The document discusses audience engagement with the science fiction genre through analyzing the films Star Wars: The Force Awakens, Captain America: Civil War, and TRON: Legacy. It applies reception theory to understand how the author decoded each film, having a preferred reading of Star Wars and Captain America due to elements that immersed and appealed to them, while their reading of TRON was negotiated as certain elements did not appeal personally. Contextual factors like interest in science fiction and ability to relate to characters influenced their preferred readings, while stereotypical aspects may have led to an oppositional reading for some audiences.
The document discusses research conducted on an audience for a horror film opening sequence. Questionnaires and test screenings provided both positive and negative feedback. Positives included praise for shots, music, and original storyline, while negatives questioned the title choice and indicated more buildup of tension was needed. The research helped evaluate if the setting was effective and if the entity was shown appropriately. It also assessed if the audience understood the plot and found the film professionally made.
This document analyzes how the media product uses and develops conventions of real media forms. It discusses conventions of film trailers, posters, and magazine covers. For the trailer, conventions like titles, voiceovers, and key scenes were used and developed. The poster uses conventions like the film title, release date, and tagline, while challenging conventions like title placement. The magazine cover follows conventions like the title at top but develops them with wordplay in other articles. Overall, conventions were followed and developed to create a recognizable horror genre product while increasing meaning and realism.
This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.
The document describes research conducted to understand the target audience for a zombie film project. Surveys asked about demographics and preferences regarding zombie film elements. Respondents preferred strong female leads, a variety of character ages/types, and realistic rather than comedic zombie behaviors. The filmmakers incorporated these elements into their story and characters. They cast actors matching the target middle-class audience to increase relatability. The opening uses titles, settings, genres, and film techniques to attract attention and intrigue viewers about the plot and characters.
The focus group was conducted to inform the development of media materials for an upcoming horror film about a cannibalistic butcher villain. Participants provided feedback on poster designs, fonts, taglines, sound design, magazine content, camera angles, murder weapons, costumes, the film title, and favorite horror movie elements. Their responses indicated preferences for close-up shots of the villain, meat cleaver weapons, black masked costumes, the tagline "he is what he eats," and sounds of violence. This feedback will help the filmmakers design promotional materials that appeal to target audiences.
The document provides an evaluation of the student's media studies advanced portfolio project which included creating a film trailer, blog, film poster, and magazine cover.
The student analyzed existing horror film trailers and conventions to develop their thriller genre trailer about three teenage students at an old school building. Feedback indicated the unexpected antagonist and vulnerable teen characters were appealing.
Technologies like cameras, iMovie, Photoshop, and surveys were used at different stages for construction, research, planning and evaluation. Lessons included managing time better on ancillary tasks and improving background music in the trailer.
Questionnaire of short films powerpointharoldfordy
The document summarizes the results of a questionnaire conducted to gather information for creating a short film. 20 participants answered questions about their viewing habits and preferences for short films. The results showed that most viewers were between 15-25 years old and preferred thrillers and romance genres that build tension and convey emotion. They most often accessed short films on YouTube and Vimeo. This information influenced the creator to target their short film at this age range and include aspects of crime, thriller and romance genres. While the questionnaire provided useful data, the creator notes they could have asked more detailed questions and gathered responses from a more diverse audience.
This document discusses strategies for distributing a zombie film media product. It notes that major film studios like 20th Century Fox, Disney, Warner Bros., Paramount, Universal and Sony usually distribute their own films. For zombie films specifically, distributors like United Artists and Rogue Pictures have been used. The document suggests Paramount Pictures would be a good choice since they successfully distributed the zombie film World War Z. A major distributor is recommended over an independent one to reach a broader audience. While some low-budget horror films like The Blair Witch Project found success, the document argues zombie films require larger budgets to seem convincing given the genre involves unnatural beings. It's proposed the film would be shown in multiplex theaters and advertised
The document discusses research conducted on an audience for a horror film opening sequence. Questionnaires and test screenings provided both positive and negative feedback. Positives included praise for shots, music, and original storyline, while negatives questioned the title choice and indicated more buildup of tension was needed. The research helped evaluate if the setting was effective and if the entity was shown appropriately. It also assessed if the audience understood the plot and found the film professionally made.
This document analyzes how the media product uses and develops conventions of real media forms. It discusses conventions of film trailers, posters, and magazine covers. For the trailer, conventions like titles, voiceovers, and key scenes were used and developed. The poster uses conventions like the film title, release date, and tagline, while challenging conventions like title placement. The magazine cover follows conventions like the title at top but develops them with wordplay in other articles. Overall, conventions were followed and developed to create a recognizable horror genre product while increasing meaning and realism.
This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.
The document describes research conducted to understand the target audience for a zombie film project. Surveys asked about demographics and preferences regarding zombie film elements. Respondents preferred strong female leads, a variety of character ages/types, and realistic rather than comedic zombie behaviors. The filmmakers incorporated these elements into their story and characters. They cast actors matching the target middle-class audience to increase relatability. The opening uses titles, settings, genres, and film techniques to attract attention and intrigue viewers about the plot and characters.
The focus group was conducted to inform the development of media materials for an upcoming horror film about a cannibalistic butcher villain. Participants provided feedback on poster designs, fonts, taglines, sound design, magazine content, camera angles, murder weapons, costumes, the film title, and favorite horror movie elements. Their responses indicated preferences for close-up shots of the villain, meat cleaver weapons, black masked costumes, the tagline "he is what he eats," and sounds of violence. This feedback will help the filmmakers design promotional materials that appeal to target audiences.
The document provides an evaluation of the student's media studies advanced portfolio project which included creating a film trailer, blog, film poster, and magazine cover.
The student analyzed existing horror film trailers and conventions to develop their thriller genre trailer about three teenage students at an old school building. Feedback indicated the unexpected antagonist and vulnerable teen characters were appealing.
Technologies like cameras, iMovie, Photoshop, and surveys were used at different stages for construction, research, planning and evaluation. Lessons included managing time better on ancillary tasks and improving background music in the trailer.
