There are many genres of films including action, adventure, comedy, crime, drama, and science fiction. Genres are identified by conventions such as locations, props, characters, costumes, sound, cinematography, narrative, and themes. Over time, genres evolve in response to changes in society and audience tastes. For example, epic films now contain more action and focus on subgenres that audiences prefer such as biopics.
This document discusses the development of Working Title as a production company known for romantic comedies in the 1990s and then heritage films in the 2000s that celebrated British culture. It provides an analysis of the 2007 film Atonement as an example of a heritage film. Students will analyze scenes from Atonement looking at elements like mise-en-scene, cinematography, and editing. They will also consider why Atonement was commercially and critically successful internationally and the messages and values it promotes about Britishness. For homework, students must choose another Working Title film that breaks the mold of their typical romantic comedies to use as a case study.
This document summarizes three different genres of film: teen movies, period dramas, and science fiction. For teen movies, it notes they usually feature certain character archetypes and are set in high schools, with plots focused on relationships and coming-of-age stories. Period dramas rely heavily on historical setting and costumes, with plots centered on love and family. Science fiction films typically set dystopian futures and explore themes of technology, threats can be metaphors for real-world issues, and protagonists try to defeat antagonistic forces.
Winterbottom uses postmodern techniques in his films A Cock and Bull Story and 24 Hour Party People to both explore their themes and add humor and playfulness. In A Cock and Bull Story, the film breaks the fourth wall, uses nonlinear narrative, and is self-referential and metatextual in examining 18th century gender roles and celebrity egos. 24 Hour Party People similarly uses postmodern techniques like self-referencing to look at the creation of music in 1980s Manchester and the ego of its main subject. Through their postmodern styles, Winterbottom establishes himself as a postmodern auteur who experiment with form.
The document discusses film genre research and provides categories for exploring genres: setting, narrative, characters, iconography, and style. It explains that genres have recognizable elements that can be analyzed using these categories. Specifically, it defines each category, such as narrative referring to story structure and devices, characters usually developing the narrative as certain generic types, setting involving distinct locations that can change, iconography as instantly recognizable visual/audio images associated with a genre, and style describing how iconography is presented through camera work, editing, lighting, and color. Students are instructed to create a Popplet using these categories to show the conventions of a chosen genre or sub-genre, and include film examples.
This document discusses representation in science fiction films. It begins by defining representation and noting that all representations reflect biases. It then examines common character types in science fiction films, such as heroes, victims, and authorities. Two film trailers are analyzed for examples of these characters. The document also discusses how stereotypes are often used as shortcuts but can promote oversimplified or biased views. It provides examples of countertypes that challenge stereotypes. Finally, it considers how gender is commonly represented in films and posters, often reinforcing unrealistic ideals of masculinity and femininity. The key ideas are that science fiction frequently relies on stereotypes and biased representations that could influence viewers' perceptions of normality.
The document discusses genres in media. It defines genres as paradigms or elements that make up a text, including costumes, music, and settings. Different genres have distinct iconography and conventions that affect the structure and themes. Common genres like romantic comedies, thrillers, horror, and science fiction are described. The summary concludes that genres are important for audiences and media producers - audiences want to engage with familiar genres they enjoy, while producers aim to appeal to audience preferences with recognizable genres.
This document discusses the concept of genre in media. It states that genres have recognizable features and elements that define them, including protagonists, stock characters, common plots and situations, icons, and themes. It provides examples of some common protagonists, stock characters, and icons in different genres like science fiction, westerns, and news programs. The document also notes that while genres have predictable patterns, individual works may vary and genres sometimes combine elements, and it concludes with a recap of the core idea that genres are defined by shared conventions and characteristics across works.
The document discusses various types and conventions of television dramas. It begins by asking readers to list examples of television dramas and analyze how they recognize the genre based on codes and conventions. It then discusses how television dramas tell stories through narrative construction and common themes. The document explores distinguishing more specific drama genres and compares dramas, soaps, and sitcoms in terms of narrative, characters, location, and representation. It considers arguments that soap operas have negatively influenced dramas and questions whether dramas still focus on political/social issues or more personal topics. The document also analyzes how dramas incorporating fantasy elements address themes. It provides traditional and revised definitions of drama subgenres and their
This document discusses the development of Working Title as a production company known for romantic comedies in the 1990s and then heritage films in the 2000s that celebrated British culture. It provides an analysis of the 2007 film Atonement as an example of a heritage film. Students will analyze scenes from Atonement looking at elements like mise-en-scene, cinematography, and editing. They will also consider why Atonement was commercially and critically successful internationally and the messages and values it promotes about Britishness. For homework, students must choose another Working Title film that breaks the mold of their typical romantic comedies to use as a case study.
This document summarizes three different genres of film: teen movies, period dramas, and science fiction. For teen movies, it notes they usually feature certain character archetypes and are set in high schools, with plots focused on relationships and coming-of-age stories. Period dramas rely heavily on historical setting and costumes, with plots centered on love and family. Science fiction films typically set dystopian futures and explore themes of technology, threats can be metaphors for real-world issues, and protagonists try to defeat antagonistic forces.
Winterbottom uses postmodern techniques in his films A Cock and Bull Story and 24 Hour Party People to both explore their themes and add humor and playfulness. In A Cock and Bull Story, the film breaks the fourth wall, uses nonlinear narrative, and is self-referential and metatextual in examining 18th century gender roles and celebrity egos. 24 Hour Party People similarly uses postmodern techniques like self-referencing to look at the creation of music in 1980s Manchester and the ego of its main subject. Through their postmodern styles, Winterbottom establishes himself as a postmodern auteur who experiment with form.
