This document summarizes conventions of the crime genre seen in the films The Silence of the Lambs and Seven. It discusses how both films set the story in a city to create tension, with Seven portraying an unnamed rainy city where newspaper headlines show ongoing crimes. It also examines how the films use conventions like the villain being "one step ahead" through psychological manipulation and clues. Cinematography techniques like low-key lighting are discussed in relation to how they build mystery and show the power of antagonists in key scenes from both films.
Fictional film codes and conventions RESUB 19001069
This document analyzes conventions in the crime genre films The Silence of the Lambs and Seven. It discusses how the films establish settings that increase tension by making threats feel relatable. Both films also feature protagonists who are constantly one step behind the antagonists, generating suspense. Cinematography conventions like low-key lighting are used in scenes to add mystery and highlight the power of villains over heroes. Character introductions and interactions carefully set up dynamics of power between the characters through shot framing and perspective.
This document discusses conventions of the thriller genre found in the films The Silence of the Lambs (1991) and Seven (1995). It analyzes several key conventions including the hostage/countdown to the next victim, the setting usually being a city that adds tension, and the villain often being one step ahead through mind games. It also examines how specific scenes from both films employ conventions like low key lighting, shot composition, and music to build mystery, tension and show the villain is in control. Finally, it discusses how these conventions appeal to the target thriller audience by inviting them to solve the mystery along with the heroes.
Seven is a 1995 crime thriller directed by David Fincher and starring Morgan Freeman and Brad Pitt. It follows detectives Somerset and Mills as they investigate a series of murders based on the seven deadly sins. The experienced Somerset and headstrong Mills have differing investigative styles but develop their partnership over the course of the case. John Doe is the unknown killer who turns himself in and is revealed to have committed the murders out of envy for Mills. The film subverts crime movie conventions by giving the killer a symbolic motive beyond senseless violence.
The film conforms to many horror/slasher genre conventions through the use of mysterious sounds, a masked killer holding a knife, and dark lighting. It subverts some stereotypes by showing the killer hanging a victim and bringing the body home. While the narrative shifts non-linearly between past and present, it leaves the killer's motives ambiguous and ends on a cliffhanger, setting up potential sequels.
The document provides an analysis of various technical elements in the film Halloween. It discusses how iconography like the knife and mask are used to indicate the slasher/horror genre. Characterization follows common stalker/horror tropes like the "final girl" and victims. Cinematography utilizes point-of-view shots from the killer's perspective to build tension. Editing includes quick cuts between scenes to show the unfolding tragic events. Sound design relies on silence and a recurring musical theme to create an ominous atmosphere.
The document provides an analysis of various technical elements in the film Halloween, including iconography, narrative structure, characterization, sound design, and cinematography. Regarding iconography, key props like the knife and mask worn by the killer are discussed. The narrative follows a linear structure as events unfold sequentially. Character archetypes discussed include the "final girl" protagonist and victims. Sound design relies heavily on silence and a repetitive musical score. Cinematography employs point-of-view shots from the killer's perspective to build tension and suspense for the audience.
The document provides an analysis of various technical elements in the film Halloween, including iconography, narrative, characterization, sound, and cinematography. Regarding iconography, key props like the knife and mask worn by the killer are discussed. In terms of narrative, the plot involves Michael Myers escaping after killing his sister as a child and returning to target a group of college students. Regarding characterization, typical "stock types" like the final girl and victims are present. Silence and diegetic sounds like dialogue are used to build tension. Cinematography employs point-of-view shots, tracking shots, and tilts/low angles to represent the killer and develop suspense.
The document provides an in-depth analysis of the film Halloween through discussions of its iconography, narrative, characters, sound, and cinematography. Regarding iconography, key props like the killer's knife and mask are discussed. The narrative follows a linear structure with typical horror film characters like the "final girl". Sound uses both diegetic and non-diegetic elements, with silence and a theme song building tension. Cinematography employs point-of-view shots, tracking shots, and angles that hide the killer's identity while making him seem dominant. Editing uses quick cuts between scenes to show unfolding tragic events.
Fictional film codes and conventions RESUB 19001069
This document analyzes conventions in the crime genre films The Silence of the Lambs and Seven. It discusses how the films establish settings that increase tension by making threats feel relatable. Both films also feature protagonists who are constantly one step behind the antagonists, generating suspense. Cinematography conventions like low-key lighting are used in scenes to add mystery and highlight the power of villains over heroes. Character introductions and interactions carefully set up dynamics of power between the characters through shot framing and perspective.
This document discusses conventions of the thriller genre found in the films The Silence of the Lambs (1991) and Seven (1995). It analyzes several key conventions including the hostage/countdown to the next victim, the setting usually being a city that adds tension, and the villain often being one step ahead through mind games. It also examines how specific scenes from both films employ conventions like low key lighting, shot composition, and music to build mystery, tension and show the villain is in control. Finally, it discusses how these conventions appeal to the target thriller audience by inviting them to solve the mystery along with the heroes.
Seven is a 1995 crime thriller directed by David Fincher and starring Morgan Freeman and Brad Pitt. It follows detectives Somerset and Mills as they investigate a series of murders based on the seven deadly sins. The experienced Somerset and headstrong Mills have differing investigative styles but develop their partnership over the course of the case. John Doe is the unknown killer who turns himself in and is revealed to have committed the murders out of envy for Mills. The film subverts crime movie conventions by giving the killer a symbolic motive beyond senseless violence.