Questionnaire of short films powerpointharoldfordy
The document summarizes the results of a questionnaire conducted to gather information for creating a short film. 20 participants answered questions about their viewing habits and preferences for short films. The results showed that most viewers were between 15-25 years old and preferred thrillers and romance genres that build tension and convey emotion. They most often accessed short films on YouTube and Vimeo. This information influenced the creator to target their short film at this age range and include aspects of crime, thriller and romance genres. While the questionnaire provided useful data, the creator notes they could have asked more detailed questions and gathered responses from a more diverse audience.
This document discusses strategies for distributing a zombie film media product. It notes that major film studios like 20th Century Fox, Disney, Warner Bros., Paramount, Universal and Sony usually distribute their own films. For zombie films specifically, distributors like United Artists and Rogue Pictures have been used. The document suggests Paramount Pictures would be a good choice since they successfully distributed the zombie film World War Z. A major distributor is recommended over an independent one to reach a broader audience. While some low-budget horror films like The Blair Witch Project found success, the document argues zombie films require larger budgets to seem convincing given the genre involves unnatural beings. It's proposed the film would be shown in multiplex theaters and advertised
The document discusses research conducted to understand the target audience for a zombie film project. Surveys asked about demographics and preferences regarding zombie film elements. Respondents preferred strong female leads, a variety of character ages/types, and realistic zombie behaviors. This feedback informed the film's concepts, storyboard, and casting of a range of character types. Generic zombie film elements like gore and action scenes were included to attract audiences, while ambiguity around settings aimed for escapism and intrigue. The film's marketing strategy focused on platforms like YouTube to reach a wide audience.
Amy Longworth conducted market research through questionnaires to determine the preferences of her target audience for an upcoming short film. She found that 80% of respondents were female, and the most preferred genres were comedy and romance. Most watched films online rather than DVDs or television. Based on this research, Amy plans to create a romantic comedy short film between 10-15 minutes long with a happy ending, and distribute it online through YouTube. She will include conventions of both comedy and romance genres to appeal to preferences while possibly creating a negotiated reading through a non-linear narrative. The research provides guidance on genre, format, and story elements to increase the film's success according to her target audience's wants.
How effective is the combination of your mainSwansag0w
The document discusses the effectiveness of combining a film trailer with ancillary products like a magazine cover and poster. Key elements that link the products include a consistent red background symbolizing danger, shots from the film trailer appearing on the magazine cover, and the same production company and slogan ("Who will watch the neighborhood watch?") featured across all items. This unique combination emphasizes the film's unconventional horror narrative within a neighborhood and establishes an "enigma code" to intrigue audiences. The interlinking elements ensure the products will be recognized as exclusively promoting the film "The Neighborhood."
The questionnaire results showed that psychological horror is the most popular subgenre. Most respondents were ages 16-20 and watched horror films with friends. Respondents had a low budget and preferred to download films digitally for under £5. Found footage was the preferred film style and spiders the top fear. The results will help shape the film to focus on psychological horror themes, include spiders, have friend protagonists and distribute digitally at low cost.
1. The document discusses how the concept of audience was considered when producing a horror film coursework project titled "The Sleepover". Factors like age, gender, interests of the target audience were taken into account to make the film appealing.
2. Several audience theories are described, including the hypodermic needle theory which suggests audiences passively receive the intended meaning, and uses and gratifications theory which proposes why audiences consume certain media.
3. Reception theory, based on Hall's encoding/decoding model, is discussed as the most modern theory of how a producer encodes a text and the audience decodes it based on their own contexts and experiences. The student aimed to encode fear and suspense through techniques in
This document discusses potential film distributors for a zombie film called "Immunity". It analyzes that while no single studio specializes in zombie films, Universal has experience distributing comedy-zombie hybrids like "Shaun of the Dead". A major distributor would be best to reach a mainstream audience over 35 years old without limiting the film's potential profits or viewers. Of the major studios, Paramount would be the preferred choice since they have successfully distributed straight zombie films like "World War Z" without hybrid elements. Advertising primarily on YouTube would leverage its global popularity and make the trailer easily accessible.
The document discusses research on the target audience for a student film project. Key points include:
1) Most survey respondents were female teens who enjoy thriller and horror films.
2) Respondents indicated they regularly watch TV and films.
3) Popular horror films mentioned were Paranormal Activity and The Shining, which provide examples to draw from.
4) Respondents said they dislike gore or unrealistic elements in horror films, and unconventional narratives.
The document presents results from questionnaires given to the public about their horror movie preferences. It finds that males ages 17-20 most often watch horror movies. They prefer to watch in cinemas, especially in Barkingside, and are willing to pay £0-5. Common preferences included abandoned asylums as settings and the dead nun from Conjuring 2 as the scariest antagonist. Based on these results, the group proposes creating a horror movie targeting males, advertising in Barkingside cinemas for £4 per ticket, set in an abandoned asylum with a human-like monster as the antagonist.
This document discusses the target audience and classification for a zombie film. The primary target audience is males over 35 from a middle-class background, as they tend to enjoy the genre conventions like strong male leads. The secondary target audience is females under 35 who are also middle-class, as parents may find escapism in the genre. Research on the zombie genre helped determine it spans horror, disaster and thriller, appealing to a wide age range. The film will likely be rated 15 for its moderate violence and horror elements. It will be released in large cinemas to reach a mainstream audience. An interview with a 57-year-old male teacher provided insights into the psychographics of the target audience.
Postmodern films draw attention to their constructed nature through techniques like self-referential elements, nonlinear narratives, and mixing of genres. They reference other media and popular culture to keep audiences at a distance. Landmark postmodern films include Scream, Kiss Kiss Bang Bang, Cabin in the Woods, Tropic Thunder, Zombie Land, and Shaun of the Dead. Postmodern films question social norms and allow audiences to understand intertextual references. However, some criticize that they lack coherent internal logic. Postmodern film emerged in reaction to modernist cinema's focus on formal elements and authorial vision.