The document discusses film genre research and provides categories for exploring genres: setting, narrative, characters, iconography, and style. It explains that genres have recognizable elements that can be analyzed using these categories. Specifically, it defines each category, such as narrative referring to story structure and devices, characters usually developing the narrative as certain generic types, setting involving distinct locations that can change, iconography as instantly recognizable visual/audio images associated with a genre, and style describing how iconography is presented through camera work, editing, lighting, and color. Students are instructed to create a Popplet using these categories to show the conventions of a chosen genre or sub-genre, and include film examples.
This document discusses representation in science fiction films. It begins by defining representation and noting that all representations reflect biases. It then examines common character types in science fiction films, such as heroes, victims, and authorities. Two film trailers are analyzed for examples of these characters. The document also discusses how stereotypes are often used as shortcuts but can promote oversimplified or biased views. It provides examples of countertypes that challenge stereotypes. Finally, it considers how gender is commonly represented in films and posters, often reinforcing unrealistic ideals of masculinity and femininity. The key ideas are that science fiction frequently relies on stereotypes and biased representations that could influence viewers' perceptions of normality.
The document discusses genres in media. It defines genres as paradigms or elements that make up a text, including costumes, music, and settings. Different genres have distinct iconography and conventions that affect the structure and themes. Common genres like romantic comedies, thrillers, horror, and science fiction are described. The summary concludes that genres are important for audiences and media producers - audiences want to engage with familiar genres they enjoy, while producers aim to appeal to audience preferences with recognizable genres.
This document discusses the concept of genre in media. It states that genres have recognizable features and elements that define them, including protagonists, stock characters, common plots and situations, icons, and themes. It provides examples of some common protagonists, stock characters, and icons in different genres like science fiction, westerns, and news programs. The document also notes that while genres have predictable patterns, individual works may vary and genres sometimes combine elements, and it concludes with a recap of the core idea that genres are defined by shared conventions and characteristics across works.
The document discusses various types and conventions of television dramas. It begins by asking readers to list examples of television dramas and analyze how they recognize the genre based on codes and conventions. It then discusses how television dramas tell stories through narrative construction and common themes. The document explores distinguishing more specific drama genres and compares dramas, soaps, and sitcoms in terms of narrative, characters, location, and representation. It considers arguments that soap operas have negatively influenced dramas and questions whether dramas still focus on political/social issues or more personal topics. The document also analyzes how dramas incorporating fantasy elements address themes. It provides traditional and revised definitions of drama subgenres and their
This document discusses the genre of the Western film. It provides both a semantic and syntactic approach to understanding the genre. The semantic approach focuses on the consistent elements, settings, character types, and conflicts that define the genre. The syntactic approach examines how the genre developed over time through changing relationships between elements, such as the clashes between nature vs. culture and the individual vs. community in the American West. Key conventions of the Western include settings in the 1840-1900 American West along with character archetypes like the nomadic loner hero.
GCSE Media Action Adventure Lesson 4 - NICSElle Sullivan
This document discusses concepts related to analyzing narratives in film, including:
1) Tzvetan Todorov's 5-stage narrative structure model and Vladimir Propp's 7 spheres of action which provide typical character types found in narratives.
2) The concept of binary opposites in narratives, such as heroes and villains, and how they are contrasted through qualities like good vs. evil, youth vs. age, and masculinity vs. femininity.
3) Examples of binary hero/villain pairs from action adventure films like The Mummy, Spiderman 2, and Pirates of the Caribbean are given to illustrate applying these concepts.
GCSE Media Action Adventure Lesson 2 - action adventure films introElle Sullivan
This document discusses different genres and subgenres of action and adventure films. It defines action films as focusing on physical action over dialogue, while adventure films involve exciting stories in exotic locations with less emphasis on violence. Action adventure films combine elements of both genres, featuring travels, struggles, and situations confronting main characters. The document then identifies several subgenres of action adventure films like buddy, team, superhero, historical, and romantic comedy hybrids. It provides examples and defines the common narrative conventions and codes of fantasy, disaster, historical, quest, thriller, and swashbuckler subgenres.
The document provides an in-depth analysis of the film Guardians of the Galaxy. It discusses the plot, characters, genres, conventions, and ideology presented in the film. Specifically, it notes that the story follows a group of unique heroes who come together to save the galaxy from the villain Ronan. It analyzes the characters and their representations, finding both conformity to and deviations from typical stereotypes. The setting and visual elements are also described as highly futuristic to match the science fiction genre.
Drama films depict realistic characters and storylines aimed at moving audiences emotionally. Most drama comes from internal character conflicts or issues in the plot. Target audiences are generally aged 20-30, but drama films can attract a wide demographic through relatable characters. Titanic is the highest grossing drama film due to its unique story and special effects at the time, while Blackwoods earned only $1,500 despite a $3 million budget. Mise-en-scène elements like lighting, location, and costumes vary depending on the specific plot.
The document summarizes key elements of the Western genre of film. It describes the time period and location of typical Westerns as being the American Old West between 1865-1890. It outlines common themes around civilization versus wilderness, law enforcement versus outlaws, and the cultural separation between the East and West. It also discusses iconic visuals like cowboy hats and revolvers, as well as settings of untamed frontiers and small towns. Cinematic techniques often featured in Westerns include long shots, shadows, and gunshot sounds.