The film conforms to many horror/slasher genre conventions through the use of mysterious sounds, a masked killer holding a knife, and dark lighting. It subverts some stereotypes by showing the killer hanging a victim and bringing the body home. While the narrative shifts non-linearly between past and present, it leaves the killer's motives ambiguous and ends on a cliffhanger, setting up potential sequels.
The document provides an analysis of various technical elements in the film Halloween. It discusses how iconography like the knife and mask are used to indicate the slasher/horror genre. Characterization follows common stalker/horror tropes like the "final girl" and victims. Cinematography utilizes point-of-view shots from the killer's perspective to build tension. Editing includes quick cuts between scenes to show the unfolding tragic events. Sound design relies on silence and a recurring musical theme to create an ominous atmosphere.
The document provides an analysis of various technical elements in the film Halloween, including iconography, narrative structure, characterization, sound design, and cinematography. Regarding iconography, key props like the knife and mask worn by the killer are discussed. The narrative follows a linear structure as events unfold sequentially. Character archetypes discussed include the "final girl" protagonist and victims. Sound design relies heavily on silence and a repetitive musical score. Cinematography employs point-of-view shots from the killer's perspective to build tension and suspense for the audience.
The document provides an analysis of various technical elements in the film Halloween, including iconography, narrative, characterization, sound, and cinematography. Regarding iconography, key props like the knife and mask worn by the killer are discussed. In terms of narrative, the plot involves Michael Myers escaping after killing his sister as a child and returning to target a group of college students. Regarding characterization, typical "stock types" like the final girl and victims are present. Silence and diegetic sounds like dialogue are used to build tension. Cinematography employs point-of-view shots, tracking shots, and tilts/low angles to represent the killer and develop suspense.
The document provides an in-depth analysis of the film Halloween through discussions of its iconography, narrative, characters, sound, and cinematography. Regarding iconography, key props like the killer's knife and mask are discussed. The narrative follows a linear structure with typical horror film characters like the "final girl". Sound uses both diegetic and non-diegetic elements, with silence and a theme song building tension. Cinematography employs point-of-view shots, tracking shots, and angles that hide the killer's identity while making him seem dominant. Editing uses quick cuts between scenes to show unfolding tragic events.
This document provides a detailed analysis of the 1978 horror film "Halloween". It summarizes that the film was made on a very low budget but was hugely successful, making $70 million. It follows the story of the psychopath Michael Myers returning to his hometown to kill teenagers. The film established many conventions for the slasher genre and analyzes its narrative structure, characters, themes, and ideological underpinnings through the lenses of theorists like Todorov, Lévi-Strauss, and Propp. It pays particular attention to how the film depicts gender and sexuality.
Halloween is a 1978 independent horror film directed by John Carpenter. Made on a budget of $320,000, it grossed $47 million. It stars Jamie Lee Curtis as Laurie Strode who is stalked by escaped mental patient Michael Myers on Halloween. The film is known for establishing many conventions of the slasher film genre and contains references to Alfred Hitchcock's Psycho, including the casting of Janet Leigh's daughter Jamie Lee Curtis as the main character. Through its point-of-view shots, editing, and minimal graphic violence, Halloween uses suspense to create a disturbing atmosphere.
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Evaluation question 1 for media coursework. In what way does your media product use, develop or challenge forms and conventions of real media products?
This document provides a detailed analysis and summary of the 1996 film Trainspotting's movie trailer. It analyzes various shots and scenes from the trailer through the lens of several film theories. Key points analyzed include the introduction of the main characters, depictions of masculinity and violence, representations of social classes, and implications for the plot. The analysis finds that the trailer adheres closely to conventions of social realist films and depicts the characters engaging in drug use, crime, and violence, highlighting the disruptive lifestyles they live.
The document provides an analysis of the opening scene of the film "Trainspotting" through examining its setting, characters, genre, narrative, lighting, sound, editing, titles, and production companies. The scene begins with a chase through a busy town center, then changes to show the main characters playing football, illustrating their double lives. Through close-ups and tracking shots, the characters are introduced as engaging in both normal activities like sports but also a darker drug-related lifestyle. The editing uses quick cuts to match the upbeat diegetic music and portray the characters' contrasting personas.
The document summarizes the conventions, codes, characters, and events analyzed in four slasher/horror films to help inform the creation of the student's own slasher film opening sequence media product. The films analyzed were Straightheads, Gone, Babysitter Wanted, and Psycho. Common conventions identified across the films included the use of weapons as props to inflict violence, costumes distinguishing villains from victims, isolated settings increasing suspense, and typical character archetypes like victims and villains. Film techniques like camera angles, lighting, titles, and shot types were also discussed.
The document provides information about the plot, conventions, costumes, settings, stock characters, and codes used in two horror/thriller films - Straightheads and Gone. For Straightheads, the plot involves a woman and her boyfriend plotting revenge after being attacked. Various props, costumes, settings, and camera techniques are discussed. For Gone, the plot involves a woman trying to find her kidnapped sister. Again, props, costumes, settings, and camera work are analyzed in relation to conventions in the thriller genre. Stock characters and events common to both films are also mentioned.
The document analyzes the opening scene of the film Trainspotting, focusing on the camera work, editing, mise-en-scene, sound, and narration. It discusses how the handheld camera during the chase scene aims to involve the audience. Shots switch between high and low angles to show power dynamics. Costumes and settings depict the characters' impoverished lives that contrast social norms. The soundtrack and Renton's narration philosophically question societal expectations and imply he lives a carefree life fueled by heroin addiction.