The document discusses the target audience for a horror film production. It analyzes data from the BBFC and UK Film Council to determine the primary target audience is females under 35 and the secondary is males under 35. Focus groups and interviews with these demographics were conducted. The film will aim for a 15 rating to appeal to these age groups but not younger viewers. Advertising and release dates are considered, with Halloween and non-traditional times around Christmas discussed to reach the niche horror audience.
Project Home Run was a two-year initiative to transform the human resources (HR) function at the New York City Department of Education (DOE) to better support the organization's goals. The project centralized administrative tasks, established HR centers of expertise, and refocused school-facing HR partners on strategic support. This led to improved recruitment and retention, enhanced HR staff capabilities, and allowed HR to focus on program design instead of administrative work. The transformation faced challenges such as resistance to change, unclear decision-making processes, and operating within a public education system, but demonstrated that private sector HR best practices can succeed in the public sector as well.
The document contains 4 words that relate to inappropriate or negative concepts. The words describe things that are not suitable, widespread without control, meant to lower or reduce, and unable to be influenced.
Susie Renshaw has experience in HR administration, general administration, recruitment consulting, and residential mentoring. She has a BA in Sociology from the University of Sheffield. Her employment history includes temporary roles at Cobb-Vantress and Floramedia in HR and general administration. She worked as a recruitment consultant at Hays, where she exceeded targets and became one of the top billers. She also has experience as a residential mentor at the University of Sheffield, mentoring 76 students.
The document discusses research conducted to understand the target audience for a zombie film project. Surveys asked about demographics and preferences regarding zombie film elements. Respondents preferred strong female leads, a variety of character ages/types, and realistic zombie behaviors. This feedback informed the film's concepts, storyboard, and casting of a range of character types. Generic zombie film elements like gore and action scenes were included to attract audiences, while ambiguity around settings aimed for escapism and intrigue. The film's marketing strategy focused on platforms like YouTube to reach a wide audience.
Amy Longworth conducted market research through questionnaires to determine the preferences of her target audience for an upcoming short film. She found that 80% of respondents were female, and the most preferred genres were comedy and romance. Most watched films online rather than DVDs or television. Based on this research, Amy plans to create a romantic comedy short film between 10-15 minutes long with a happy ending, and distribute it online through YouTube. She will include conventions of both comedy and romance genres to appeal to preferences while possibly creating a negotiated reading through a non-linear narrative. The research provides guidance on genre, format, and story elements to increase the film's success according to her target audience's wants.
How effective is the combination of your mainSwansag0w
The document discusses the effectiveness of combining a film trailer with ancillary products like a magazine cover and poster. Key elements that link the products include a consistent red background symbolizing danger, shots from the film trailer appearing on the magazine cover, and the same production company and slogan ("Who will watch the neighborhood watch?") featured across all items. This unique combination emphasizes the film's unconventional horror narrative within a neighborhood and establishes an "enigma code" to intrigue audiences. The interlinking elements ensure the products will be recognized as exclusively promoting the film "The Neighborhood."
The questionnaire results showed that psychological horror is the most popular subgenre. Most respondents were ages 16-20 and watched horror films with friends. Respondents had a low budget and preferred to download films digitally for under £5. Found footage was the preferred film style and spiders the top fear. The results will help shape the film to focus on psychological horror themes, include spiders, have friend protagonists and distribute digitally at low cost.
1. The document discusses how the concept of audience was considered when producing a horror film coursework project titled "The Sleepover". Factors like age, gender, interests of the target audience were taken into account to make the film appealing.
2. Several audience theories are described, including the hypodermic needle theory which suggests audiences passively receive the intended meaning, and uses and gratifications theory which proposes why audiences consume certain media.
3. Reception theory, based on Hall's encoding/decoding model, is discussed as the most modern theory of how a producer encodes a text and the audience decodes it based on their own contexts and experiences. The student aimed to encode fear and suspense through techniques in
This document discusses potential film distributors for a zombie film called "Immunity". It analyzes that while no single studio specializes in zombie films, Universal has experience distributing comedy-zombie hybrids like "Shaun of the Dead". A major distributor would be best to reach a mainstream audience over 35 years old without limiting the film's potential profits or viewers. Of the major studios, Paramount would be the preferred choice since they have successfully distributed straight zombie films like "World War Z" without hybrid elements. Advertising primarily on YouTube would leverage its global popularity and make the trailer easily accessible.
The document discusses research on the target audience for a student film project. Key points include:
1) Most survey respondents were female teens who enjoy thriller and horror films.
2) Respondents indicated they regularly watch TV and films.
3) Popular horror films mentioned were Paranormal Activity and The Shining, which provide examples to draw from.
4) Respondents said they dislike gore or unrealistic elements in horror films, and unconventional narratives.
The document presents results from questionnaires given to the public about their horror movie preferences. It finds that males ages 17-20 most often watch horror movies. They prefer to watch in cinemas, especially in Barkingside, and are willing to pay £0-5. Common preferences included abandoned asylums as settings and the dead nun from Conjuring 2 as the scariest antagonist. Based on these results, the group proposes creating a horror movie targeting males, advertising in Barkingside cinemas for £4 per ticket, set in an abandoned asylum with a human-like monster as the antagonist.
This document discusses the target audience and classification for a zombie film. The primary target audience is males over 35 from a middle-class background, as they tend to enjoy the genre conventions like strong male leads. The secondary target audience is females under 35 who are also middle-class, as parents may find escapism in the genre. Research on the zombie genre helped determine it spans horror, disaster and thriller, appealing to a wide age range. The film will likely be rated 15 for its moderate violence and horror elements. It will be released in large cinemas to reach a mainstream audience. An interview with a 57-year-old male teacher provided insights into the psychographics of the target audience.