An action film genre features heroes facing physical and action-packed challenges including fights, violence, and chases. In the 1920s-1960s, action films included adventure and western films. The James Bond films introduced gadgets and resourceful heroes. In the 1970s, gritty crime dramas fused with the action genre. The 1980s saw the rise of blockbuster action films led by stars like Schwarzenegger and Stallone. Computer graphics advanced the genre in the 1990s-2000s through more imaginative settings in films like Star Wars.
Western genre films are typically set in the late 1800s to early 1900s American Old West, featuring remote towns with saloons and desert landscapes. The narratives usually focus on themes of culture vs. nature, community vs. individuality, and involve gunfights and chases. Iconography includes cowboy hats, guns, horses and sheriff badges. Main characters are often cowboys seeking justice or revenge who come into conflict with villains or sheriffs in the male-dominated towns. The films have a sepia-toned, orange look and use close-ups and low camera angles during gunfight scenes.
The document discusses and compares several film adaptations of William Golding's novel "Lord of the Flies". It analyzes the 1963 and 1990 film versions, noting key differences in the nationalities of the boys, how they became stranded, their appearance, and deviations from certain plot points in the novel. It also notes that the 1990 film received mixed reception and failed to fully develop Jack's character as effectively as in the novel.
The document discusses key concepts related to analyzing films and movie posters, including genre, representation, audience, institutions, narrative conventions, movie poster conventions, genre conventions, and mise-en-scene. It provides definitions and examples for each concept. Genre refers to the category of a media work, representation is how something is portrayed, and audience describes who the media is targeted towards. It also outlines common narrative structures and conventions found on movie posters, in different genres, and aspects that comprise mise-en-scene like costumes, props, makeup, background, and lighting.
Based on the information provided, my film would receive a 12A classification from the BBFC. A 12A certificate means that children under 12 can watch the film as long as they are accompanied by an adult. The key reasons my film would receive this classification are:
- There is action violence present, but it is mild in nature without any emphasis on injuries or blood.
- Any dangerous behavior is easily recognizable as fictional and unlikely to be emulated by children.
- The film does not contain any discriminatory behavior or language.
- Sexual activity and drug use are absent from the film.
- The themes and material are suitable for 12 year olds with guidance.
While a 12A
Western movies are known for romanticizing stories set in the American West during the 19th century. The genre became popular throughout film history but has diminished as time has passed. Common conventions include a solitary hero character, stunning landscape backdrops, and themes of conquering the wilderness. Over time, the western evolved from early action films to include revenge plots and questions about the treatment of Native Americans. Sub-genres like spaghetti westerns and revisionist westerns further developed the conventions.
This document discusses key features of different genres including horror, superheroes, and romantic comedies. Horror genres typically use quick editing to show something significant, are set in dark isolated locations like woods or graveyards, and feature religious or gothic iconography. Superhero genres usually take place in urban environments like New York, focus on good vs evil with good prevailing, and include the protagonist's backstory. Romantic comedies often have comedic moments when private matters become public and show uneasy relationship moments to relate to audiences. The author will use the horror genre for their piece, setting it in the woods for an easy location and costumes.
This document discusses genre research and paradigms in film. It defines genre as a typical example or pattern of something, and iconography as the visual images and symbols used in a work of art. Specific genres like westerns, James Bond films, romantic comedies, thrillers, horror, and sci-fi films are described as having expected elements that indicate their genre through mise-en-scene and iconography. Genre conventions can become limiting if they are too rigid, but paradigms can be revived by subverting expectations as in Brokeback Mountain for westerns and Moulin Rouge for love stories/musicals.
Here are some suggestions for famous action adventure film stars to research:
- Arnold Schwarzenegger
- Sylvester Stallone
- Bruce Willis
- Dwayne "The Rock" Johnson
- Tom Cruise
- Chris Hemsworth
- Angelina Jolie
- Scarlett Johansson
- Gal Gadot
- Keanu Reeves
When researching, consider analyzing the types of roles they typically play, box office performance of their films to gauge their importance to a film's success, and which star might be suitable for your hypothetical action adventure film concept based on intended audience and genre conventions.
The western genre was dominant in Hollywood between the 1930s and mid-1960s, but has since declined. While western movies are less common, their themes and myths of the American frontier live on in other genres like science fiction and action films. The western evolved over the early 20th century from one-reel films to include sound and more complex characters. In the 1960s, "spaghetti westerns" from directors like Sergio Leone featured more violent antiheroes and psychological themes. Though the western genre is less prevalent today, its influence can still be seen in other modern films.
Western is an American genre set between 1860-1910 that represents history through popular characters like Wyatt Earp, Jesse James, and Wild Bill Hickok. Most Western films involve adversarial themes of nature vs. culture, community vs. the individual, East vs. West, train vs. horse, and settlers vs. American Indians. Western films also feature iconic symbols and imagery.
Western films commonly feature cowboys, gunslingers, and bounty hunters who wear stereotypical Western clothing and use guns to survive in dusty towns and cattle ranches. Westerns typically depict the good guys wearing white and the bad guys wearing black, and often show conflicts with Native Americans. Over time, the Western genre has expanded to include subgenres like epic Westerns, Spaghetti Westerns, revisionist Westerns, and comedy Westerns. Famous Western actors include Clint Eastwood, John Wayne, and Lee Van Cleef.