The document provides a technical analysis of the 1978 film Halloween. It examines how cinematography, sound, mise-en-scene, editing, narrative structure, and other elements create meaning and adhere to horror genre conventions. Regarding sound, it notes the use of a repeated piano score to build tension, as well as silence. Character representations include stereotypical "final girl" and promiscuous victim archetypes. The editing obscures the killer's identity and the narrative shifts between past and present. Dark lighting and isolated settings also follow horror film norms.
The document discusses three action thriller films - Taken, Lucy, and Wanted. It summarizes the plot of each film, noting that Taken and Lucy follow the conventional theme of revenge, while Wanted breaks conventions by featuring a vulnerable male protagonist protected by a strong female. The document also analyzes how each film's trailer uses techniques like characters, narrative, iconography, setting, and audio/visual codes to attract audiences and fit within the action thriller genre.
The document analyzes the film Identity through its camera shots/angles/movements, editing, lighting, sound, and mise-en-scene. It discusses how close-ups are used to depict emotions and build trust in characters. Parallel editing links the motel scenes to Malcolm Rivers' case. Shifting perspectives and jump cuts reveal Ed's dissociative identity disorder. Lighting and sound convey mystery, tension, and insanity. The motel setting and sexually objectified female characters comply with horror conventions.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
Propp's Character Roles and Narrative Functions - Unit G324tj_salango
The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
The document provides a detailed analysis of technical aspects that create meaning in the Halloween film. It discusses how sound is used to build tension, such as a threatening buzz associated with the killer. It also examines the use of shots like close-ups of the killer's mask and long shots to track his movements. Additionally, it analyzes how lighting, settings like the dark house, and props help move the plot and provide clues to the audience. Overall, the document demonstrates how elements like sound, cinematography and mise-en-scene work together to effectively tell the story and create suspense in the Halloween slasher film.
The document provides a detailed analysis of technical aspects that create meaning in the Halloween film. It discusses how sound is used to build tension, such as a threatening buzz associated with the killer. It also examines the use of shots like close-ups of the killer's mask and house to draw the audience in. Mise-en-scene elements like the killer's dark clothing and the female victims' attire are described. Lighting and setting inside the targeted house create an atmosphere of tension. The narrative follows a linear chronological order to tell the story of the killer Michael Myers returning to his hometown after escaping from a mental institution.
This document analyzes and compares the tones and settings of the first three Die Hard films. It contains references to A Good Day to Die Hard. The document provides summaries of key scenes from Die Hard 1, including Hans Gruber's entrance and the meeting between John McClane and Hans Gruber. It also analyzes the death of Hans Gruber at the end of Die Hard 1. The document examines how the characters and their relationships are developed throughout these pivotal scenes.
The document discusses how to analyze films through genres, narrative, semiotics, and representation. It then analyzes the 1994 films Leon and Pulp Fiction. For Leon, it summarizes the plot, characters, settings, and how they establish the action thriller genre. It discusses the unconventional protagonist and relationship between Leon and Mathilda. For Pulp Fiction, it notes the nonlinear narrative and interconnected characters. It summarizes the postmodern techniques used like intertextuality, parody, pastiche, reflexivity, bricolage, and self-referentiality.
The document analyzes the trailer for the film "The Riot Club" through the lens of various film theories. It discusses how the trailer uses imagery, costumes, settings and other elements to represent the upper class male characters as wealthy, privileged and prone to violence when intoxicated. It also depicts the lower class female characters as objects of sexual desire for the upper class men. The analysis suggests the trailer builds tension and establishes binary opposites between the upper and lower class characters to set up conflicts that will likely occur in the film.
This document compares the opening scene of a student-created thriller film to several established action/thriller films and a video game to highlight how it develops and challenges genre conventions. It analyzes similarities in strong female leads, editing techniques, costumes, violence and action scenes between the student film and films like Salt, Kick Ass, and Hanna. While it shares some conventions like athletic fight scenes and twists, the student film subverts expectations by revealing its female lead is the antagonist and having less comedy than Kick Ass. The analysis is used to understand how the student film fits into and pushes the boundaries of the thriller genre.
This document provides an analysis of the film Leon using concepts from film theory, including genre, narrative, semiotics, and representation. It analyzes how the film fits genres such as thriller/action and establishes characters, settings, and plot elements quickly. It discusses the film's narrative structure and use of symbols. Additional films like Pulp Fiction and Lord of the Rings are briefly analyzed using similar concepts. The document also explores how postmodernism and changes in production technology have impacted parody and pastiche in films.
This document analyzes and summarizes two films, Leon the Professional and Pulp Fiction, using various critical lenses. For Leon the Professional, it examines the narrative structure, genre conventions, representations of characters, and style. It finds that while it includes some action/thriller elements, it subverts expectations for the genre. For Pulp Fiction, it analyzes the nonlinear narrative and identifies various postmodern references, intertextuality, pastiche, and self-referentiality. Both films are found to incorporate genre conventions while also being original through unconventional elements.
This document provides a detailed analysis of the 1978 horror film "Halloween". It summarizes that the film was made on a very low budget but was hugely successful, making $70 million. It follows the story of the psychopath Michael Myers returning to his hometown to kill teenagers. The film established many conventions for the slasher genre and analyzes its narrative structure, characters, themes, and ideological underpinnings through the lenses of theorists like Todorov, Lévi-Strauss, and Propp. It pays particular attention to how the film depicts gender and sexuality.