Postmodern films draw attention to their constructed nature through techniques like self-referential elements, nonlinear narratives, and mixing of genres. They reference other media and popular culture to keep audiences at a distance. Landmark postmodern films include Scream, Kiss Kiss Bang Bang, Cabin in the Woods, Tropic Thunder, Zombie Land, and Shaun of the Dead. Postmodern films question social norms and allow audiences to understand intertextual references. However, some criticize that they lack coherent internal logic. Postmodern film emerged in reaction to modernist cinema's focus on formal elements and authorial vision.
The document discusses the target audience for a horror film production. It analyzes data from the BBFC and UK Film Council to determine the primary target audience is females under 35 and the secondary is males under 35. Focus groups and interviews with these demographics were conducted. The film will aim for a 15 rating to appeal to these age groups but not younger viewers. Advertising and release dates are considered, with Halloween and non-traditional times around Christmas discussed to reach the niche horror audience.
Project Home Run was a two-year initiative to transform the human resources (HR) function at the New York City Department of Education (DOE) to better support the organization's goals. The project centralized administrative tasks, established HR centers of expertise, and refocused school-facing HR partners on strategic support. This led to improved recruitment and retention, enhanced HR staff capabilities, and allowed HR to focus on program design instead of administrative work. The transformation faced challenges such as resistance to change, unclear decision-making processes, and operating within a public education system, but demonstrated that private sector HR best practices can succeed in the public sector as well.
The document contains 4 words that relate to inappropriate or negative concepts. The words describe things that are not suitable, widespread without control, meant to lower or reduce, and unable to be influenced.
Susie Renshaw has experience in HR administration, general administration, recruitment consulting, and residential mentoring. She has a BA in Sociology from the University of Sheffield. Her employment history includes temporary roles at Cobb-Vantress and Floramedia in HR and general administration. She worked as a recruitment consultant at Hays, where she exceeded targets and became one of the top billers. She also has experience as a residential mentor at the University of Sheffield, mentoring 76 students.
Lynx Rose is applying for a computer science program and provides details about her academic background and passion for coding. She has a 3.84 GPA and is ranked 18th out of 269 students. She is dedicated to her studies and practices her tenor saxophone daily. Lynx believes the computer science course will help her gain knowledge and experience, expose her to college life, and help her assist third graders with coding over the summer. She feels she is well-suited for the program due to her academic success and dedication to coding as a new creative outlet.
Ehab Atta Bakhet is seeking a position in GSM/UMTS/LTE network planning and optimization. He has a B.Sc. in Electrical Engineering from Assiut University and over 5 years of experience in 2G/3G radio network optimization. His experience includes network optimization, parameter tuning, frequency planning, and troubleshooting for Etisalat, Vodafone and Mobinil networks in Egypt.
Die Präsentation von Sebastian Schmied zum Thema im Rahmen des Webinars bei den DaF Lehrern Netzwerk Online.
Videoaufzeichnung ist hier https://www.youtube.com/watch?v=4-h01P3nq68
This document promotes the creation of presentations on Haiku Deck by sharing photos from three users and stating "Inspired? Create your own Haiku Deck presentation on SlideShare! GET STARTED". It encourages the viewer to be inspired by the example photos and get started making their own Haiku Deck presentation by following the provided link.
The document is a risk assessment and evaluation report for National Australia Bank Group (NABG) conducted by two students, Jasveen Kaur Dhanoa and Shamila Niromi Maligaspe. The report assesses NABG's corporate governance, corporate social responsibility, strategic risk, liquidity risk, credit risk, and other risks. Key recommendations include updating NABG's corporate governance statement, expanding through acquisitions, reducing wholesale funding, and improving liquidity risk management. The report provides a qualitative and quantitative evaluation of NABG's key risks and recommendations for management consideration.
Psychological thrillers are a subgenre of horror that aim to shock or disturb audiences through manipulating their perceptions and expectations, rather than overtly frightening visuals. They utilize narrative techniques like flashbacks, ambiguous threats, unpredictable plots, and distorted sounds to unsettle viewers and blur the lines between reality and fiction. While horror is not always the most popular genre, surveys show psychological thrillers are preferred over other thriller subgenres for containing more thriller elements and being less focused on horror.
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narrative as a chain of causally linked events with a beginning, middle, and end. Theorists like Branigan, Propp, and Barthes developed approaches to analyzing characteristics like character types, codes, and underlying cultural themes in narratives. More recent theorists examine how genres, postmodern narratives, and hybrid forms challenge traditional understandings of narrative structure. Narrative theory provides concepts to inform how meaning is constructed in media texts and genres help categorize texts for audiences, creators, and scholars.
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narratives as having a beginning, middle, and end that establishes causal relationships between events. Theorists like Propp, Barthes, and Levi-Strauss broke down narratives into character types, codes, and symbolic oppositions to understand how they reflect cultural values. Genre theory categorizes media texts based on shared conventions and helps audiences understand and engage with different types of texts. While genres provide structure, they can also constrain creativity, so theorists debate whether pure genres still exist or if they are evolving through hybridization.
Genre theory proposes that genres are defined by shared conventions of content, themes, and stylistic elements. Generic conventions refer to common narrative structures, character types, visual elements, and themes seen across films within a genre, such as action sequences and fights in action films. Identifying conventions involves analyzing typical narratives, micro-level details, and themes. While genres provide familiar frameworks that audiences enjoy, over-reliance on conventions can make films repetitive; some challenge expectations to keep genres fresh. Categorizing films by genre aids marketing but risks pigeonholing creativity.
The document discusses several theories related to analyzing films and media texts, including auteur theory, genre theory, audience theory, and narrative theory. It provides examples of each theory and discusses how our group can apply these theories when creating our own media piece. Specifically, we will consider the auteur theory during production, genre theory in selecting the psychological thriller genre, audience theory by targeting "Reformer" and "Explorer" personality types, and narrative theory using Todorov's five-stage model.
This document discusses several key concepts in media representation theory, including stereotypes, archetypes, countertypes, and how media representations of groups can impact social attitudes. It also covers genre theory and how genres act as shorthand for audiences. Finally, it discusses audience theory, including effects models and uses and gratifications theory, which proposes that audiences actively consume media to fulfill certain needs like diversion, personal relationships, identity, and surveillance.
