory in film. It states that genres are dynamic and change over time rather than being fixed forms. Genres are defined by structural and thematic criteria. Genre theory examines how texts are placed within cultural and historical contexts. Iconography, or visual symbols, help define genres. For example, westerns can be identified by symbols like cowboys and desert landscapes. The document also discusses how genres evolve to reflect changes in society and audience tastes. Producers can manipulate audience expectations of genres to attract viewers or create new subgenres.
Genre theory refers to the research and ideas surrounding genre. Genres are instances of repetition and difference that both conform to and break conventions. They constitute particular themes, settings, structures and styles shared by texts within that genre. Audiences derive pleasure from both identifying a familiar genre and observing how its conventions are manipulated. Genre provides emotional pleasures like empathy and escapism by offering recognizable frameworks and structures while still surprising audiences through differences. However, classifying genres is problematic as individual films may belong to multiple genres and genres are not static or transhistorical.
This document discusses the purpose, history, features, types, and conventions of documentary films. It notes that documentaries aim to present facts about real life using evidence like footage of actual events. Key features identified include observation, interviews, dramatization, mise-en-scene, exposition, inclusion of music/sound, and selection/construction during editing. The history of documentaries is traced from the first use of the term in 1926. Different types are outlined like fully narrated, fly-on-the-wall, mixed, self-reflective, docudrama, and docusoap styles. Conventions like a beginning, middle, and end structure are also mentioned.
This document discusses genre theory and summarizes several key ideas from genre theorists:
- Genre is defined by conventions of content, structure, and style shared by texts within that genre. Audiences must be able to identify and recognize the genre.
- Pleasure can come from merely identifying a genre due to familiarity, or from observing how a work manipulates genre conventions.
- Genres offer emotional pleasures like empathy and escapism. The filmmaker's short film uses the western genre but still defies conventions to be different.
- Theorists discuss how genre provides rules that structure works while allowing differences, and how problems exist with rigid genre classification.
This document discusses genre theory and various perspectives on genre from scholars and critics. It provides definitions of genre from Steve Neale and Dan Chandler, discussing how genres rely on repetition and difference as well as conventions of content, structure and style. Uses and gratifications theory holds that audiences can find pleasure in identifying a genre due to familiarity. However, genres must also defy conventions to create interest. Tom Ryall viewed genres as providing structural rules and supervision, while Abercrombie suggested pleasure comes from observing genre convention manipulation. The document also discusses how genres can provide escapism and empathy. It analyzes the use of genre in the author's short western film and how it both allows recognition but also differs from conventions. Finally,
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
This document discusses genre theory and its importance in media studies. It defines genre as a category or type of media text that shares common elements. Genre is important because it helps both audiences and industries classify large numbers of media into smaller groups. This allows audiences to understand what to expect from a genre and industries to develop and market genres to meet audience demand. However, genres are dynamic and evolve over time in response to changes in society and audience tastes. While genres provide structure and familiarity, they can also constrain creativity and fail to recognize uniqueness in individual texts.
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
The document discusses genre theory in film. It states that genres are dynamic and change over time rather than being fixed forms. Genres are defined by structural and thematic criteria. Genre theory examines how texts are placed within cultural and historical contexts. Iconography, or visual symbols, help define genres. For example, westerns can be identified by symbols like cowboys and desert landscapes. The document also discusses how genres evolve to reflect changes in society and audience tastes. Producers can manipulate audience expectations of genres to attract viewers or create new subgenres.
Genre theory refers to the research and ideas surrounding genre. Genres are instances of repetition and difference that both conform to and break conventions. They constitute particular themes, settings, structures and styles shared by texts within that genre. Audiences derive pleasure from both identifying a familiar genre and observing how its conventions are manipulated. Genre provides emotional pleasures like empathy and escapism by offering recognizable frameworks and structures while still surprising audiences through differences. However, classifying genres is problematic as individual films may belong to multiple genres and genres are not static or transhistorical.
This document discusses the purpose, history, features, types, and conventions of documentary films. It notes that documentaries aim to present facts about real life using evidence like footage of actual events. Key features identified include observation, interviews, dramatization, mise-en-scene, exposition, inclusion of music/sound, and selection/construction during editing. The history of documentaries is traced from the first use of the term in 1926. Different types are outlined like fully narrated, fly-on-the-wall, mixed, self-reflective, docudrama, and docusoap styles. Conventions like a beginning, middle, and end structure are also mentioned.
This document discusses genre theory and summarizes several key ideas from genre theorists:
- Genre is defined by conventions of content, structure, and style shared by texts within that genre. Audiences must be able to identify and recognize the genre.
- Pleasure can come from merely identifying a genre due to familiarity, or from observing how a work manipulates genre conventions.
- Genres offer emotional pleasures like empathy and escapism. The filmmaker's short film uses the western genre but still defies conventions to be different.
- Theorists discuss how genre provides rules that structure works while allowing differences, and how problems exist with rigid genre classification.
This document discusses genre theory and various perspectives on genre from scholars and critics. It provides definitions of genre from Steve Neale and Dan Chandler, discussing how genres rely on repetition and difference as well as conventions of content, structure and style. Uses and gratifications theory holds that audiences can find pleasure in identifying a genre due to familiarity. However, genres must also defy conventions to create interest. Tom Ryall viewed genres as providing structural rules and supervision, while Abercrombie suggested pleasure comes from observing genre convention manipulation. The document also discusses how genres can provide escapism and empathy. It analyzes the use of genre in the author's short western film and how it both allows recognition but also differs from conventions. Finally,
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
Daniel chandler an introduction to genre theorydropdeadned
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
What is the relationship between documentaries and reality tv? This essay explores it in addition to the relationship to contemporary social and culture trends, exploring the audience interests in other people’s lives.
The document discusses the theory and history of documentaries. It notes that documentaries aim to report on facts and events using techniques like narration, interviews, and observations. While documentaries strive for objectivity, they are also inherently subjective as filmmakers interpret and construct reality. The genre has evolved over time, ranging from Grierson's initial documentaries in the 1930s to more creative modern forms that some argue should no longer be called documentaries. Facts are used to make socially critical arguments, but documentaries still grapple with objectively representing truth.