Halloween is a 1978 independent horror film directed by John Carpenter. Made on a budget of $320,000, it grossed $47 million. It stars Jamie Lee Curtis as Laurie Strode who is stalked by escaped mental patient Michael Myers on Halloween. The film is known for establishing many conventions of the slasher film genre and contains references to Alfred Hitchcock's Psycho, including the casting of Janet Leigh's daughter Jamie Lee Curtis as the main character. Through its point-of-view shots, editing, and minimal graphic violence, Halloween uses suspense to create a disturbing atmosphere.
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Evaluation question 1 for media coursework. In what way does your media product use, develop or challenge forms and conventions of real media products?
This document provides a detailed analysis and summary of the 1996 film Trainspotting's movie trailer. It analyzes various shots and scenes from the trailer through the lens of several film theories. Key points analyzed include the introduction of the main characters, depictions of masculinity and violence, representations of social classes, and implications for the plot. The analysis finds that the trailer adheres closely to conventions of social realist films and depicts the characters engaging in drug use, crime, and violence, highlighting the disruptive lifestyles they live.
The document provides an analysis of the opening scene of the film "Trainspotting" through examining its setting, characters, genre, narrative, lighting, sound, editing, titles, and production companies. The scene begins with a chase through a busy town center, then changes to show the main characters playing football, illustrating their double lives. Through close-ups and tracking shots, the characters are introduced as engaging in both normal activities like sports but also a darker drug-related lifestyle. The editing uses quick cuts to match the upbeat diegetic music and portray the characters' contrasting personas.
The document summarizes the conventions, codes, characters, and events analyzed in four slasher/horror films to help inform the creation of the student's own slasher film opening sequence media product. The films analyzed were Straightheads, Gone, Babysitter Wanted, and Psycho. Common conventions identified across the films included the use of weapons as props to inflict violence, costumes distinguishing villains from victims, isolated settings increasing suspense, and typical character archetypes like victims and villains. Film techniques like camera angles, lighting, titles, and shot types were also discussed.
The document provides information about the plot, conventions, costumes, settings, stock characters, and codes used in two horror/thriller films - Straightheads and Gone. For Straightheads, the plot involves a woman and her boyfriend plotting revenge after being attacked. Various props, costumes, settings, and camera techniques are discussed. For Gone, the plot involves a woman trying to find her kidnapped sister. Again, props, costumes, settings, and camera work are analyzed in relation to conventions in the thriller genre. Stock characters and events common to both films are also mentioned.
The document analyzes the opening scene of the film Trainspotting, focusing on the camera work, editing, mise-en-scene, sound, and narration. It discusses how the handheld camera during the chase scene aims to involve the audience. Shots switch between high and low angles to show power dynamics. Costumes and settings depict the characters' impoverished lives that contrast social norms. The soundtrack and Renton's narration philosophically question societal expectations and imply he lives a carefree life fueled by heroin addiction.
The document provides a technical analysis of the 1978 film Halloween. It examines how cinematography, sound, mise-en-scene, editing, narrative structure, and other elements create meaning and adhere to horror genre conventions. Regarding sound, it notes the use of a repeated piano score to build tension, as well as silence. Character representations include stereotypical "final girl" and promiscuous victim archetypes. The editing obscures the killer's identity and the narrative shifts between past and present. Dark lighting and isolated settings also follow horror film norms.
The document discusses three action thriller films - Taken, Lucy, and Wanted. It summarizes the plot of each film, noting that Taken and Lucy follow the conventional theme of revenge, while Wanted breaks conventions by featuring a vulnerable male protagonist protected by a strong female. The document also analyzes how each film's trailer uses techniques like characters, narrative, iconography, setting, and audio/visual codes to attract audiences and fit within the action thriller genre.
The document analyzes the film Identity through its camera shots/angles/movements, editing, lighting, sound, and mise-en-scene. It discusses how close-ups are used to depict emotions and build trust in characters. Parallel editing links the motel scenes to Malcolm Rivers' case. Shifting perspectives and jump cuts reveal Ed's dissociative identity disorder. Lighting and sound convey mystery, tension, and insanity. The motel setting and sexually objectified female characters comply with horror conventions.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
Propp's Character Roles and Narrative Functions - Unit G324tj_salango
The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
The document provides a detailed analysis of technical aspects that create meaning in the Halloween film. It discusses how sound is used to build tension, such as a threatening buzz associated with the killer. It also examines the use of shots like close-ups of the killer's mask and long shots to track his movements. Additionally, it analyzes how lighting, settings like the dark house, and props help move the plot and provide clues to the audience. Overall, the document demonstrates how elements like sound, cinematography and mise-en-scene work together to effectively tell the story and create suspense in the Halloween slasher film.
The document provides a detailed analysis of technical aspects that create meaning in the Halloween film. It discusses how sound is used to build tension, such as a threatening buzz associated with the killer. It also examines the use of shots like close-ups of the killer's mask and house to draw the audience in. Mise-en-scene elements like the killer's dark clothing and the female victims' attire are described. Lighting and setting inside the targeted house create an atmosphere of tension. The narrative follows a linear chronological order to tell the story of the killer Michael Myers returning to his hometown after escaping from a mental institution.
This document analyzes and compares the tones and settings of the first three Die Hard films. It contains references to A Good Day to Die Hard. The document provides summaries of key scenes from Die Hard 1, including Hans Gruber's entrance and the meeting between John McClane and Hans Gruber. It also analyzes the death of Hans Gruber at the end of Die Hard 1. The document examines how the characters and their relationships are developed throughout these pivotal scenes.