The document discusses various methods used in the film industry to understand target audiences, including demographic research, psychographics, and audience profiling based on factors like gender, age, socioeconomic class, and geographic location. It provides examples of mainstream films produced by major studios targeting a wide audience, as well as alternative films targeting niche audiences. The document also describes quantitative and qualitative research methods, and how film posters and trailers can be analyzed to understand their intended messaging and audiences.
Audience theory holds that understanding the target audience of a media text is important. It suggests that the audience should be understood as specific people who can relate to and engage with the media. Understanding the target audience allows the creator to know what topics and information to include to appeal to and solve problems for that audience, making the media more effective. A film trailer can target a specific intended audience through the use of technical elements like characters, scenes, music and language.
This document discusses why horror is the best film genre due to its ability to create active spectatorship among audiences. Horror films tap into viewers' emotional and psychological responses in a way that keeps them engaged with the films and their themes. This leads to devoted fan bases, fan theories, and role-playing that keep the discussion of horror films alive long after their release. Additionally, horror effectively fulfills audiences' needs for distraction, identification with characters, and fulfillment of survival-based fears.
This document discusses conventions in media and their use in film openings. It defines conventions as commonly used techniques or tropes. The advantages are that conventions help audiences understand genre and meaning. However, overreliance on conventions can make narratives predictable and lack variety. The author chose to use conventions to create meaning for audiences while also subverting expectations. In the horror film opening, conventions like violence and dark lighting are used, but equilibrium is initially shown before tension is introduced with the discovery of a corpse. The opening is successful because it uses familiar conventions but also challenges typical portrayals.
The document discusses several film theories that could be applied to the production of a thriller film opening, including:
- Auteur theory, which focuses on the director's creative influence, will be used to reflect the directors' views through characters and plotlines.
- Genre theory examines conventions of genres like thriller; the opening will mainly follow thriller conventions while adding unconventional elements.
- Representation theory analyzes how media portrays people and events; the opening will present a realistic world and storyline that audiences can relate to.
- Audience and narrative theories like uses and gratifications, reception, and Barthes' will be used to engage audiences and associate elements with the thriller genre. Propp's theory
The document discusses four different media theories:
- Auteur Theory argues that a director's films reflect their creative vision through recurring themes.
- Reception Theory says that audiences can interpret media in different ways depending on their perspective.
- The Hypodermic Needle Model suggests that media has a strong influence on audiences by "injecting" them with messages.
- The Male Gaze refers to the tendency in some media to sexualize women through the perspective of the heterosexual male gaze.
The document discusses how the filmmaker attracted and addressed their audience through various elements of the film. The protagonist and antagonist are both male and female, widening the audience appeal. The narrative follows a female lead in a crime industry she doesn't want to be in, providing an original approach different from typical crime films. Iconography like drugs were included to fit crime film conventions while maintaining an unconventional narrative. Dramatic music added intensity. The filmmaker used uses and gratifications theory to draw in a wide audience through elements of escapism, social interaction, and identification with the main characters of both genders.
The document discusses the planning process for a student's short film project aimed at a teenage audience. It details the student's research of similar films and audience preferences through a questionnaire. The student analyzes films with gritty urban themes but chooses to emulate the more lighthearted film Anuvahood that comically portrays youth culture.
The document discusses three different audience theories in media:
1) The hypodermic needle theory views audiences as passive and that media precisely delivers intended effects by "injecting" messages into audiences.
2) The two-step flow theory proposes that opinion leaders influence public opinion and that audiences are influenced by the opinions of these leaders.
3) The uses and gratifications theory treats audiences as active, suggesting they make choices about media based on what they want to get out of it.
Conventions are useful tools that help audiences understand the genre and meaning of a media product. Some advantages are that they establish expectations like portraying women as damsels in action films. However, overreliance on conventions can lack variety and make plots predictable. The document discusses how the author used horror genre conventions like violence and dark lighting in an opening scene. They establish equilibrium at first but then subvert expectations by revealing a corpse, following common narrative techniques. The author believes their use of both conventions and unconventional elements successfully sets up the story while also challenging typical portrayals.
The document analyzes three film trailers from different genres: Grave Encounters (horror), The Fourth Kind (psycho horror), and Mean Girls (American teen comedy). Various film and narrative theories are discussed in relation to each trailer, including how they influence expectations, represent certain groups, and impact audiences.
A lengthy thesis paper discovering the hidden themes behind films. Here I use the cluster criticism methodology on the film "Sunshine" to argue that the filmmakers unknowingly and unconsciously added their own personal beliefs to the film through imagery.
The document discusses several theories about how audiences interact with and are influenced by media texts. It describes the hypodermic syringe model which views audiences as passive and easily manipulated masses. It also outlines cultivation theory which suggests that repeated exposure to certain themes or issues can shape audiences' views over time. Additionally, it discusses uses and gratifications theory which sees audiences as active in choosing media content to fulfill specific needs or gratifications.
Copyright protects original creative works like images, video, audio, and software from being used without permission. The document discusses using the Copyright Hub website to identify the copyright holder of an image in order to request permission to use it. Copyright Hub provides the contact information for the copyright owner so users can formally ask for permission via email. If granted permission, the user must give credit to the copyright holder in any use of the image. Organizations like BAPLA can also help connect users to image libraries and agencies to legally access images with permission or through paid licenses.
The document discusses the process of designing a magazine focused on electronic music. It describes choosing a simple font and color scheme of white, red, and black for the cover to attract attention without overdoing it. Photoshop was used to design the cover and double page spread. Two photos were used but had different lighting conditions, making it hard to make them appear taken in the same studio. Improvements could have been made to the front cover photo and design. Conventions like issue numbers and page numbers were included to make the magazine seem more authentic. The text layout separated the artist name and interview into two columns. Overall, the design followed conventions to engage the target audience of electronic music fans.
The document discusses editing two images for a magazine cover.
