Media Studies intro to Narrative [autosaved]alevelmedia
An introductions to Narrative theory for Media Studies students. From Barthes action and enigma codes to Syd Field's formulaic 3 act structure, a easy to understand and visual reference for all media students taken from www.alevelmedia.co.uk
Media Studies intro to Narrative [autosaved]alevelmedia
An introductions to Narrative theory for Media Studies students. From Barthes action and enigma codes to Syd Field's formulaic 3 act structure, a easy to understand and visual reference for all media students taken from www.alevelmedia.co.uk
Learning ObjectivesAfter reading this chapter, you should be abl.docxsmile790243
Learning Objectives
After reading this chapter, you should be able to do the following:
· Explain the difficulty in defining genre, and contrast the advantages and disadvantages that genres offer film studios, filmmakers, and audiences.
· Describe the popular film genres of westerns, gangster, mystery, and film noir.
· Describe the popular film genres of horror, fantasy, and science fiction.
· Describe the popular film genres of romantic comedy, musicals, and documentaries.
· Categorize films into genres, recognize when films cross genres, and analyze films using genres.
· Trace the history of popular sentiments and social issues through the evolution of films inside genres and recognize various social functions of genres.4.1 What Are Movie Genres?
A genre is a type, or category, and genre films are usually easily recognizable as part of a certain genre. This is because they tend to use familiar story formulas, character types, settings, and iconography (visual imagery with symbolic implications), all of which lead viewers to have certain expectations about what the movie will be like before actually watching it. For various reasons, which we shall note, genre films are prime candidates for analysis to reveal significance far deeper than the surface stories. Many genres also have a variety of related subgenres with more narrowly defined formulas and expectations. For example, any film in the horror genre can be expected to produce fear or anxiety in the viewer; some of the many subgenres of horror films include the vampire film, the zombie film, the monster movie, the mad doctor movie, the insane slasher-killer movie, and the psychological horror film, among others.
In Evil Dead II, a freewheeling horror film directed by Sam Raimi, Ash, the protagonist, played by Bruce Campbell, experiences some genuine terror, including (but not limited to) cutting off his own possessed hand with a chainsaw. Audiences and critics alike found it intense and scary. They also found it hilarious. How can a movie that includes the following exchange not be?
Ash (talking to mirror): I'm fine . . . I'm fine . . . (Mirror Ash jumps out of the mirror and grabs Ash.)
Mirror Ash: I don't think so. We just cut up our girlfriend with a chainsaw. Does that sound "fine"?
Courtesy Everett Collection
Little Big Man is a revisionist western. It takes the genre's conventions and reverses them. The Indians are the heroes and General Custer is the villain.
With its violence, gore, and shocks, there is no question that Evil Dead II, considered a cult classic, is a horror movie. With lines like the foregoing, there is also no debating that it's a comedy. So is it a horror film or a comedy? Why can't it be both? Evil Dead II is an example of a movie that crosses genres. The word "genre" comes from the Latin genus, which refers to birth, family, race, or class, and by extension to any sort of categorization. However, as we will see, there is much debate over just what the term genr ...
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This presentation, created by Syed Faiz ul Hassan, explores the profound influence of media on public perception and behavior. It delves into the evolution of media from oral traditions to modern digital and social media platforms. Key topics include the role of media in information propagation, socialization, crisis awareness, globalization, and education. The presentation also examines media influence through agenda setting, propaganda, and manipulative techniques used by advertisers and marketers. Furthermore, it highlights the impact of surveillance enabled by media technologies on personal behavior and preferences. Through this comprehensive overview, the presentation aims to shed light on how media shapes collective consciousness and public opinion.
Collapsing Narratives: Exploring Non-Linearity • a micro report by Rosie WellsRosie Wells
Insight: In a landscape where traditional narrative structures are giving way to fragmented and non-linear forms of storytelling, there lies immense potential for creativity and exploration.
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2. Genre:
• Definition: a style or category of art, music, or literature.
• Its relevance toward my A2 Work: although short films share a
quirkiness, that should leave the audience questioning (this being
seen in ‘The Invisible Dog’) there is also a genre (or more than one)
that defines that creation. E.g.. ‘the invisible dog’ possess the genre
of comedy (slapstick) as well as the genre of tragedy (the dog dies at
the end of the film)
• Quote from theorist: ‘genre is a principal factor in the directing of
audience choice and of audiences expectations’- John Corner
3. Narrative:
• Definition: a spoken or written account of connected events; a story.
• Its relevance toward my A2 Work: narrative is the mains structure for my
story having a beginning, middle and end (Aristotle's theory) that entices
an audience. E.g. in ‘The Invisible Dog’ the idea, in terms of narrative
(telling a story) is that the audience witness the maturation between man
and his best friend, leaving the audience to question if the dog really was
real, or just a simple figment of the imagination (relating to conventions of
a short film, by leaving audience members to debate this dichotomy).
• Quote from theorist: Todorov suggest all narrative begins with an
equilibrium, followed by disruption, concluding with a resolution.
4. Representation:
• Definition: the description or portrayal of someone or something in a
particular way.
• Its relevance toward my A2 Work: How my work on my coursework blog
may be seen, e.g.- in an organised technological manner (displaying that I
am aware of contemporary style), such as prezi or videos rather than just
pages of text. Also how my short film may be seen. This not only comes
down to a story board/script, but also, planning ahead on how my film is
shot (different camera angles) as well as other optional ideas that rare
possibilities (such as filters for camera lenses).
• Quote from Theorist: ‘the process by which the media present the ‘real
world’- Rayner
5. Audience:
• Definition: the assembled spectators or listeners at a public event
such as a play, film, concert, or meeting.
• Its relevance toward my A2 Work: understanding the audience for a
short film (specifically mine). E.g. following the conventions of a short
by implying questioning and answered questions within ‘The Invisible
Dog’. It is also important to note the audience member, through an
examining perspective. E.g. how might the examiner see my film, and
how might he/she mark this ( this helping me to strive and re-think
ideas suitable for the purpose of examination).
• Quote from theorist: The gratification theory.
6. Media Language:
• Definition: Media conventions, formats, symbols and narrative
structures which cue the audience to meaning. The symbolic
language of electronic media work much the same way as grammar
works in print media.
• Its relevance toward my A2 Work: when discussing my ideas, as well
as evaluating them in terms of essays and exams, through an
appropriate jargon. E.g.- explaining that by having particular bright
lighting in ‘The Invisible Dog’ would link with my films main themes of
innocence and childhood.