There are two main approaches to documentary films: those dealing with history/biography often involving reenactment, and those filming people's behavior in contemporary settings. There are also six modes of documentary: poetic, expository using narration, observational allowing natural filming without interference, participatory involving the filmmaker, reflexive acknowledging the filmmaking process, and performative presenting ideas subjectively. Each documentary can be categorized into one of these modes.
The document discusses the target audience for a media product created by Ryan Quinn and their group. They aimed to appeal to a mass audience rather than a niche one to get more feedback. They concluded the target audience would be a wide age range and only include male characters. By the time of production, the intended target audience was maintained with conventions to appeal to more people, though excluding females may have limited the size of the audience. The film included common horror codes and conventions like camera shots, props like a knife, and a costumed antagonist.
The document discusses different theories of genres and narratives in filmmaking. It examines the views of several theorists such as Steve Neale, Robert Stan, Rick Altman, Jean-Luc Godard, Claude Levi-Strauss, Tzvetan Todorov, Vladimir Propp, and Roland Barthes. The document also applies some of these theories to the horror genre film "Crow's Field" being produced by Lunar Productions, noting how elements of mystery, tension, symbols, and cultural meaning are used in its plot.
Genre refers to categories of communication like literature or film that share conventions. Film genres include drama, documentary, and others like war, horror, romance, and crime films which have subgenres. Genre is important for audiences and producers. It creates familiarity for audiences to know what to expect, and helps producers and studios create appealing films by including typical genre conventions [END SUMMARY]
Mittell argues that genres are cultural categories that exist beyond individual media texts and operate within industries, audiences, and culture. He states that industries use genres to market products to specific audiences by using familiar conventions and cultural references. Genres allow audiences to choose media texts that fulfill a particular pleasure or need. Neale disagrees with the idea that genres are static systems, arguing instead that genres evolve over time based on changing audience ideologies. Altman identifies four types of pleasures genres provide audiences: emotional, visceral, intellectual puzzles, and formal experimentation.
The document outlines six styles or modes of documentary film as developed by theorist Bill Nichols: poetic, observational, reflexive, expository, participatory, and performative. Each style is defined by its particular traits, conventions used, and relationship to subject matter. For example, a poetic documentary emphasizes personal expression through techniques like music and camera work, while an observational documentary aims to be a neutral, fly-on-the-wall perspective.
This document discusses the key elements and conventions of documentary filmmaking. It defines documentaries as factual films about real-world issues that are unstaged and based on observation rather than intervention. The document outlines different modes of documentary, including expository, observational, participatory, reflexive, and performative. It notes that the filmmakers' documentary will fall under the expository category, which aims to inform audiences about topics they are unfamiliar with through voiceover narration, commentary on images, and explaining what is happening directly to the audience. The document provides details on several conventions of the expository documentary form, including the use of voiceover, illustrative images, continuity editing, and assembling a variety of footage and materials
Bill Nichols proposed that there are 6 documentary modes: expository, observational, participatory, performative, reflexive, and poetic. These modes distinguish different styles of documentary based on their conventions and traits. The expository mode aims to put forward an argument and convince the audience through on-screen evidence. The observational mode films natural events without intrusion or presenter participation. The participatory mode heavily features the filmmaker's involvement through interviews and provocations.
The document discusses the theory and history of documentaries. It explains that documentaries document real events and use techniques like voiceovers and interviews to create meaning and emotional responses for audiences. It introduces John Grierson, considered the father of British documentaries, who coined the term "documentary" and used the form to bring important social issues to viewers. John Corner is also discussed and he identifies key elements of documentaries like observation, interviews, dramatization, and exposition. Finally, different types of documentaries are outlined such as expository, poetic, and observational modes.
This document discusses genre theory through quotes from various media theorists. It discusses how genres provide escapism and familiar conventions that audiences enjoy due to the expectations and pleasures of predictability and difference. However, genres must also innovate and combine elements to remain engaging without becoming too predictable. Producers also benefit from the commercial stability and audience that established genres provide.
This document provides an overview of key concepts in documentary film studies. It defines documentary film as the study of film language and how it relates to capturing reality. It discusses documentary filmmaker techniques like selection and construction that influence representation of real events. It also presents common exam questions on topics like whether documentaries can truly capture reality and if they are objectively constructed. Additionally, it outlines various modes of documentary like poetic, expository, observational, and reflexive. Finally, it discusses how representation in documentaries is mediated and how that representation may differ from reality.
This document defines and provides details on 5 forms of documentary filmmaking: reflexive, poetic, observational, expository, and participatory. Reflexive documentaries acknowledge the filmmaker's presence on camera. Poetic documentaries construct a subjective artist's narrative. Observational documentaries follow events as they unfold in an unobtrusive manner. Expository documentaries analyze and expose topics through rhetorical narration. Participatory documentaries directly engage the filmmaker with subjects.
This document discusses genre theory from multiple perspectives. It covers how genres position audiences, provide reading positions, and involve sharing experiences within interpretive communities. It also examines genres as instances of repetition and difference that generate expectations. Genres are discussed as negotiated and dynamic rather than fixed forms. Pleasures of genres include recognition and anticipation of conventions as well as emotional responses. Genres provide frameworks that structure production and audience reception. [END SUMMARY]
This document discusses several key media concepts that should underpin practical work and exams, including media language, representation, genre, audience, and narrative. It specifically covers genre and how genres are defined, negotiated, and evolve over time. Genre allows audiences to identify texts and is used by industries to sell products. The document also discusses media language and how camera work, editing, sound, and mise-en-scene create meaning. Representation in the media involves careful mediation and requires shared recognition to be meaningful to audiences.
The document outlines the theory and history of documentaries. It discusses that documentaries document real events and use evidence and voiceovers to create meaning and emotional responses for audiences. It introduces John Grierson, considered the father of documentary films, who coined the term "documentary" and used the format to bring important social issues to viewers. Finally, it covers five key elements of documentaries according to professor John Corner: observation, interviews, dramatization, mise-en-scene, and exposition.
Documentaries aim to inform audiences about factual subjects using real footage and interviews. Documentary film began in 1895 with the Lumiere brothers and evolved with Nanook of the North in 1922, which was the first feature-length factual film. There are five key elements to documentaries: observation, interviews, dramatization, mise en scene, and exposition. These elements such as observation use unseen cameras to make audiences feel like eyewitnesses, while interviews provide different opinions to support or contrast observations.