For the first image, the background is removed and the image is darkened to make it stand out on different backgrounds. Tools like levels, curves, hue and saturation are used to mimic artificial lighting effects. Bevel and emboss and drop shadow effects are added.
The second image involves duplicating the layer, cutting out the subject on one layer, desaturating the background layer, and applying a red color filter gradient. Curves are used to make the subject stand out against the red background. Levels and hue/saturation are also used to brighten and desaturate the image slightly.
The document provides a lengthy evaluation of the author's final major project creating a short film. Some key points:
- The overall technical quality was let down by digital noise visible in shots due to high ISO settings, though post-production color correction helped.
- New skills like script writing were developed, while others like pre-production planning were improved. Cinematography skills increased but some shots were shaky.
- Editing was challenging but a learning experience, though color correction differences between scenes were noticeable.
- Overall the project increased the author's film experience and skills in areas like script writing, cinematography, and editing, but some aspects like the plot reveal could have been strengthened.
This document discusses choosing fonts for a film title that is a hybrid of mystery and thriller genres. It recommends three fonts - Bebas Neue, Shoemaker, and Vacer Sans - for their simplicity and clean, thin textures that would make the title look professional and stand out. Of the three, Shoemaker is selected as the best fitting font for the film due to its damaged aspect, which would represent the protagonist and highlight the issues of mental illness.
This document contains a reference sheet listing websites about genre conventions for mystery, war, and psychological thriller genres. The reference sheet includes the website URL, date accessed, author, and article title for each source to help with research on genre conventions.
Ross wakes up anxious for his upcoming job interview. He prepares for the day with help from his housemate Adam. Adam jokes around and gives Ross practice interview questions to help prepare. While practicing, Ross experiences a bright light and fade, waking up confused in a bare room of a mental asylum.
Ross wakes up preparing for a job interview and gets ready with the help of his friend Adam. Adam practices interview questions with Ross. However, during their practice, Ross is affected by a bright light that causes him to lose vision. He awakens in a bare room in a mental asylum, with Adam's watch and a photo of them by his bed, as someone knocks at the door.
1. Ross wakes up to get ready for a job interview but starts experiencing strange events in the house. He has a dizzy spell on the stairs and sees his friend Adam, but the outdoor scenery has changed and Adam disappears.
2. Ross reenters the house but finds the furniture missing and drops his glass of water in shock. When he blinks, his friend Adam disappears too.
3. The camera pulls out to reveal the setting has changed from a student house to an abandoned house, and Ross is now alone with no explanation for the strange occurrences.
Guidelines for Final Major Project PitchAdam Grundy
The document provides guidelines for a final major project pitch organized into slides: Slide 1 introduces the presenter and their chosen media format and goals. Slide 2 gives a synopsis of their mystery/thriller idea and why they chose it. Slide 3 discusses what inspired the idea and links it to a similar short film. Slides 4-5 identify the target audience and how to attract them. Slide 6 outlines the production stages. The conclusion wraps up the pitch.
This document discusses different types of briefs used between media companies and clients. A contractual brief clearly outlines expectations, prices, and terms agreed upon by both parties. A negotiated brief allows some flexibility for the media company to discuss issues and negotiate aspects of the project. A formal brief provides detailed information about the project goals without unnecessary details. An informal brief discusses the project verbally without a written document, allowing open discussion but risking lack of clear expectations. Communication of briefs is typically via email while file sharing platforms can also be used. Time management is important, and can be helped by a production schedule. Technical skills and experience levels needed vary depending on the size of the media company and complexity of the project.
A contractual brief sets clear expectations and guidelines for a media company to follow for a specific task. This includes prices and payment terms agreed upon by the client and media company. While it provides clarity on what the client wants, it could result in a heavy workload straining the media company.
An informal brief outlines the project verbally rather than through a written document, allowing open discussion between the client and media company. This gives the media company flexibility to provide input before finalizing the deal. However, it risks the media company declining tasks they see as too labor-intensive or missing details the client expected.
The document discusses factors that influence whether a film will be remade, including financial reasons, technological advancements, and social/political issues. Financially, remakes present lower risks than original films. Technologically, improvements in visual effects, audio quality, and distribution methods impact remakes. Socially, remakes may address issues like LGBT representation or political concerns that have changed since the original.
The document analyzes the front covers of two magazines - Empire film magazine and Vibe music magazine - using Gutenberg's reading principles. For Empire, the use of a popular film poster appeals to its target audience of younger adults. While the magazine has a broad demographic, this cover specifically targets lower and middle class male readers. Vibe features the electronic artist Deadmau5, appealing to its target audience interested in urban and electronic music and culture. Both magazines effectively use design principles like prominent text and images to attract readers from the primary optical area to the terminal area according to how the eye reads.
The document discusses the production of the author's short film for their final major project. Production went well overall, with the author managing to complete all shots on time. One issue was that the garage location had a lot of clutter that was difficult to hide or move. Another shoot took multiple hours but they were able to complete it in one day. There were some complications like preparing the camera and the author's directing skills being rusty, but improved over time. One actor also dropped out last minute, but a friend helped fill in. Overall, filming went quite well despite some challenges.
The document provides guidelines for a final major project pitch consisting of 6 slides: Slide 1 introduces the presenter and their chosen media format and goals. Slide 2 provides a synopsis of their mystery/thriller idea and why they chose it. Slide 3 discusses what inspired the idea and links it to a similar short film. Slides 4-5 identify the target audience and how to attract them. Slide 6 outlines the planned production stages. The conclusion wraps up the pitch.
Final major projecgt risk assessment formAdam Grundy
This document provides a template for conducting a risk assessment for a film production project. It lists potential hazards for different scenes, who may be harmed, existing risk controls, and a risk assessment level. Hazards addressed include tripping, cutting oneself, time pressure, running out of battery, dropping the camera, and falling down stairs. For each hazard, the document evaluates the likelihood and consequences of the risk according to a provided chart. Based on the risk level, further actions are identified such as having extra crew support to prevent falls or allocate extra time in case of going over schedule.