The document discusses genres in film and their conventions. It explains that genres have paradigms and iconography that audiences expect, such as cowboys wearing hats in westerns. However, genres are also evolving as paradigms change over time to reflect societal shifts. For example, westerns now subvert expectations by having women handle guns and gay films are more widely accepted. While genres provide familiarity, they can limit creativity, which is why sub-genres are useful.
The document summarizes an animation project using stop motion claymation techniques. It will tell the story of two play dough character blobs, Good Bob and Bad Bert, in an art room setting. Good Bob tries to befriend Bully Bert, but Bert takes advantage of Bob and treats him like a slave. The animation is intended for children ages 3 to 6 and will be about 45 seconds long, using a combination of plasticine and play dough characters interacting with real objects like pencils in the background. It is inspired by shows like Morph and Tom and Jerry in its use of characters, voiceover, and claymation style.
The document summarizes the history and activities of the Southampton Council of Faiths (SCOF), an interfaith organization in Southampton, UK that aims to be the official representative of the city's faith communities. Key points:
- SCOF was formally established in 2000 to represent the seven main faiths in Southampton and give them a voice on decision-making bodies.
- It has over 200,000 citizens from 47 language groups and several resident faith communities.
- SCOF has empowered religious groups, helped coordinate the city's response to disasters, produced educational media and runs annual interfaith events like exhibitions and peace walks.
- Recent activities include youth programs, conferences on issues like end of life care, and celebrating
This document discusses the genre of the Western film. It provides both a semantic and syntactic approach to understanding the genre. The semantic approach focuses on the consistent elements, settings, character types, and conflicts that define the genre. The syntactic approach examines how the genre developed over time through changing relationships between elements, such as the clashes between nature vs. culture and the individual vs. community in the American West. Key conventions of the Western include settings in the 1840-1900 American West along with character archetypes like the nomadic loner hero.
GCSE Media Action Adventure Lesson 4 - NICSElle Sullivan
This document discusses concepts related to analyzing narratives in film, including:
1) Tzvetan Todorov's 5-stage narrative structure model and Vladimir Propp's 7 spheres of action which provide typical character types found in narratives.
2) The concept of binary opposites in narratives, such as heroes and villains, and how they are contrasted through qualities like good vs. evil, youth vs. age, and masculinity vs. femininity.
3) Examples of binary hero/villain pairs from action adventure films like The Mummy, Spiderman 2, and Pirates of the Caribbean are given to illustrate applying these concepts.
GCSE Media Action Adventure Lesson 2 - action adventure films introElle Sullivan
This document discusses different genres and subgenres of action and adventure films. It defines action films as focusing on physical action over dialogue, while adventure films involve exciting stories in exotic locations with less emphasis on violence. Action adventure films combine elements of both genres, featuring travels, struggles, and situations confronting main characters. The document then identifies several subgenres of action adventure films like buddy, team, superhero, historical, and romantic comedy hybrids. It provides examples and defines the common narrative conventions and codes of fantasy, disaster, historical, quest, thriller, and swashbuckler subgenres.
The document provides an in-depth analysis of the film Guardians of the Galaxy. It discusses the plot, characters, genres, conventions, and ideology presented in the film. Specifically, it notes that the story follows a group of unique heroes who come together to save the galaxy from the villain Ronan. It analyzes the characters and their representations, finding both conformity to and deviations from typical stereotypes. The setting and visual elements are also described as highly futuristic to match the science fiction genre.
Drama films depict realistic characters and storylines aimed at moving audiences emotionally. Most drama comes from internal character conflicts or issues in the plot. Target audiences are generally aged 20-30, but drama films can attract a wide demographic through relatable characters. Titanic is the highest grossing drama film due to its unique story and special effects at the time, while Blackwoods earned only $1,500 despite a $3 million budget. Mise-en-scène elements like lighting, location, and costumes vary depending on the specific plot.
The document summarizes key elements of the Western genre of film. It describes the time period and location of typical Westerns as being the American Old West between 1865-1890. It outlines common themes around civilization versus wilderness, law enforcement versus outlaws, and the cultural separation between the East and West. It also discusses iconic visuals like cowboy hats and revolvers, as well as settings of untamed frontiers and small towns. Cinematic techniques often featured in Westerns include long shots, shadows, and gunshot sounds.
An action film genre features heroes facing physical and action-packed challenges including fights, violence, and chases. In the 1920s-1960s, action films included adventure and western films. The James Bond films introduced gadgets and resourceful heroes. In the 1970s, gritty crime dramas fused with the action genre. The 1980s saw the rise of blockbuster action films led by stars like Schwarzenegger and Stallone. Computer graphics advanced the genre in the 1990s-2000s through more imaginative settings in films like Star Wars.
Western genre films are typically set in the late 1800s to early 1900s American Old West, featuring remote towns with saloons and desert landscapes. The narratives usually focus on themes of culture vs. nature, community vs. individuality, and involve gunfights and chases. Iconography includes cowboy hats, guns, horses and sheriff badges. Main characters are often cowboys seeking justice or revenge who come into conflict with villains or sheriffs in the male-dominated towns. The films have a sepia-toned, orange look and use close-ups and low camera angles during gunfight scenes.