The document discusses Blumler and Katz's four needs theory of media use: escape and diversion, surveillance and information, personal relationships, and personal identity. It provides examples of how watching films and reading reviews fulfills each of these needs. Specifically, films allow escape from everyday life, provide information about characters and time periods, help create relationships and discussions between viewers, and allow people to identify with viewer groups.
This survey breakdown summarizes the results of a survey about readers' interests in a potential rock music magazine. It found that most readers were male, with 72 male respondents and 38 female. The most popular genres were rock (26), metal (23), and their subgenres. The relation between gender and genre showed more male readers for rock (26), metal (23), and their subgenres. The survey also found that most readers preferred an in-depth monthly magazine over a weekly one and would pay more for better quality.
Daniel chandler an introduction to genre theorydropdeadned
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
What is the relationship between documentaries and reality tv? This essay explores it in addition to the relationship to contemporary social and culture trends, exploring the audience interests in other people’s lives.
The document discusses the theory and history of documentaries. It notes that documentaries aim to report on facts and events using techniques like narration, interviews, and observations. While documentaries strive for objectivity, they are also inherently subjective as filmmakers interpret and construct reality. The genre has evolved over time, ranging from Grierson's initial documentaries in the 1930s to more creative modern forms that some argue should no longer be called documentaries. Facts are used to make socially critical arguments, but documentaries still grapple with objectively representing truth.
There are two main approaches to documentary films: those dealing with history/biography often involving reenactment, and those filming people's behavior in contemporary settings. There are also six modes of documentary: poetic, expository using narration, observational allowing natural filming without interference, participatory involving the filmmaker, reflexive acknowledging the filmmaking process, and performative presenting ideas subjectively. Each documentary can be categorized into one of these modes.
The document discusses the target audience for a media product created by Ryan Quinn and their group. They aimed to appeal to a mass audience rather than a niche one to get more feedback. They concluded the target audience would be a wide age range and only include male characters. By the time of production, the intended target audience was maintained with conventions to appeal to more people, though excluding females may have limited the size of the audience. The film included common horror codes and conventions like camera shots, props like a knife, and a costumed antagonist.
The document discusses different theories of genres and narratives in filmmaking. It examines the views of several theorists such as Steve Neale, Robert Stan, Rick Altman, Jean-Luc Godard, Claude Levi-Strauss, Tzvetan Todorov, Vladimir Propp, and Roland Barthes. The document also applies some of these theories to the horror genre film "Crow's Field" being produced by Lunar Productions, noting how elements of mystery, tension, symbols, and cultural meaning are used in its plot.
Genre refers to categories of communication like literature or film that share conventions. Film genres include drama, documentary, and others like war, horror, romance, and crime films which have subgenres. Genre is important for audiences and producers. It creates familiarity for audiences to know what to expect, and helps producers and studios create appealing films by including typical genre conventions [END SUMMARY]
Mittell argues that genres are cultural categories that exist beyond individual media texts and operate within industries, audiences, and culture. He states that industries use genres to market products to specific audiences by using familiar conventions and cultural references. Genres allow audiences to choose media texts that fulfill a particular pleasure or need. Neale disagrees with the idea that genres are static systems, arguing instead that genres evolve over time based on changing audience ideologies. Altman identifies four types of pleasures genres provide audiences: emotional, visceral, intellectual puzzles, and formal experimentation.
The document outlines six styles or modes of documentary film as developed by theorist Bill Nichols: poetic, observational, reflexive, expository, participatory, and performative. Each style is defined by its particular traits, conventions used, and relationship to subject matter. For example, a poetic documentary emphasizes personal expression through techniques like music and camera work, while an observational documentary aims to be a neutral, fly-on-the-wall perspective.
This document discusses the key elements and conventions of documentary filmmaking. It defines documentaries as factual films about real-world issues that are unstaged and based on observation rather than intervention. The document outlines different modes of documentary, including expository, observational, participatory, reflexive, and performative. It notes that the filmmakers' documentary will fall under the expository category, which aims to inform audiences about topics they are unfamiliar with through voiceover narration, commentary on images, and explaining what is happening directly to the audience. The document provides details on several conventions of the expository documentary form, including the use of voiceover, illustrative images, continuity editing, and assembling a variety of footage and materials
Bill Nichols proposed that there are 6 documentary modes: expository, observational, participatory, performative, reflexive, and poetic. These modes distinguish different styles of documentary based on their conventions and traits. The expository mode aims to put forward an argument and convince the audience through on-screen evidence. The observational mode films natural events without intrusion or presenter participation. The participatory mode heavily features the filmmaker's involvement through interviews and provocations.
The document discusses the theory and history of documentaries. It explains that documentaries document real events and use techniques like voiceovers and interviews to create meaning and emotional responses for audiences. It introduces John Grierson, considered the father of British documentaries, who coined the term "documentary" and used the form to bring important social issues to viewers. John Corner is also discussed and he identifies key elements of documentaries like observation, interviews, dramatization, and exposition. Finally, different types of documentaries are outlined such as expository, poetic, and observational modes.
This document discusses genre theory through quotes from various media theorists. It discusses how genres provide escapism and familiar conventions that audiences enjoy due to the expectations and pleasures of predictability and difference. However, genres must also innovate and combine elements to remain engaging without becoming too predictable. Producers also benefit from the commercial stability and audience that established genres provide.
This document provides an overview of key concepts in documentary film studies. It defines documentary film as the study of film language and how it relates to capturing reality. It discusses documentary filmmaker techniques like selection and construction that influence representation of real events. It also presents common exam questions on topics like whether documentaries can truly capture reality and if they are objectively constructed. Additionally, it outlines various modes of documentary like poetic, expository, observational, and reflexive. Finally, it discusses how representation in documentaries is mediated and how that representation may differ from reality.
This document defines and provides details on 5 forms of documentary filmmaking: reflexive, poetic, observational, expository, and participatory. Reflexive documentaries acknowledge the filmmaker's presence on camera. Poetic documentaries construct a subjective artist's narrative. Observational documentaries follow events as they unfold in an unobtrusive manner. Expository documentaries analyze and expose topics through rhetorical narration. Participatory documentaries directly engage the filmmaker with subjects.