This production call sheet summarizes the logistics of filming the movie "SanityAgainstReality" over two days at two locations. It details the shooting schedule and scenes to be filmed each day, contacts for those involved in the production, and a basic equipment and props list. Precautions are noted around utilizing private homes for filming and managing other potential risks. The goal is to efficiently allocate time and complete all necessary scenes within the scheduled filming windows.
The short film uses effective cinematography and editing techniques to tell a science fiction story. Medium shots are used throughout to show both the protagonist and the environment as she explores the room she finds herself in. Close-ups express her emotions. Long shots establish a sense of isolation. A tracking shot at the end reveals her attempted escape was an illusion. The dark color scheme and advanced technology portrayed are conventions of the science fiction genre. The narrative follows a linear three-act structure as the protagonist first discovers her locked room, then attempts escape, only to find it was not possible.
Final major projecgt risk assessment formAdam Grundy
This document provides a template for conducting a risk assessment for a film production project. It lists potential hazards for different scenes, who may be harmed, existing risk controls, and a risk assessment level. Hazards addressed include tripping, cutting oneself, time pressure, running out of battery, dropping the camera, and falling down stairs. For each hazard, the document evaluates the likelihood and consequences of the risk according to a provided chart. Based on the risk level, further actions are identified such as having extra crew support to prevent falls or allocate extra time in case of going over schedule.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
How to Download & Install Module From the Odoo App Store in Odoo 17Celine George
Custom modules offer the flexibility to extend Odoo's capabilities, address unique requirements, and optimize workflows to align seamlessly with your organization's processes. By leveraging custom modules, businesses can unlock greater efficiency, productivity, and innovation, empowering them to stay competitive in today's dynamic market landscape. In this tutorial, we'll guide you step by step on how to easily download and install modules from the Odoo App Store.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
CapTechTalks Webinar Slides June 2024 Donovan Wright.pptxCapitolTechU
Slides from a Capitol Technology University webinar held June 20, 2024. The webinar featured Dr. Donovan Wright, presenting on the Department of Defense Digital Transformation.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
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Withinthe mediaindustry(especiallyinthe filmindustry) thereisarelationshipbetweenthe
audiencesandthe filmgenresinwhichaudiencesinterpretfilmsintheirunderstandingdue tomany
contextual factors.There are manygenre theorieswhichtry andinterpretwhyaudiencesandgenres
connecteffectivelysuchasthe usesand gratificationstheoryandthe receptiontheorywhichwill be
coveredlate onin thisessay.Howeveritisthese theorieswhichstandoutthe mostdue to the
theoriessuggestingthataudiencespartake inactive spectatorshipratherthanpassively,active
spectatorsdonot justconsume mediawhichhasbeenmassmarketedbythe mediabutinstead
choose filmstosatisfydifferentpleasures,thislinkstowardsthe UsesandGratificationsTheory.On
the otherhand,active spectatorsare alsoable to interpretfilmsintheirownreadingwhetherthis
beinga Preferred,Oppositional ornegotiatedreadingof the film.Inthisessay,Iwill be discussing
howaudiencesengage withthe science fictiongenre byanalysingthe film’sStarWars: The Force
Awakens(J.JAbrams,2015), CaptainAmerica:Civil War(RussoBrothers,2016) and TRON:Legacy
(Kosinki,2010) whichare renownedfilmsunderthe sciencefictiongenre,the reasonIhave chosen
to go withthese ratherthanotherscience fictionfilmswiththe likesof TRON:Legacy(Kosinki,2010)
isdue to how recentthe filmsare andhow successful the films andpopularthese filmswere,andin
my opinionIbelieve these filmsbestrepresentthe science fictiongenre due tohow diversetheyare
fromeach otherhowevercanstill be likedunderthe same genre.Firstlyis StarWars: The Force
Awakens whichisasequel of the original trilogyandfollowsoff fromthe originalfilmandeven
thoughthe filmissetdecadesafterthe original,the filmsstill includethe original characters
alongside the newadditions.Thoughinmyopinion,the filmfollowsasimilarstorytothe original
filmStarWars: Episode IV – A NewHope (Lucas,1977) by usingsimilarplotlinesinordertoappeal
to the target audience.Furthermore, CaptainAmerica:Civil Warfollowsonfromthe previousfilmin
the Marvel CinematicUniverse,Avengers:Age of Ultron(Whedon,2015) byfollowingonfromthe
incidentswhichwere causedinthe previousfilmswhichresultsinariftbetweenformerallies. Star
Wars, whichisknownforbeinga well-establishedfranchisedgrossed $2.066 Billionatthe box office
and evenbecomingthe thirdhighestgrossingfilmof all time andCivil Waronthe otherhandonly
releasedthe pastweek(29th
April) andhasalreadygrossed$200 millionatthe internationalbox
office,thisexcludesthe U.Sasit has notbeenreleasedyet,itiswiththisalone thatshowsaudiences
howsuccessful andpopularscience fictionfilmshave become overthe pastfew decades. TRON:
Legacy (Kosinski,2010) on the other handisa sequel fromthe original filmTRON (Lisberger,1982)
and followsthe storyof Sam(Garret Hedlund),ashe endsupinside the digitalworldhisfather,
KevinFlynndesigned (Jeff Bridges).The filmhada budgetof around$170 millionandgrossedan
estimated$400 millionworldwide,one thingtotake note aboutall the filmsthatIwill be covering
withinthisessaywere all distributedbyWaltDisneyStudioswhichshowsthe footholdthatDisney
has withinthe science fictiongenre franchise. Itiswiththe helpof well renownedactorsand
effectivescriptwritingwhichhelpbringsciencefictionfilmstothe top,for example some of the
mostsuccessful actorssuch as HarrisonFord (StarWars) and RobertDowneyJnr(Marvel Cinematic
Universe) are renownedfortheirrolesinthe science fictiongenre anditinmyopinionitisthese
rolesthatbrought these starsto the top of the ladder.