The document discusses and compares several film adaptations of William Golding's novel "Lord of the Flies". It analyzes the 1963 and 1990 film versions, noting key differences in the nationalities of the boys, how they became stranded, their appearance, and deviations from certain plot points in the novel. It also notes that the 1990 film received mixed reception and failed to fully develop Jack's character as effectively as in the novel.
The document discusses key concepts related to analyzing films and movie posters, including genre, representation, audience, institutions, narrative conventions, movie poster conventions, genre conventions, and mise-en-scene. It provides definitions and examples for each concept. Genre refers to the category of a media work, representation is how something is portrayed, and audience describes who the media is targeted towards. It also outlines common narrative structures and conventions found on movie posters, in different genres, and aspects that comprise mise-en-scene like costumes, props, makeup, background, and lighting.
Based on the information provided, my film would receive a 12A classification from the BBFC. A 12A certificate means that children under 12 can watch the film as long as they are accompanied by an adult. The key reasons my film would receive this classification are:
- There is action violence present, but it is mild in nature without any emphasis on injuries or blood.
- Any dangerous behavior is easily recognizable as fictional and unlikely to be emulated by children.
- The film does not contain any discriminatory behavior or language.
- Sexual activity and drug use are absent from the film.
- The themes and material are suitable for 12 year olds with guidance.
While a 12A
Western movies are known for romanticizing stories set in the American West during the 19th century. The genre became popular throughout film history but has diminished as time has passed. Common conventions include a solitary hero character, stunning landscape backdrops, and themes of conquering the wilderness. Over time, the western evolved from early action films to include revenge plots and questions about the treatment of Native Americans. Sub-genres like spaghetti westerns and revisionist westerns further developed the conventions.
This document discusses key features of different genres including horror, superheroes, and romantic comedies. Horror genres typically use quick editing to show something significant, are set in dark isolated locations like woods or graveyards, and feature religious or gothic iconography. Superhero genres usually take place in urban environments like New York, focus on good vs evil with good prevailing, and include the protagonist's backstory. Romantic comedies often have comedic moments when private matters become public and show uneasy relationship moments to relate to audiences. The author will use the horror genre for their piece, setting it in the woods for an easy location and costumes.
This document discusses genre research and paradigms in film. It defines genre as a typical example or pattern of something, and iconography as the visual images and symbols used in a work of art. Specific genres like westerns, James Bond films, romantic comedies, thrillers, horror, and sci-fi films are described as having expected elements that indicate their genre through mise-en-scene and iconography. Genre conventions can become limiting if they are too rigid, but paradigms can be revived by subverting expectations as in Brokeback Mountain for westerns and Moulin Rouge for love stories/musicals.
Here are some suggestions for famous action adventure film stars to research:
- Arnold Schwarzenegger
- Sylvester Stallone
- Bruce Willis
- Dwayne "The Rock" Johnson
- Tom Cruise
- Chris Hemsworth
- Angelina Jolie
- Scarlett Johansson
- Gal Gadot
- Keanu Reeves
When researching, consider analyzing the types of roles they typically play, box office performance of their films to gauge their importance to a film's success, and which star might be suitable for your hypothetical action adventure film concept based on intended audience and genre conventions.
The western genre was dominant in Hollywood between the 1930s and mid-1960s, but has since declined. While western movies are less common, their themes and myths of the American frontier live on in other genres like science fiction and action films. The western evolved over the early 20th century from one-reel films to include sound and more complex characters. In the 1960s, "spaghetti westerns" from directors like Sergio Leone featured more violent antiheroes and psychological themes. Though the western genre is less prevalent today, its influence can still be seen in other modern films.
Western is an American genre set between 1860-1910 that represents history through popular characters like Wyatt Earp, Jesse James, and Wild Bill Hickok. Most Western films involve adversarial themes of nature vs. culture, community vs. the individual, East vs. West, train vs. horse, and settlers vs. American Indians. Western films also feature iconic symbols and imagery.
Western films commonly feature cowboys, gunslingers, and bounty hunters who wear stereotypical Western clothing and use guns to survive in dusty towns and cattle ranches. Westerns typically depict the good guys wearing white and the bad guys wearing black, and often show conflicts with Native Americans. Over time, the Western genre has expanded to include subgenres like epic Westerns, Spaghetti Westerns, revisionist Westerns, and comedy Westerns. Famous Western actors include Clint Eastwood, John Wayne, and Lee Van Cleef.
The document discusses genres in film and their conventions. It explains that genres have paradigms and iconography that audiences expect, such as cowboys wearing hats in westerns. However, genres are also evolving as paradigms change over time to reflect societal shifts. For example, westerns now subvert expectations by having women handle guns and gay films are more widely accepted. While genres provide familiarity, they can limit creativity, which is why sub-genres are useful.
The document summarizes an animation project using stop motion claymation techniques. It will tell the story of two play dough character blobs, Good Bob and Bad Bert, in an art room setting. Good Bob tries to befriend Bully Bert, but Bert takes advantage of Bob and treats him like a slave. The animation is intended for children ages 3 to 6 and will be about 45 seconds long, using a combination of plasticine and play dough characters interacting with real objects like pencils in the background. It is inspired by shows like Morph and Tom and Jerry in its use of characters, voiceover, and claymation style.
The document summarizes the history and activities of the Southampton Council of Faiths (SCOF), an interfaith organization in Southampton, UK that aims to be the official representative of the city's faith communities. Key points:
- SCOF was formally established in 2000 to represent the seven main faiths in Southampton and give them a voice on decision-making bodies.