The document discusses how to analyze films through genres, narrative, semiotics, and representation. It then analyzes the 1994 films Leon and Pulp Fiction. For Leon, it summarizes the plot, characters, settings, and how they establish the action thriller genre. It discusses the unconventional protagonist and relationship between Leon and Mathilda. For Pulp Fiction, it notes the nonlinear narrative and interconnected characters. It summarizes the postmodern techniques used like intertextuality, parody, pastiche, reflexivity, bricolage, and self-referentiality.
The document analyzes the trailer for the film "The Riot Club" through the lens of various film theories. It discusses how the trailer uses imagery, costumes, settings and other elements to represent the upper class male characters as wealthy, privileged and prone to violence when intoxicated. It also depicts the lower class female characters as objects of sexual desire for the upper class men. The analysis suggests the trailer builds tension and establishes binary opposites between the upper and lower class characters to set up conflicts that will likely occur in the film.
This document compares the opening scene of a student-created thriller film to several established action/thriller films and a video game to highlight how it develops and challenges genre conventions. It analyzes similarities in strong female leads, editing techniques, costumes, violence and action scenes between the student film and films like Salt, Kick Ass, and Hanna. While it shares some conventions like athletic fight scenes and twists, the student film subverts expectations by revealing its female lead is the antagonist and having less comedy than Kick Ass. The analysis is used to understand how the student film fits into and pushes the boundaries of the thriller genre.
This document provides an analysis of the film Leon using concepts from film theory, including genre, narrative, semiotics, and representation. It analyzes how the film fits genres such as thriller/action and establishes characters, settings, and plot elements quickly. It discusses the film's narrative structure and use of symbols. Additional films like Pulp Fiction and Lord of the Rings are briefly analyzed using similar concepts. The document also explores how postmodernism and changes in production technology have impacted parody and pastiche in films.
This document analyzes and summarizes two films, Leon the Professional and Pulp Fiction, using various critical lenses. For Leon the Professional, it examines the narrative structure, genre conventions, representations of characters, and style. It finds that while it includes some action/thriller elements, it subverts expectations for the genre. For Pulp Fiction, it analyzes the nonlinear narrative and identifies various postmodern references, intertextuality, pastiche, and self-referentiality. Both films are found to incorporate genre conventions while also being original through unconventional elements.
The document analyzes conventions used in the opening sequences of several action movies, including The Dark Knight, The Matrix, and Lord of the Rings films. It finds that many openings establish villains and heroes through lighting, costumes, and dialogue. They also introduce violence, weapons, and fighting to set up action scenes. While most movies follow these conventions, some countertypes are noted like powerful female heroes in The Matrix and an elderly wizard fighting in The Two Towers.
This document provides a summary and analysis of the 2011 film "Limitless". The film stars Bradley Cooper as a writer who is struggling until he is introduced to a drug called NZT that allows him to use his full mental abilities. After taking the drug, he is able to quickly become successful on Wall Street. However, he becomes addicted to the drug. The document analyzes several scenes from the film and discusses the genres as a thriller and science fiction. It examines the opening scene, first time taking NZT scene, and ending scene in detail through shot analysis.
The document compares two clips from L.A. Noire and Casino Royale in terms of their representations of gender and crime as well as their narratives. Both clips imply crime indirectly through police presence and shady characters, and portray male-dominated worlds and women in stereotypical roles. However, L.A. Noire focuses more on the mistreatment of women in 1950s America while Casino Royale features only men. The narratives also differ as Casino Royale leads the audience to believe something is wrong through music and dialogue, while L.A. Noire depicts the city in a positive light through its narrator.
1) The document provides information on common conventions in comedy and crime thriller films. Comedies typically have upbeat settings like suburbs and use lighting and shots to elicit humor, while crime thrillers build tension with techniques like low-key lighting and quick cuts.
2) It then summarizes the plots of Superbad and Project X, coming-of-age comedies about teenage boys, and analyzes their use of conventions.
3) Finally, it summarizes the crime thriller Silence of the Lambs and how it follows conventions like a disruption causing the protagonist to restore order, while also breaking conventions through its female protagonist. It then does the same for Se7en.
The document provides summaries of similarities between the opening sequence "Beaten" and various horror films and media. Some key similarities highlighted include use of bars/cages to restrict characters, building tension through editing techniques like slow initial pacing, disturbing zombie makeup and behaviors, lighting choices like red to indicate danger, and sounds of zombies to create an unsettling atmosphere. Costuming zombies in everyday clothes they died in and facial expressions showing desperation for food sources are also noted similarities.
This document analyzes the conventions used in the opening of a crime thriller film produced by DaniellaMcHugh. It discusses how the opening establishes conventions of the genre through elements like a title ident, montage, credits, music, and pacing. Key aspects that set up the story include repetitive images of a gun, pills, and a "ghosting effect" that leave the audience questioning. The opening challenges conventions by having a female protagonist, as crime thrillers typically feature male leads.
The short film Lovefield by Mathieu Ratthe manipulates the audience by initially making them think it is a thriller about a woman who is murdered in a field by a man, through the use of ominous music, lighting, camerawork, and costumes that make the man seem threatening. However, it is later revealed that the man actually helps the woman give birth to her baby, subverting the audience's expectations and supporting Todorov's theory that films create an initial equilibrium, a disruption, and then a new resolution.