This document discusses genre theory from multiple perspectives. It covers how genres position audiences, provide reading positions, and involve sharing experiences within interpretive communities. It also examines genres as instances of repetition and difference that generate expectations. Genres are discussed as negotiated and dynamic rather than fixed forms. Pleasures of genres include recognition and anticipation of conventions as well as emotional responses. Genres provide frameworks that structure production and audience reception. [END SUMMARY]
This document discusses several key media concepts that should underpin practical work and exams, including media language, representation, genre, audience, and narrative. It specifically covers genre and how genres are defined, negotiated, and evolve over time. Genre allows audiences to identify texts and is used by industries to sell products. The document also discusses media language and how camera work, editing, sound, and mise-en-scene create meaning. Representation in the media involves careful mediation and requires shared recognition to be meaningful to audiences.
The document outlines the theory and history of documentaries. It discusses that documentaries document real events and use evidence and voiceovers to create meaning and emotional responses for audiences. It introduces John Grierson, considered the father of documentary films, who coined the term "documentary" and used the format to bring important social issues to viewers. Finally, it covers five key elements of documentaries according to professor John Corner: observation, interviews, dramatization, mise-en-scene, and exposition.
Documentaries aim to inform audiences about factual subjects using real footage and interviews. Documentary film began in 1895 with the Lumiere brothers and evolved with Nanook of the North in 1922, which was the first feature-length factual film. There are five key elements to documentaries: observation, interviews, dramatization, mise en scene, and exposition. These elements such as observation use unseen cameras to make audiences feel like eyewitnesses, while interviews provide different opinions to support or contrast observations.
The document discusses Blumler and Katz's four needs theory of media use: escape and diversion, surveillance and information, personal relationships, and personal identity. It provides examples of how watching films and reading reviews fulfills each of these needs. Specifically, films allow escape from everyday life, provide information about characters and time periods, help create relationships and discussions between viewers, and allow people to identify with viewer groups.
This survey breakdown summarizes the results of a survey about readers' interests in a potential rock music magazine. It found that most readers were male, with 72 male respondents and 38 female. The most popular genres were rock (26), metal (23), and their subgenres. The relation between gender and genre showed more male readers for rock (26), metal (23), and their subgenres. The survey also found that most readers preferred an in-depth monthly magazine over a weekly one and would pay more for better quality.
The document discusses two photos chosen to represent a war film. The first photo shows the main character George in profile holding his medals with a shadow over his eyes, suggesting he has another side and is dreaming of something unknown. The second photo shows the character in a strong, focused pose looking ahead while in uniform, with lighting making him seem powerful and suggesting victory is coming. Both photos are meant to intrigue viewers and contrast with each other to make them think differently about what the photos represent.
The document discusses Blumler and Katz's four needs theory of media use: escape and diversion, surveillance and information, personal relationships, and personal identity. It analyzes how a short film and reviews satisfy each of these needs. Watching the short film allows escape from everyday life and provides information about the characters and time period depicted. Reviews can provide information to motivate watching and create opportunities for personal relationships and identifying with a group of other viewers.
The document discusses the target audience and goals of a new music magazine. It aims to have a larger female readership between ages 15-25 to encourage more women in the male-dominated music industry. To attract female readers, an attractive young woman will be featured on the cover based on Naomi Wolf's theory that women aspire to look like attractive models. The cover model's facial expression will be "invitational" to suggest mystery and fit with the rebellious stereotype of rock music. The magazine also seeks to provide escape, information, opportunities for relationships, and means for readers to find identity through the lifestyle and stories featured.
The document discusses techniques used in a film to depict flashbacks and the psychological effects of war on a character. Scenes set in the present used the same location as flashbacks for continuity. Flashbacks were shown through sepia-toned or black and white footage to indicate they were in the past. Overlapping and layered videos during intense scenes added to the character's stress and sense that the past and present were colliding. Camera angles and music were chosen to help viewers experience events from the character's perspective and see how the war constantly remained on his mind.
The document discusses uses and gratifications theory as it relates to music magazines. It describes the four needs that uses and gratifications theory proposes people seek to fulfill through media: escape and diversion from everyday life, surveillance and information, personal relationships, and personal identity. It then provides examples of how music magazines fulfill each of these needs for readers by providing engaging stories, information about music and artists, opportunities for social interaction, and ways for readers to relate to content. The document also discusses how magazines address different target audiences through their mode of address and provide interactivity through their content and use of social media platforms.
This document discusses conventions used in music magazine layout and design. It provides examples from articles in magazines like Kerrang!, NME, and Teen Spirit. Some common conventions mentioned include using colored text and illuminated letters to draw attention, continuing color schemes and themes across articles, including images related to the topic, and setting text in columns for readability. Quotes, descriptions of images, and questions are also used engage readers within articles. Overall conventions like house styles, layout, and design elements are discussed to showcase typical magazine presentation.
Social representations like stereotypes and beliefs are shared among social groups and influence media. All media aims to use realism to seem believable, but audiences are now more knowledgeable so media seems less realistic. However, audiences understand genres like sci-fi are not real and suspend disbelief to enjoy them. Dramas especially aim to depict real life realistically and typically have downbeat endings to emphasize realism, with stories audiences can relate to from their own or others' experiences if not too far-fetched. To make their short film drama successful, the document advises understanding how to capture real life experiences, choosing a realistic yet interesting topic people can relate to, and thoroughly researching historical context like appropriate dress and settings to accurately portray their
Film 4 has experience producing short films and is a well-known media company that could help attract an audience. Glasgow Film Festival and the London Short Film Festival are good options for showcasing the short film as they attract alternative audiences interested in short formats. The BFI is a national charity that funds film production and hosts popular festivals annually in London, attracting young, educated audiences more open to new films. Showing the short film at both the BFI London Film Festival and a Scottish festival could maximize exposure across the UK.
The document summarizes results from a questionnaire about short films. It asks respondents about their gender, age, whether they watch and enjoy short films, their favorite genres, and what length they consider a short film. The results showed that while people enjoyed multiple genres, the most popular among respondents were comedy, romantic comedy, horror, and science fiction. It also asked if people would attend a short film festival or short film night at the cinema.