- It has over 200,000 citizens from 47 language groups and several resident faith communities.
- SCOF has empowered religious groups, helped coordinate the city's response to disasters, produced educational media and runs annual interfaith events like exhibitions and peace walks.
- Recent activities include youth programs, conferences on issues like end of life care, and celebrating
Equal opportunities means treating all people fairly and giving everyone access to the same chances and opportunities regardless of their background or characteristics. The document discusses how equal opportunities applies to housing, education, healthcare, employment, disabled people, and ethnic groups. Specifically, it is important to ensure equal access to public and private housing, education systems that are multicultural, universal healthcare access, diverse and fair employment practices, accessibility for disabled individuals, and integrated treatment of all ethnic groups to avoid problems like racism, conflict, and lack of access to important services and institutions.
The document provides details on an animated short film being created using stop motion claymation techniques. It will tell the story of two play dough character blobs, Good Bob and Bad Bert, set in an art room. Good Bob tries to befriend Bad Bert, but Bert bullies and bosses Bob around. The animation aims to be around 45 seconds and 14-15 frames per second for a preschool television audience between ages 3-6. It takes inspiration from the characters and locations of the show Morph.
The document contains three ideas for animated short films. Idea One involves rotoscoping animation and tells the story of a girl coping with a breakup while a band performs a cover song. It would feature the girl, a couple, and the band Run4Cover. Idea Two uses cut-out animation and follows a teen who gets so obsessed with gaming that he dreams he is inside a computer game. It would include game characters and depict different game levels. Idea Three is left unfinished but would also involve animation techniques, style, storyline, characters, scenes, audio, and target audience.
The document discusses various film and editing techniques including in-camera editing, following the action from multiple points of view with shot variation, and manipulating time and space through seamless editing and continuity. It also covers montage editing, jump cutting, the 180 degree rule, and transitions like dissolves, fades, and wipes. Specific techniques are cutaways using point-of-view shots, shot-reverse-shots, and providing or withholding information. The document also mentions editing rhythm through crosscutting and cutting to music.
The document provides an overview of the history and conventions of the horror genre. It discusses the origins of horror films in the early 20th century and the popularity of genres like gothic horror, slasher films, and remakes. The document also covers common conventions like dark settings, innocent victims, monsters/killers, and ambiguous endings. It analyzes the audience profile, theories for why audiences watch horror, different types of horror films, and BBFC ratings. Famous horror actors mentioned include Boris Karloff and Bela Lugosi.
The document provides an overview of the history and conventions of the horror genre. It discusses the origins of horror films in the early 20th century and the popularity of genres like gothic horror, slasher films, and remakes. The document also examines common conventions like dark settings, victimized protagonists, and antagonists including ghosts and monsters. Additionally, it analyzes audience demographics, theories for why audiences watch horror, and examples of title sequences.
This document discusses various conventions and modes of documentary filmmaking. It begins by defining documentaries as films that exist within the same historical world as the viewer and depict real events, rather than being fully scripted recreations. It then outlines several common misconceptions about documentaries before reviewing the history of the genre. The bulk of the document categorizes six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode is defined by its relationship between filmmaker and subject as well as examples like Koyaanisqatsi and Salesman. The document stresses documentaries' ability to foster global and cultural awareness.
Genre is a way of classifying texts into categories to help audiences understand and engage with them. There are three main types of genre: major genres, sub-genres, and hybrid genres which combine elements of multiple genres. Genres are defined by common narrative structures, character types, settings, visual elements, and themes. They help audiences understand what to expect and target specific viewer demographics. While genres provide predictability, they also evolve over time to reflect societal changes.
Action thriller movies aim to keep audiences entertained through exciting storylines, amazing stunts, and twists. They typically involve heroes and villains, weapons, and moderate violence. While the genre first emerged in the 1970s, it grew in popularity in the 1980s with blockbusters like Die Hard. Today, action thrillers still feature conventions like violence and jeopardy but now also often include women protagonists and romance subplots. Key companies that have driven the genre forward include Marvel, DC, Warner Bros., and those behind franchises like James Bond, Die Hard, and Terminator.
The document discusses genre in film and its importance to film producers and audiences. Genre gives insight into the director's intentions and helps attract target audiences. It categorizes films by typical features and focuses. Mise-en-scene, including setting, costumes, lighting and character positioning, helps establish genre. Hybrid genres merge two types, like romantic comedy, to create new styles that bring in broader audiences. Genres evolve over time, with some like sci-fi, horror and comedy being more common currently than others such as westerns.
The document discusses genre in film and its importance to film producers and audiences. Genre gives insight into the director's intentions and helps attract target audiences. It categorizes films by typical features and focuses. Mise-en-scene, including setting, costumes, lighting and character positioning, helps establish genre. Hybrid genres merge two types, like romantic comedy, to create new styles that bring in broader audiences. Genres evolve over time, with some like sci-fi, horror and comedy being more common currently than others such as westerns.
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This document discusses genre in film and its importance to film producers and audiences. Genre helps define a story's plot and grab audience attention. It provides insight into the director's intentions and categorizes films for specific target audiences. The document also notes that genres have evolved over time, with past popular genres including sci-fi, westerns, horror and romantic comedies. Mise-en-scene and hybrid genres that blend two styles can also help define and attract audiences to a film.