The document provides descriptions of the opening sequences of several films across different genres including zombie thriller, teen romantic comedy thriller, psychological thriller, and romantic thriller. The summaries highlight the conventions used in each opening such as close-up shots, tracking shots, establishing shots, and imagery related to blood and violence to set the tone and provide clues about the genre and plot.
This document provides a critical analysis of the films Leon the Professional and Deadpool in three areas:
1) It analyzes the genres, narratives, representations and use of symbols in Leon the Professional, noting how it subverts some action movie tropes through the relationship between Leon and Matilda.
2) It examines the linear narrative structure and character archetypes in Leon the Professional based on Todorov and Propp's theories.
3) It discusses how the opening credits of Deadpool immediately signal it as a parody film through its unconventional style and breaking of the fourth wall, setting the comedic tone for the movie.
This document discusses how genre, narrative, semiotics, and representation can be used to analyze and respond to media products like films. It provides an analysis of the 1994 film Leon, describing how elements of the poster communicate the action thriller genre through use of color and symbols. Specific scenes and aspects of Leon's character are also examined for their semiotic meaning, such as his unusual sleeping position representing his vigilance as an assassin. The film is summarized in a three-act structure and its setting in New York City is discussed as helping to establish the genre. Character clothing and other iconography are analyzed for what they convey about the characters and time period depicted.
The document analyzes conventions of gangster film openings through examples. It begins by summarizing the key points made in the document's introduction about gangster film conventions involving violence, wealth, and the rise and fall of gangsters. It then provides a more in-depth analysis of openings from Goodfellas, Pulp Fiction, and The Godfather to illustrate conventions around mise-en-scene, lighting, costumes, settings and the establishment of characters and power dynamics through dialogue and shot composition. The summary concludes that the document examines how successful gangster films utilize many typical genre conventions in their openings to immerse audiences in the world and story.
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Vectors
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GitHub: https://github.com/milvus-io/milvus https://github.com/tspannhw
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Fictional film codes and conventions
1. Fictional Film Codes and Conventions
Crime genre
I have chosen the crime genre. The two films I have picked are The Silence of the Lambs (1991)
(TSOTL) and Seven (1995) I’ve chosen these movies as they are both iconic of this genre.
Section one
There are a lot of stylistic conventions of the crime genre; conventions which are cemented into the
crime genre. Genres are instances of repetition and difference; this is creates a target audience.
This was suggested by Steve Neale.
One convention of this genre is setting. Crime movies mostly take place in a city or suburbia. This
instantly derives tension as it makes the threat relatable. In Seven the location is almost its own
character; the city isn’t named in the movie but this allows the setting to be more sinister. The city is
always raining. This could be pathetic fallacy where the weather mirrors the narrative. In the film we
are shown police investigations which have nothing to do with the main narrative but it shows the city
is a place of crime. There are newspapers with headlines which show the horror of the city. This gives
depth to the city and makes it feel lived in; also it may even suggest why the killer is doing what he is
doing. In the silence of the lambs the setting is more realistic than in seven, this makes the silence of
the lambs seem more realistic than seven which makes it more terrifying and relatable for the
audience.
Also; another convention is justice vs injustice, often mind games. In TSOTL Hannibal is playing mind
games throughout the narrative. He is constantly the one with the information and is constantly one
step ahead. Whilst re-watching the movie you can see the steps to his plan to escape play out. In
Seven John Doe is constantly one step ahead of our hero’s. This convention creates tension in a crime
movie. Both movies use this convention and so does other crime movies like Prisoners. I believe when
compared these movies use the convention differently. In TSOTL in is Hannibal who’s one step ahead
and he isn’t the main antagonist. However, in Seven it is John Doe who is one step ahead at all times;
I believe seven uses the trop more effectively as it is literally justice vs injustice. This convention, and
its use in the movie, makes the audience root for the protagonists and that they find the killer.
For props of the genre I argue it’s not the prop its self which is linked to the genre, it’s the meaning
behind the prop. In TSOTL one now infamous prop is Hannibal’s mask. It suggests mystery (which
links to genre) and covers his face which dehumanises his character. In seven Summerset has a
pendulum swing which shows that he is methodical; he thinks before he acts. This links to his
character being a by the books cop which is a genre convention.
All these conventions link directly with the target audience. The target audience will be primarily male;
women would also appreciate these movies. Especially TSOTL as it has a strong female lead. However,
the target audience will be primarily male and will enjoy the mystery aspects. They watch the genre to
try guess the mystery themselves and both films invite their audience to crack the case with hero’s. In
addition, the target audience will always side with the hero’s, since both movies are very clear about
good vs bad the target audience would enjoy siding with the hero’s and rooting for them.
One stylistic convention used in both movies is low key lighting. Low key lighting ads mystery as it
shows something hidden in the darkness. This ads mystery and tension which is what the target
audience want. Both films use it. For example, in TSOTL when Hannibal escapes he leaves the body of
the guard in and low key lighting is used.
2. Leaving the body in this position is reminiscent of the moths that Buffalo Bill uses. This links Hannibal
to Buffalo Bill as they are almost two sides of the same coin which links to the false hero character
type.
In seven low-key lighting is used to hide the identity of the killer. This will add to the mystery
element and further perpetuates the good vs evil in the movie which is a genre convention. Low key
lighting is used in both silence of the lambs and seven and other thrillers making it a genre
convention.