This document provides an overview of various water treatment processes and their effects on turbidity. It describes how intake facilities can screen out large debris but have little effect on turbidity. Pre-sedimentation basins and chemical addition can significantly reduce turbidity over longer detention times. Coagulation destabilizes particles for removal but does not reduce turbidity on its own. Flocculation agglomerates destabilized particles to facilitate their removal through sedimentation and filtration, ultimately reducing turbidity.
Kelompok 4 membahas jalur pelayaran dan tokoh-tokoh bangsa Spanyol. Bangsa Spanyol dikatakan sebagai pelopor pelayaran dan penjelajahan samudera untuk mencari daerah baru di timur. Tokoh-tokohnya adalah Christopher Columbus, Hernando Cortez, dan Ferdinand Magelhaens yang melakukan pelayaran penjelajahan.
The document provides ethics and best practices for teams implementing ERP systems. It discusses the importance of teamwork, communication, and scope management. Key points include:
1) ERP implementations require strong teamwork and knowledge sharing between members, rather than competitive environments.
2) Teams should plan their work, document progress and lessons learned, and ensure knowledge transfer between members.
3) It is important for teams to truly understand requirements by listening more than talking, especially in early stages.
4) Members should avoid "gold plating" and stay focused on core project scope to meet stakeholder needs on time.
Instrumen hukum dan peradilan ham internasionaltikasund
Dokumen ini membahas tentang instrumen hukum dan peradilan HAM internasional. Instrumen HAM universal meliputi Deklarasi Universal HAM, Konvensi tentang HAM dalam Bidang Ekonomi, Sosial dan Budaya, serta Konvensi tentang HAM dalam Kehidupan Bermasyarakat dan Bernegara. Dokumen ini juga menjelaskan contoh pelanggaran HAM di berbagai belahan dunia serta lembaga-lembaga peradilan HAM internasional seperti Mahkamah Intern
Genre theory proposes that genres are defined by shared conventions of content, themes, and stylistic elements. Generic conventions refer to common narrative structures, character types, visual elements, and themes seen across films within a genre, such as action sequences and fights in action films. Identifying conventions involves analyzing typical narratives, micro-level details, and themes. While genres provide familiar frameworks that audiences enjoy, over-reliance on conventions can make films repetitive; some challenge expectations to keep genres fresh. Categorizing films by genre aids marketing but risks pigeonholing creativity.
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition of conventions alongside innovation and deviation from expectations.
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
1. Genre theory proposes that genres are conventions of content and form that are shared by texts belonging to that genre.
2. Genres are dynamic and open to negotiation rather than fixed forms. A text can belong to different genres over time and location.
3. Genres position both producers and audiences in certain ways. Producers work within genre conventions while audiences have expectations shaped by familiar genres.
1. Genre theory proposes that genres are conventions of content and form shared by texts belonging to them, though genres are dynamic and constantly changing rather than fixed.
2. Genres position both producers and audiences in certain ways, with genres providing expectations for audiences around plot, characters, and pleasures like emotional responses and sharing the experience with others.
3. However, genre classification is problematic, as individual texts may belong to multiple genres, genres are not clearly defined and change over time and between cultures, and their functions and borders are debated.
This document discusses genre theory in media such as film. It defines genre as a category or type of media text that shares common conventions. Genre helps both audiences and producers classify texts and make decisions about what to watch or create. While genres offer audiences familiarity and anticipation, theorists note that genres are dynamic and evolve over time in response to changes in society and audience tastes. Some key points discussed are that genres are defined by recurring codes and conventions, but are also hybridizing and blurring as audiences expect more novelty. The document also examines different genre theorists' perspectives on genres and their flexible, negotiated nature.
The document discusses various perspectives on genre from film theorists. It states that genre provides frameworks that allow filmmakers to construct films and audiences to understand them. Genres rely on repetition of conventions but also difference, as without some differences audiences would not be attracted. Pleasure is derived from both familiar repetition of a genre's conventions and unexpected differences. Overall, genres aim to structure films into categories that provide order and expectations for both producers and audiences.
This document discusses genre theory and its importance in media studies. It defines genre as a category or type of media text that shares common elements. Genre is important because it helps both audiences and industries classify large numbers of media into smaller groups. This allows audiences to understand what to expect from a text based on its genre conventions. However, genres are also dynamic and evolve over time based on changes in society and audience tastes. While genres provide structure and predictability, they can also constrain creativity if applied too rigidly. The strengths of genre theory are that it provides a common framework that everyone understands, but it also has weaknesses if it prevents experimentation beyond established genres.
This document discusses different perspectives on genre theory from scholars such as Daniel Chandler, Steve Neale, John Hartley, David Buckingham, and Rick Altman. Some key points made include: genres position audiences and readers in certain ways; genres are constituted by systems of audience expectations that interact with films; genres are dynamic and negotiated rather than fixed forms; genres provide frameworks that structure both production and audience reception; and genres are defined by both semantic elements like settings and codes as well as syntactic elements like narratives.
Genre theory categorizes films into groups based on common characteristics and conventions. This helps both audiences and the film industry understand what to expect from different types of films. However, genres are not static - they evolve over time as society and audiences change. Some theorists argue that pure genres no longer exist, and that modern genres are hybrids that borrow from multiple traditions to stay fresh and entertaining for audiences. Overall, genre theory provides a framework for understanding media but should not restrict creativity or audience tastes.
This document discusses film genres, defining genre as sets of patterns that transcend individual films and guide their construction and audience reception. Genres change over time and hybrids emerge. Genres are commonly categorized by setting, theme, mood or format. Producers and distributors use genre to minimize economic risk and promote films, while audiences use genre for pleasure and escapism, having expectations of typical conventions. Pleasure comes from recognizing genre conventions as well as their repetition with differences and innovations. Genre positions audiences and provides reading positions for ideal readers.
Genre refers to distinctive types or categories of texts that share common characteristics. Genre can be used to classify different types of media like music videos. Characteristics that define genres include settings, storylines, narratives, characters, themes, conventions, and more. Genre provides audiences with expectations about the structure and content of a text based on familiar conventions, allowing for creativity within those conventions.