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
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2. What genre is
There are many different types of
genres ranging from sub genres and
main genres.
Action, adventure comedy
Crime and gangster, dramas
Epics, horror, musicals, science
fiction, war, westerns, biopics, chick
flics, detective and mystery
4. How genre is used by audience and
producers
• Genre used in two different ways.
• Audiences to find a film they like
• Producers use genres to maximise audiences
thus maximising profits.
• Genres also help producers limit risks
5. How genre is identified e.g
conventions (your genre)
• Genres are identified by genre conventions like;
• Locations,
• Props,
• Characters,
• Costume,
• Sound,
• Cinematography,
• Narrative
• Themes.
6. Location
• Vast expensive back drops with on location
shooting
• Can be historical or imagined, dependant on
the sub genre of the epic is it, e.g. war epics,
mythical epic, science ficton epics, historical
epic, and animated epic.
• In like the 1900 a lot of the locations were set
based like the 300 spartans but now most of it
is cgi based like king arthur.
7. props
• Props use in the time period that the film was
set in e.g. there might be props like weapons,
bowls, chairs, a broom, cutlery and a bucket.
• Props havent really changed over time e.g. in
a medieval epic say made in the 1950’s
compared to one made in the 21st century
8. characters
• Characters haven’t changed much over time.
• Hunky hero, with his friendly companions by his
side to help him through the tough situation and
some evil villain with lots of evil minions.
• Even epics that arent biopics they still have a
good character with there companions that is
portrayed in a good light,
• Characters in epic are still based around some
sort of historic figure.
9. Costume
• Changed slightly over time but not a big deal.
• Earlier epics weren’t as expensive and as
lavish as the costumes used today.
• Great deal of thought and time is spent on in
todays epics
10. sound
• Great deal of change in the use of sound in
epic films.
• Started as silent films.
• Sound has evolved in epics from starting with
the first epic film with sound in 1934 to sound
becoming more widely used.
• Quality of sound gradually improving over the
years. Now we have massive cinema surround
sound.
11. cinematography
• Cinematography hasn’t changed much e.g. in
films they still used still shots, mid shots, long
shots, over the shoulder shots and panes like
they did in the 1900’s.
• Variety of shots they use have increased e.g. now
a days they use birds eye views to show battle
scenes as well as stills, they also use low angle
shots, high angle shots and extreme close ups as
well as conventional shots like mid shots, long
shot and over the shoulder shots.
12. narrative
• The narrative in epics hasn’t really changed
over time.
• Narrative would change is if it’s a different
type of epic e.g. the narrative of a war epic
would be different to one of a religious epic.
• Mainly sub genre of epics biopics the narrative
is the same a hunky hero saves the world/
defeats the bad guy and gets the girl or they
will die trying.
13. themes
• Themes in epics haven't really changed but
they have become more complicated e.g.
there are 2 or 3 themes going on at the same
time.
• Themes of epics only really vary in the sub
genre is different e.g. a western epic will have
a different theme to a war epic.
14. Audience changes in response/
reception
• Audiences for epics have become more
defined because now epic films mainly target
people that like action films, adventure films,
war films and to draw in a bigger female
audience romance.
• People know what to expect.
• Change in epic films has widely been well
received, they target a bigger audience.
• Epics are good hybrid genres.
15. Classification and censorship arranges
• The Hayes code that was introduced in 1934 and abolished
in 1968 had particular control over what epics could show
through out the 30’s to the 60’s. Before the Hayes code
films didn’t really have many rules.
• Hayes code stated is that the film can’t be made so the
audience feels sympathy for the evil villan that is doing
something sinful or miss leading.
• Hayes codd also stated that law, natural (I think nature) or a
human being could be ridiculed
• Brutal killings were also not allowed to be shown in detail
• The hayes code stated film makers could not show adualtry
attractivley, could only show passionate scences if it was
essential to the plot.
16. • The hayes code got replaced by the motion picture association of americia
in 1968. the motion picture association of americia was founded in 1922.
they use 5 ratings to classify films and they say what age group is sutiable
to watch them. Unrestricted
• G for General - Nothing that would offend parents for viewing by their
children.
• PG for Parental Guidance - Parents urged to give "parental guidance". May
contain some material parents might not like for their young children.
• PG-13 for Parental Guidance 13+ - Parents urged to be cautious. Some
material may be inappropriate for pre-teenagers.
• Restricted
• R for Restricted - Contains some adult material. Parents urged to learn
more about the film before taking their young children with them.
• NC-17 for No Children Under 17 Admitted - Patently adult. Children are
not admitted.
• Other
• NR for Not Rated - A movie either not classified by the MPAA, or unrated.
• So if an epic film wants to target a certain age group e.g. 12-15 they have
to restrict the content so they can classify the film for that age group.
17. Changes in society (concerns)
• Epic films have changed over the years because of
changes in society and peoples tastes changing.
• Epic films have increased in the amount of action
shown in them.
• Increase of the amount of biopics made because it is
one of the audiences favourite sub genres of epics.
• Very action packed and hint of adventure and romance.
• The plots now a days are not as in depth, not that hard
to follow the story.
18. Metz cycle of genre
Film theorist Christian Metz proposed that genre passes
through 4 stages in its cinematic life. Experimental films
that use the key elements that become the defining
conventions of that genre;
• iconography,
• narrative structure
• Mise en scene ect.