This shot also is a low angle shot; it has the killer out of focus in the background, this ads to the
hidden identity convention of crime movies. The gun is in the foreground of the shot and is in focus
which further ads to the dreed of the scene. Furthermore: the shot uses the rule of thirds as the gun
is positioned in the left of the shot and the figure is to the right.
To compare these uses of low key lighting; they both use the lighting to show the power these
antagonists have. However, they differentiate in their intent. In Seven John Doe shows power but also
3. restraint as he doesn’t kill Miles. But in TSOTL it is showing power and pride of what he’s been able to
do.
Furthermore; like seven TSOTL uses low angle shots to make the villain seem more powerful and that
they have the power in the situation. This makes the audience feel threatened by the villain. This is a
stylised shot used in other crime movies like Prisoners. It’s a well-used shot as it makes the audience
feel that the villain is dominant and this is used in both movies. In addition, these images are even
framed the same. Making use if the rule of thirds to frame the subject to be dominate and take a lot of
the screen up. This makes the audience know his power.
Seven scene https://www.youtube.com/watch?v=1giVzxyoclE&t=28s
In the final act of Seven we get a scene which summarises how seven is a part of the crime genre.
There are shown exterior establishing long shots of the new location (bright desert which contrasts
from dark city) as loud none diegetic music plays as they are led by John Doe. The music shows that
John has power. When they arrive at the location the music stops as the characters believe they are in
safety. John is on his knees suggesting he doesn’t have the power. Miles even stands above him to
reinforce this point. When the box arrives and is being opened it’s in a close up shot showing its
importance, also there is little sound. Over punctuated sounds of the knife, the box and helicopter to
build suspense as it’s a stark contrast to the loud score. When Summerset opens the box, he steps
back in shock and we get a close up of him then switching back to the box. The music kicks in again
as John has the upper hand again. John then starts to explain and he is shot from below showing his
power. During this Brad Pitt is shot with a hand held camera, this shows he is unstable. Kevin Space’s
character is shown with a low angle shot to show he is the dominate one. Also the light (back lighting)
creates a halo around his head which foreshadows that he is about to fulfil his religious act. John Doe
is being shot with a still camera creates a contrast to Mills being shot with hand held camera and
shows John Doe is in control. Miles steps to John and points his gun on his face, mirroring the previous
shot when John had his gun on Miles. But when John was in control with his gun, Miles is hysterical
showing that John is still in control.
4. https://www.youtube.com/watch?v=QU8jKn7sMwU Silence of the lambs scene
In the silence of the lambs Hannibal is the binary opposite to Clarice; the director (Jonathan Demme)
needed to create a power dynamic between the characters, also to show that Hannibal is a both a
threat and helper to Clarice. He does this in the short lead up and the introductorily scene to Hannibal.
He does this by creating audience expectation. Before we see Hannibal Crawford and other charters
say what he’s done and sets the audiences expectation of the psychopath. When Clarice is walking to
his cell the camera movement is a Steadicam and there are lot of cuts whilst we get an explanation of
a terrible act he’s done. This makes the audience feel unconfutable and sets the audience expectation.
As Clarice walks to Hannibal’s cell it’s a steady-cam and shows three other prisoners, each escalating
in insanity as she walks up the corridor. This shows that Hannibal must be the evillest an insane one
in the asylum. The first time we see Hannibal he is standing politely; this shatters the audience’s
expectation as the. In the scene the camera flips from back to forth. It flips between over the shoulder
shots of Hannibal and Clarice; this shows they both have their guards up and that its going to by a
psychological battle. Hannibal then says “come closer” and she steps forward; she obeys him showing
an instant power dynamic. The camera continues to flip back and forth but now the characters are
staring into the lenses in close up shots; this means when the camera flips between we are switching
from their perspectives. Staring into the lenses instantly shows the characters as binary opposites but
also equal; furthermore, it shows them at odds with each other. Hannibal starts the first attack with
asking about her FBI id card and the camera switches back to the over the shoulder shots. Clarice is at
a slight angle; we are looking down at her and up at Hannibal showing the power dynamic. Hannibal
has the power over Clarice. The camera switches between close up of Hannibal looking into the
camera and over the shoulder shots of Hannibal looking down at Clarice. Since Hannibal is looking into
the lenses (Carice’s perspective) and Clarice in the over the shoulder is looking away from the lenses
it shows she’s unconfutable. Shots from her perspective show the art of Hannibal’s set but then pans
back into the close up of Hannibal to re-enforce this point. However, the camera again goes for a close
up of Clarice when she is getting the information she wants; she is almost in control now. We then get
a close up shot of the survey she has given to Hannibal showing the props importance in the scene.
Then the previously still camera starts to dolly in on both charters. On Hannibal the camera moves
close and ends still on his close up but in Clarice’s dolly the camera moves till she is of centre and
shows her unconfutable in a unconfutable shot. Hannibal then ends the convocation and turns his back
on her walking away, this shot is mirrored in Carice as she walks away. However, Hannibal then
shouts her back and gives her the information she needs and the characters are shown in the same
shot for the first time. This shows that although they are at odds they can come to a compromise. In
conclusion this scene is a perfect example of the crime genre. It shows conventions of the genre like:
mind games between the protagonist and antagonist, the antagonist being the dominate one. It also
sets the tone for the movie that time is valuable as Hannibal shouts “go now” which is a convention of
the crime genre which fans of the genre (target audience) want to see.