The document discusses genre theory in film. It states that genres are dynamic and evolve over time rather than being fixed forms. Genres are defined by structural and thematic criteria. While genres help audiences understand what they are watching, the boundaries between genres can be blurred. Iconography and visual symbols can help identify a genre but films may incorporate elements of multiple genres. Genres change to reflect societal changes and audience tastes. Producers can manipulate genres to attract audiences or create new subgenres.
Genres provide conventions and expectations that are shared by texts belonging to that genre. They position audiences and creators in certain roles like interviewer/interviewee or reader/writer. Genres are instances of repetition and difference - mere repetition would not attract audiences. Pleasure is derived from both the repetition of familiar genre conventions and differences or unfamiliar elements. Genres guarantee meanings and pleasures for audiences while also offsetting the financial risks for large scale film production.
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and always changing in response to society. Genres survive through a process of hybridization, borrowing conventions from one another. Genres are recognizable through repeated use of codes and conventions within their narratives, representations, ideologies, and iconography. However, genre theory is not without weaknesses, as rigid adherence to genres may reduce creativity.
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and evolving over time in response to changes in society and audience tastes. Genre conventions help audiences understand and choose texts to consume, but can also constrain creativity by pressuring texts to conform to genre expectations. Key scholars discussed propose that genres are defined by repeated codes and conventions involving iconography, narrative structures, character representations, and ideological beliefs, though pure genres are a thing of the past as genres increasingly borrow from one another.
This document discusses genre theory and the concept of genre. It provides definitions of genre from various theorists like Warren Buckland who describes genre as categorizing films into groups based on their type. The document discusses how genre helps audiences and industries classify works and influences what is produced. It also notes that while genres provide structure and familiarity, deviations can confuse or please audiences. Several genre theorists are quoted discussing topics like genres borrowing conventions, genres being defined by repeated codes and conventions, and genres changing over time and contexts.
The document discusses genre conventions in media, focusing on understanding genre. It provides definitions and perspectives on genre from several sources. Key points made include that genres have characteristic features recognized by audiences, but are also subject to constant renegotiation between industry and audiences. Genres reflect the dominant values of a society at a given time. The document also includes an activity asking the reader to develop a proposal for a new television series that would appeal to a wide audience for ITV.
This document discusses various theories of genre from film and media scholars. It addresses how genre is both positively and negatively viewed in terms of classifying works. While genre conventions can lead to stagnation if rigidly adhered to, they also provide audiences with familiar expectations. Theories covered include genres having underlying patterns of repetition with variations; conveying moral and social contexts; and being signaled through iconic symbols. Most works incorporate elements of multiple genres. Genres continue to diversify and their boundaries remain fluid over time through cultural negotiation.
This document discusses genre theory and definitions of genre. It provides perspectives from several theorists on what constitutes a genre and how genres function. Daniel Chandler defines genres based on shared conventions of content, themes and settings. Steve Neale views genres as instances of repetition and difference that provide pleasure to audiences. Genres are seen as dynamic and constantly changing rather than fixed forms. The document also discusses genre hybridization and provides examples of how genres develop over time from experimental to classic to parody to deconstruction. It examines genres as providing structure, expectations and pleasure for both audiences and producers.
Unlock the secrets to enhancing your digital presence with our masterclass on mastering online visibility. Learn actionable strategies to boost your brand, optimize your social media, and leverage SEO. Transform your online footprint into a powerful tool for growth and engagement.
Key Takeaways:
1. Effective techniques to increase your brand's visibility across various online platforms.
2. Strategies for optimizing social media profiles and content to maximize reach and engagement.
3. Insights into leveraging SEO best practices to improve search engine rankings and drive organic traffic.
As 2023 proved, the next few years may be shaped by market volatility and artificial intelligence services such as OpenAI's ChatGPT and Perplexity.ai. Your brand will increasingly compete for attention with Google, Apple, OpenAI, and Amazon, and customers will expect a hyper-relevant and individualized experience from every business at any moment. New state-legislated data privacy laws and several FTC rules may challenge marketers to deliver contextually relevant customer experiences, much less reach unknown prospective buyers. Are you ready?Let's discuss the critical need for data governance and applied AI for your business rather than relying on public AI models. As AI permeates society and all industries, learn how to be future-ready, compliant, and confidentlyscaling growth.
Key Takeaways:
Primary Learning Objective
1: Grasp when artificial general intelligence (""AGI"") will arrive, and how your brand can navigate the consequences. Primary Learning Objective
2: Gain an accurate analysis of the continuously developing customer journey and business intelligence. Primary Learning Objective
3: Grow revenue at lower costs with more efficient marketing and business operations.
As the call for for skilled experts continues to develop, investing in quality education and education from a reputable https://www.safalta.com/online-digital-marketing/best-digital-marketing-institute-in-noida Digital advertising institute in Noida can lead to a a success career on this eve
We will explore the transformative journey of American Bath Group as they transitioned from a traditional monolithic CMS to a dynamic, composable martech framework using Kontent.ai. Discover the strategic decisions, challenges, and key benefits realized through adopting a headless CMS approach. Learn how composable business models empower marketers with flexibility, speed, and integration capabilities, ultimately enhancing digital experiences and operational efficiency. This session is essential for marketers looking to understand the practical impacts and advantages of composable technology in today's digital landscape. Join us to gain valuable insights and actionable takeaways from a real-world implementation that redefines the boundaries of marketing technology.
Mastering Dynamic Web Designing A Comprehensive Guide.pdfIbrandizer
Dynamic Web Designing involves creating interactive and adaptable web pages that respond to user input and change dynamically, enhancing user experience with real-time data, animations, and personalized content tailored to individual preferences.
The digital marketing industry is changing faster than ever and those who don’t adapt with the times are losing market share. Where should marketers be focusing their efforts? What strategies are the experts seeing get the best results? Get up-to-speed with the latest industry insights, trends and predictions for the future in this panel discussion with some leading digital marketing experts.
Build marketing products across the customer journey to grow your business and build a relationship with your customer. For example you can build graders, calculators, quizzes, recommendations, chatbots or AR apps. Things like Hubspot's free marketing grader, Moz's site analyzer, VenturePact's mobile app cost calculator, new york times's dialect quiz, Ikea's AR app, L'Oreal's AR app and Nike's fitness apps. All of these examples are free tools that help drive engagement with your brand, build an audience and generate leads for your core business by adding value to a customer during a micro-moment.