Classic the films that best exemplify the conventions of
the genre. Parody when the genre expectations
generative humour. Deconstructive essential elements of
the genre are gone.
Editor's Notes
Genre is a way how film makers can define audiences and target certain films at different types of people. Genre help the film industry make more money and they help expand audiences.
Genres are used to organized into films into similar characteristics we see in films such as film techniques, sound, music, type of action, scripting and many more. Setting, mood, and format help up what a film genre is for example Schindler’s List and The Pianist are set in the wartime context, while the first emphasizes themes as solidarity, sacrifice and valor of human life without differences of beliefs; the second films examines the themes of sense of survival and horror of the World War II during the Holocaust Nazi.
Genre is used by audience and producers in two different ways. It is used by audiences to find a film they like so they don’t go and waste their money on any old film e.g. say a person particually like action films and they like the look of some new action film so they go and see it instead of some other new film out with a genre they often don’t like. Producers use genres to try and maximise audiences thus maximising profits. The way they do this is by making hybrid genres so they can target audiences from 2 or 3 different genres. Genres also help producers limit risks when making film because they can persifically make a film for a genre that they know theres an audience for.
Genres are identified by genre conventions. The conventions include locations, props, characters, costume, sound, cinematography, narrative and themes.
Locations in epic films are often vast expensive back drops with on location shooting on a grand scale, the locations can be historical or imagined, depandant on the sub genre of the epic is it, e.g. war epics, mythical epic, science ficton epics, historical epic, and animated epic. In like the 1900 a lot of the locations were set based like the 300 spartans but now most of it is cgi based like king arthur.
Props in epics are often things they would use in the time period that the film was set in e.g. there might be props like weapons, bowls, chairs, a broom, cutlery and a bucket. Props in epic films havent really changed over time they've mainly stayed the same e.g. in a medieval epic say made in the 1950’s compared to one made in the 21st century there wouldn’t be much difference in props apart from maybe more of them or more complicated props.
Characters are also another example of a convention in the epic genre that hasn’t changed much over time. Because there is still some hunky hero, with his friendly companions by his side to help him through the tough situation and some evil villain with lots of evil minions. Even epics that arent biopics they still have a good character with there companions that is portrayed in a good light, they may not be some super hero or some evil minion but characters in epic are still based around some sort of historic figure.
Costume in epics have changed slightly over time but not a big deal. Costumes that were used in some of the earlier epics like in the 1930’s weren’t as expensive and as lavish as the costumes used today. I think in todays epics a great deal of thought and time is spent on costume and the way the characters look maybe a little more so then they did when epics first began.
Over time there has been a great deal of change in the use of sound in epic films. Considering epics started of as silent films they have come a long way since then in terms of sound. Over the years sound has evolved in epics from starting with the first epic film with sound in 1934 to sound becoming more widely used and the quality of sound gradually improving over the years. Now we have massive cinema surround sound.
Over the years cinematography hasn’t changed a great deal e.g. in films they still used still shots, mid shots, long shots, over the shoulder shots and panes like they did in the 1900’s. but the variety of shots they use have increased e.g. now a days they use birds eye views to show battle scenes as well as stills, they also use low angle shots, high angle shots and extreme close ups as well as conventional shots like mid shots, long shot and over the shoulder shots.
The narrative in epics hasn’t really changed over time. The only reason the narrative would change is if it’s a different type of epic e.g. the narrative of a war epic would be different to one of a religious epic. But generally mainly in the sub genre of epics biopics the narrative is the same a hunky hero saves the world/ defeats the bad guy and gets the girl or they will die trying.
Themes in epics haven't really changed over time but they have become more complicated e.g. there are 2 or 3 themes going on at the same time. Themes of epics only really vary in the sub genre is different e.g. a western epic will have a different theme to a war epic.
Over the years the audiences for epics have become more defined because now epic films mainly target people that like action films, adventure films, war films and to draw in a bigger female audience romance. Now the benchmark for epic films have been set and people know what to expect. Overall I think the change in epic films has widely been well received and people are pleased that they target a bigger audience. Epics are good hybrid genres.
The hayes code that was introduced in 1934 and abolished in 1968 had particular control over what epics could show through out the 30’s to the 60’s. before the hayes code films didn’t really have many rules and they could be produced how the director saw fit. One important rule that the hayes code stated is that the film can’t be made so the audience feels sympathy for the evil villan that is doing something sinful or miss leading. The hayes cold also stated that law, natural (I think nature) or a human being could be ridiculed so it meant that an epic film could not show someone being ridiculed. Brutal killings were also not allowed to be shown in detail so they had to be careful how they depicted violence. The hayes code stated that the film makers could not show adualtryattractivley and the could only show passionate scences if it was essential to the plot.
Epic films have changed over the years because of changes in society and peoples tastes changing. Over the years epic films have increased in the amount of action shown in them. There has also been an increase of the amount of biopics made because it is one of the audiences favourite sub genres of epics. As it is very action packed, with a hint of adventure and romance. The plots now a days are not as in depth but there is a noticable plot and is not that hard to follow the story.
Film theonist Christian metz proposed that genre passes through 4 stages in its cinematic life. Experimental films that use the key elements that become the defining conventions of that genre; Iconography, Narrative structure,Mise en scene ect.Classic the films that best exemplify the conventions of the genre. Parody when the genre expectations generative humour. Deconstructive essential elements of the genre are gone.