5. Section two Narrative
One narrative convention of the crime genre which both films comply to is the hostage/ countdown to
next victim convention and the editing techniques used. This is in both as in TSOTL we see scenes
through the film with Buffalo Bill’s hostage and each time we see her she is in a more desperate than
she was previously. This makes growing tension as time is limited. In Seven we know the murderer is
going to have 7 victims by the end. This convention gives a layer of tension to the movie as the
audience know the hero/hero’s need to solve the case as soon as possible. This convention of limited
time till the death of the innocent creates increasing tension throughout the film. This will intrigue the
target audience as they want to 0see genre conventions. Since both movies use this convention a
comparison can be made; in silence of the lambs since we see the victim coming closer and clos er to
death whilst our protagonist is getting closer to finding Bill the tension increases throughout the
movie. However, in seven we don’t know the killer or how close he is to killing so in Seven it’s more a
shook than a rise in tension. This is in line with how the genre is meant to make us feel; however,
since Seven is a restrictive narrative we are more shocked as we only know what our protagonists
know. TSOTL is a none restrictive narrative which creates tension through the movie as we know more
than the protagonist does.
Todorv’s narrative
Both films start in the way theorist Todorov suggests. He suggests that films start with a equilibrium
and a disturbance of this peace; then the realization of the disturbance, trying to fix this, then a new
equilibrium .
In TSOTL the film starts with Clarice Starling (Jodie Foster) training in the fib camp. The first shot of
the movie is a still shot and it remains still until you so Clarice climb up the hill. You can hear her
before you see her creating suspense. The audiences first impression of Clarice is that she is
determinant. The equilibrium is then quickly broken when she is called into to follow the case. The rest
of the movie is to try fix this disturbance and then in the final act we believe we have returned to the
equilibrium; however we get a final twist when Hannibal calls Clarice and we know he is free. In the
beginning of the movie she is training to be a FBI agent and the last scene shows her graduating and
becoming an agent which completes here character ark.
In Seven the opening shots show through mise en scene the characters personality. Morgan
Freeman’s characters apartment is clean and so is his costume; in contrast Brad Pits character is
shown to have a unclean apartment and costume showing their personality’s. The equilibrium is
broken when they find the first victim. The rest of the movie is fixing the disturbance by trying to find
hos responsible for the murders. Again however; the final equilibrium is broken by the twist when the
murderer has one last plan and Brad Pits character is shown a box but the audience isn’t aware of
what’s inside. This is a restrictive narrative and allows the viewer to only speculate “what’s in the
box”. In Seven Summersets character ark is that in the beginning he is very negative and wants to
leave the city. He is pessimistic at the begging but leaves the movie strangely osmatic. He uses the
quote by ErnestHemingway,"The world is a fine place and worth fighting for." This shows thathe is now optimistic
and he even goes againstwhathe said earlier.In the begging Summersetis seton leaving the city, but at the end he
says he’ll stay showing his change.
This is typical of mystery movies; the characters will be at first at an equilibrium (Todorov’s narrative
theory) until that equilibrium is broke by some sort of threat. Then they will have to catch the person
responsible to and the end return to a new equilibrium. However, most crime movies leave the movie
on a ambiguous ending which is narrative convention of the genre. Both films with the characters
hearing about the killer and starting an investigation (genre convention). This is the disturbance of
equilibrium. The then show the characters trying to fix this by catching the killer though police
investigation (genre convention) till they find the killer. Both films have a distorted equilibrium (cliff
hanger) which is a genre narrative convention.
Vladimir Propp
6. Propp is a theorist who is popular for is 8 characters of a folklore story; however the theory is relevant
to film. These are the characters:
The villain: Locked in a constant struggle with the hero, often trying to harm princess.
The donor: Gives the hero an object or a piece of information that helps them
prepare for what is to come.
The helper: Assists the hero with their quest, often referred to as their 'sidekick'.
The princess: Needs assistance from the hero, usually because they are in some
form of danger, typically the princess is the victim within the narrative.
The dispatcher: Is the character who sends that hero on their mission or quest.
Hero: Reacts to the donor and saves the princess, often resulting in them falling in
love with the princess.
False hero: May appear good but has an ulterior motive, or attempts to take credit
for the hero's actions.
The father: Constrains the princess, or sends the hero on a quest to save her –
protective of his daughter
Both movies follow the detective character type in crime movies. In TSOTL Clarice is a “rookie” which
is a genre convention. In seven there is a worn out, by the books cop (convention) partnered with a
new to the scene cop who doesn’t play by the rules (convention).
For TSOTL the villain is Buffalo Bill; this is because he captures a female. Hannibal could be seen as
the donor. This is because he gives key information about Bill which is true of the donor. Jack
Crawford would be the dispatcher as he puts Clarice on the case and Clarice would be the hero.
In seven Somerset (Morgan Freeman) and Milles (Brad Pitt) would be the hero’s; however, they are
binary opposites as theorist Claude Lévi-Strauss suggests. Binary opposites create tension in the
narrative as two people who are nothing alike have to solve the case. The villain would be John Doe
(Kevin Spacey). His character is a mystery until the final act. Kevin Spacey was even left out the
marketing and opening credits.
These movies are similar in structure. They both follow their protagonists (seven has two protagonists
which is how it’s different) as they try to solve a movie case with limited time before the next murder.
The use of time to create tension is used in other crime movies like: prisoners, zodiac and gone baby
gone. Its used in the genre a lot and it creates tension by making the viewer believe there isn’t time
to spare and that they must solve the mystery as soon as possible. However, the movies are different
as in The Silence Of The Lambs we know the killers identity whilst in Seven we don’t.