Key Takeaways:
Learn how to use specific GPTs to help you Learn how to build your own marketing tools
Generate marketing ideas for your business How to think through and use AI in marketing
How AI changes the marketing game
Mastering Local SEO for Service Businesses in the AI Era is tailored specifically for local service providers like plumbers, dentists, and others seeking to dominate their local search landscape. This session delves into leveraging AI advancements to enhance your online visibility and search rankings through the Content Factory model, designed for creating high-impact, SEO-driven content. Discover the Dollar-a-Day advertising strategy, a cost-effective approach to boost your local SEO efforts and attract more customers with minimal investment. Gain practical insights on optimizing your online presence to meet the specific needs of local service seekers, ensuring your business not only appears but stands out in local searches. This concise, action-oriented workshop is your roadmap to navigating the complexities of digital marketing in the AI age, driving more leads, conversions, and ultimately, success for your local service business.
Key Takeaways:
Embrace AI for Local SEO: Learn to harness the power of AI technologies to optimize your website and content for local search. Understand the pivotal role AI plays in analyzing search trends and consumer behavior, enabling you to tailor your SEO strategies to meet the specific demands of your target local audience. Leverage the Content Factory Model: Discover the step-by-step process of creating SEO-optimized content at scale. This approach ensures a steady stream of high-quality content that engages local customers and boosts your search rankings. Get an action guide on implementing this model, complete with templates and scheduling strategies to maintain a consistent online presence. Maximize ROI with Dollar-a-Day Advertising: Dive into the cost-effective Dollar-a-Day advertising strategy that amplifies your visibility in local searches without breaking the bank. Learn how to strategically allocate your budget across platforms to target potential local customers effectively. The session includes an action guide on setting up, monitoring, and optimizing your ad campaigns to ensure maximum impact with minimal investment.
The advent of AI offers marketers unprecedented opportunities to craft personalized and engaging customer experiences, evolving customer engagements from one-sided conversations to interactive dialogues. By leveraging AI, companies can now engage in meaningful dialogues with customers, gaining deep insights into their preferences and delivering customized solutions.
Susan will present case studies illustrating AI's application in enhancing customer interactions across diverse sectors. She'll cover a range of AI tools, including chatbots, voice assistants, predictive analytics, and conversational marketing, demonstrating how these technologies can be woven into marketing strategies to foster personalized customer connections.
Participants will learn about the advantages and hurdles of integrating AI in marketing initiatives, along with actionable advice on starting this transformation. They will understand how AI can automate mundane tasks, refine customer data analysis, and offer personalized experiences on a large scale.
Attendees will come away with an understanding of AI's potential to redefine marketing, equipped with the knowledge and tactics to leverage AI in staying competitive. The talk aims to motivate professionals to adopt AI in enhancing their CX, driving greater customer engagement, loyalty, and business success.
Mastering Local SEO for Service Businesses in the AI Era"" is tailored specifically for local service providers like plumbers, dentists, and others seeking to dominate their local search landscape. This session delves into leveraging AI advancements to enhance your online visibility and search rankings through the Content Factory model, designed for creating high-impact, SEO-driven content. Discover the Dollar-a-Day advertising strategy, a cost-effective approach to boost your local SEO efforts and attract more customers with minimal investment. Gain practical insights on optimizing your online presence to meet the specific needs of local service seekers, ensuring your business not only appears but stands out in local searches. This concise, action-oriented workshop is your roadmap to navigating the complexities of digital marketing in the AI age, driving more leads, conversions, and ultimately, success for your local service business.
Key Takeaways:
Embrace AI for Local SEO: Learn to harness the power of AI technologies to optimize your website and content for local search. Understand the pivotal role AI plays in analyzing search trends and consumer behavior, enabling you to tailor your SEO strategies to meet the specific demands of your target local audience. Leverage the Content Factory Model: Discover the step-by-step process of creating SEO-optimized content at scale. This approach ensures a steady stream of high-quality content that engages local customers and boosts your search rankings. Get an action guide on implementing this model, complete with templates and scheduling strategies to maintain a consistent online presence. Maximize ROI with Dollar-a-Day Advertising: Dive into the cost-effective Dollar-a-Day advertising strategy that amplifies your visibility in local searches without breaking the bank. Learn how to strategically allocate your budget across platforms to target potential local customers effectively. The session includes an action guide on setting up, monitoring, and optimizing your ad campaigns to ensure maximum impact with minimal investment.
Efficient Website Management for Digital Marketing ProsLauren Polinsky
Learn how to optimize website projects, leverage SEO tactics effectively, and implement product-led marketing approaches for enhanced digital presence and ROI.
This session is your key to unlocking the secrets of successful digital marketing campaigns and maximizing your business's online potential.
Actionable tactics you can apply after this session:
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- Effective SEO Practices: Gain valuable insights into optimizing your website for search engines, improving visibility, and driving organic traffic to your digital assets.
- Leverage Product-Led Marketing: Explore strategies for incorporating product-led marketing principles into your digital marketing efforts, enhancing user engagement and driving conversions.
Don't miss out on this opportunity to elevate your digital marketing game and achieve tangible results!
Dive deep into the cutting-edge strategies we're employing to revolutionize our web presence in the age of AI-driven search. As Gen Z reshapes the digital realm, discover how we can bridge the generational divide. Unlock the synergistic power of PPC, social media, and SEO, driving unparalleled revenues for our projects.
The digital marketing industry is changing faster than ever and those who don’t adapt with the times are losing market share. Where should marketers be focusing their efforts? What strategies are the experts seeing get the best results? Get up-to-speed with the latest industry insights, trends and predictions for the future in this panel discussion with some leading digital marketing experts.
QuickBooks Sync Manager Repair Tool- What You Need to Knowmarkmargaret23
Occurrence of technical errors on QuickBooks is common but it can be resolved with the use of QuickBooks Sync Manager Tool . With the help of this too, users can sync the QuickBooks Desktop company file with the Intuit online server. It is compatible with versions QuickBooks Pro, Premier, or Enterprise. In case a user faces sync-related errors then they simply need this repair tool.
Did you know that while 50% of content on the internet is in English, English only makes up 26% of the world’s spoken language? And yet 87% of customers won’t buy from an English only website.
Uncover the immense potential of communicating with customers in their own language and learn how translation holds the key to unlocking global growth. Join Smartling CEO, Bryan Murphy, as he reveals how translation software can streamline the translation process and seamlessly integrate into your martech stack for optimal efficiency. And that's not all – he’ll also share some inspiring success stories and practical tips that will turbocharge your multilingual marketing efforts!
Key takeaways:
1. The growth potential of reaching customers in their native language
2. Tips to streamline translation with software and integrations to your tech stack
3. Success stories from companies that have increased lead generation, doubled revenue, and more with translation
Customer Experience is not only for B2C and big box brands. Embark on a transformative journey into the realm of B2B customer experience with our masterclass. In this dynamic session, we'll delve into the intricacies of designing and implementing seamless customer journeys that leave a lasting impression. Explore proven strategies and best practices tailored specifically for the B2B landscape, learning how to navigate complex decision-making processes and cultivate meaningful relationships with clients. From initial engagement to post-sale support, discover how to optimize every touchpoint to deliver exceptional experiences that drive loyalty and revenue growth. Join us and unlock the keys to unparalleled success in the B2B arena.
Key Takeaways:
1. Identify your customer journey and growth areas
2. Build a three-step customer experience strategy
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Capstone Project: Luxury Handloom Saree Brand
As part of my college project, I applied my learning in brand strategy to create a comprehensive project for a luxury handloom saree brand. Key aspects of this project included:
- *Competitor Analysis:* Conducted in-depth competitor analysis to identify market position and differentiation opportunities.
- *Target Audience:* Defined and segmented the target audience to tailor brand messages effectively.
- *Brand Strategy:* Developed a detailed brand strategy to enhance market presence and appeal.
- *Brand Perception:* Analyzed and shaped the brand perception to align with luxury and heritage values.
- *Brand Ladder:* Created a brand ladder to outline the brand's core values, benefits, and attributes.
- *Brand Architecture:* Established a cohesive brand architecture to ensure consistency across all brand touchpoints.
This project helped me gain practical experience in brand strategy, from research and analysis to strategic planning and implementation.
2. “ The word ‘genre’ means ‘type’ or
‘category’. To study a film as a genre
involves treating it, not as a unique
entity, but as a member of a general
category, as a certain type of film. The
aim is therefore to classify, or organise, a
large number of films into a small number
of groups.” – Warren Buckland
3. To help give and understanding of what
genre is, here are some quotes to help:
“patterns/styles/structures which transcend
individual films, and which supervise both
their construction by the film maker and
their reading by an audience” (Tom Ryall,
1998)
Genre is there, according to Ryall, to place
convention for the film maker to recognise
and develop within their own work, but also
for the audience to identify.
4. Steve Neal (1990) argues that
Hollywood’s generic regime guarantees
meaning and pleasures for audiences.
Steve Neal (1980) also states that much
of the pleasure from popular cinema lies
in the process of “difference in
repetition”. Meaning, we gain pleasure
by watching films that we can identify
features of genre conventions but in an
unfamiliar way. So not every film is
exactly the same, but still easily
identifiable within a specific genre.
5. Another by Steve Neal (1990) is that
genre is constituted by “specific systems
of expectations and hypothesis which
spectators bring with them to the
cinema and which interact with the films
themselves during the course of the
viewing process” which expands on his
latter point of “difference in repetition”.
This is because viewers go to see films
within genres they like and thus have
their expectations of what will happen in
the film and the interaction comes from
the difference that this film has to other
in that genre.
6. Jonathan Culler (1998) declares that
generic conventions exist to establish a
contract between and deviation from
the accepted modes of intelligibility.
Acts of communication are rendered
intelligible only within the context of a
shared conventional framework of
expression. Meaning that genre is there
to work as a framework for viewer and
film-maker which can be used to see
whether the film is successful (intelligent)
or not.
7. Ryall (1998) sees the framework provided by
the generic system, therefore, genre
becomes a cognitive repository of images,
sounds, stories, characters, and
expectations.
Similar to Culler, John Fiske (1988) believed
that genre has come to represent
“attempts to structure some order into the
wide range of texts and meanings that
circulate in or culture for the convenience
of both producers and audience”. So
audiences can go see films they know they
like (ones from specific genres) and film-
makers can use the conventions from
genres to ensure they appeal to audiences.
8. Audiences and industries use genre to
help appeal certain movies to people
whom like that genre
Genre helps to allow industries to follow
certain codes and conventions to
create films within a specific genre
However, the purpose of films is to be
different from one and other but to still
be classified in a genre, thus, the
boundaries of genre’s are ‘fuzzy’ and not
clear
9. My short film is mainly about war, but I
would not classify it within the war genre,
emphasising this fuzzy boundary
between genres. I would however,
classify it within the drama genre with
elements of war.
10. Uses a dramatic story line to move the
audience emotionally
Contains real life situations and
characters along with settings and stories
to allow the audience to build emotions
with the characters
Journeys through characters
development to gain more emotional
connection between audience and film
11. Often contains conflict or disaster/difficulty
and pain
Audience can relate to the characters
because it is more a realistic storyline
Includes climaxes which throughout for
there to be a form of realisation at the end
– can be both a happy or sad ending but
commonly happy endings
Most importantly, drama can have aspects
of other genres to create more of a
storyline for the audience
12. A realistic storyline that many people
can relate to as it is about PTS (post
traumatic stress)
Character development is the climax
creating tension and the realisation at
the end of the short to see what the
problem is
Contains a problematic storyline
13. I believe the main convention I have
developed with my work is the use of PTS
as the disaster. This is because it is only
becoming recently a widely known
disorder which affects many people. As
this is something new that may not have
been fully investigated and shown in
films involving disasters from the war and
it also strays away from the common war
storylines.
14. I have challenged conventions such as the
happy ending as I have gave it a sad ending.
Sad ending are still seen in drama conventions,
however, I have challenged this, not so
common, convention in that there is no
resolution or no prospect for resolution
because of the characters condition. It shows
the character at an older age after the war
and the journey through his every day which
emphasises that it has never went. Implications
of his condition never getting better come
from the short being set in the past making the
ending far more sad which challenges the
conventions more.