Receptiontheorywhichwasdiscussedbythe cultural theorist“StuartHall”providesameanof
understandingmediatextsbyunderstandinghow audiencesinterpretthe texts.The theoryargues
that contextual,more thantextual ones,influence the waythe audienceunderstandsthe film.An
importantconceptof receptiontheoryisthatthe mediatexthasno inherentmeaninginandof
itself.Instead,meaningiscreatedinthe interactionbetweenthe audience andthe film.Hall
primarilyfocusesonanencodinganddecodingmodel of the relationshipof mediatextsandtheir
audiences,forexample the textwouldbe encodedbythe producersanddecodedbyhow the reader
interpretsit.Thismeansthere couldbe multiple understandingsof the same text. The reception
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theoryidentifiesthree typesof readinginterpretations:Preferred,NegotiatedandOppositional.
Firstlyisa preferredreadinginwhichthe audience fullyacceptsthe textandacknowledgesthe key
factors whichdefine the filmtothe genre,thismeansif the audiencehasa preferredreadingof the
text,theyacceptthe textas it isand thisishow mediaproducersexpectthe audience toreadthe
text.Oppositional onthe otherhandiswhenthe audience isinfull disagreementwiththe textandis
not passivelyacceptedbythe audience,if the audiencedidnotenjoythe filmthentheywouldhave
an oppositional readingastheydidnotagree withthe textwhereasanegotiatedreadingiswhen
the audience hasa mixedopiniononthe text.Thiscouldbe due to certainfactorswhichare present
withinthe film,wherethe viewercouldagree withone factorhoweverdisagree withanother,for
example audiencescouldagree withthe portrayal of characters whichare presentwithinthe film
due to beingable toimagine themselvesbeingportrayedhowevertheycoulddisagree withthe way
violence is portrayed,whetherthisistoomuchor too little howeverasthisisjustan example,it
couldbe appliedtoany mediatextwiththe differentfactorsonwhatthe vieweragreesand
disagreeswith.Usingthistheory,Iwill be analysingthe three filmsIhave chosen bydiscussingmy
readingsof the filmalongwithhowthe contextual factorsinfluencedmyreading. StartingwithStar
Wars: The Force Awakens(J.JAbrams,2015) whichwasmy firstfilm, Idecodedthe filmwitha
preferredreadingwhichwasinfluencedbythe contextual factors.Sciencefictionhasalwaysbeenan
interestforme soa filmlike StarWarswhichis heavilyimmersive withinthe genre wouldbe no
exception. One keyelementwhichstoodouttome the mostwas the use of computergenerated
imageryinorderto make these scenesfeelrealisticandtoimmerse the viewerinthe experience
whichiswhat appealstome,audiencesare able todepictwhetherornotthe CGI withinthe film
looksrealisticornot,whichif notcouldruin the viewingexperience of the film howeverI’mgladthe
experience wasn’truineddue topost-production.Anotherelementwhich stoodouttome wasthe
wayon how the characterswere portrayedwithinthe film, especiallythe antagonistwhichinmy
opinionwasportrayedina waywhichmade me fear him.However,duringthe moviethe character
goesmad due to a prisonerbreakingout soas the character releaseshisanger,stormtrooperswalk
by thenturnaround as a way to avoidhim.Eventhoughthismade me laugh,I believe thatthis
elementbelittlesthe characterjustsothe filmcouldinclude ahumouraspectwithinfilmhoweverI
don’tbelievethisruinedthe characterdevelopmenttherefore myviewingexperience didn’tchange.
I Believe thateventhoughstereotypicallythatscience fictionfilmsdoesnotalwaysappeal tothe
female audience,thisfilmmaychange thatfor includingcharacterswhichthe audience canrelate
to, forexample the use of a female leadcharacterisaneffective wayinattractingfemaleaudiences.
However,eventhoughtheyfemaleviewersmayrelate tothe characters,theymay not appreciate
the portrayal of violence whichisseenwithinthe filmtherefore resultinginnegotiatedreading.. My
nextfilm,CaptainAmerica:Civil War(RussoBrothers,2016) followssuitwithmypreviousasI hada
preferredreadingforthe filmdue tothe elementsof the filmwhich blendeffectivelytocreate an
excitingandtense story.Whatstoodout tome the most wasthe portrayal of characters withinthe
film,Ibelievethere isacharacter inthe filmthatbestrepresentssomeonewithinthe audience
whetherthatbe the mainprotagonistsor the antagonists.There were charactersforeveryoneandI
thinkthat’swhatmade the filmsuccessful aseveryone inthe audience couldrelatetoone or more
of the characterswithinthe film,forexamplefemale viewerswouldbestrelate tothe femalehero
alongwithmale viewersrelatingtothe male characters.Itis alsodue to the fact that eventhough
science fictionfilmsaren’tknownforhiringtopfemaleactors,soto have one of the mostsuccessful
filmsof the yearto have multiple femalecharactersissomethingdifferentwhichmakesthe film
more unique.One thingthatstoodoutto me the mostwas how the deathof T’Chaka(JohnKani) as
a plotdevice asit sparkeda range of emotionsforBlackPanther(ChadwickBoseman) whowanted
revenge forhisfather’sdeath,the reasonthisstoodouttome washow usuallyinMarvel films
majorcharacters whodie don’tusuallystaydeadwhichdefeatsthe purpose andruinsthe effectof a
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characters death.If thishappenedinthenitmostlikelythatmyreadingwouldhave beendifferent
to a preferredreading,fortunatelythisdidn’thappenandI’mgladbecause Ibelieveitwasan
effectivewayof settingthe plotup. Howeversince the filmuses terrorismasplotdevice,Ibelieve
thiscouldhave scored negativelywith certainethnicgroupswhichare accusedof terrorismdue to
theirreligionsothismayresultinthemhavinganoppositionalreadingdue tothe terrorismaspect
eventhoughthe filmdoesnotlinkthe eventtoanyrace or religion.Lastlyisthe filmTRON:Legacy
whicheventhoughisconsideredtobe one of myfavourite filmsof all time,myreadingisseenasa
negotiateddue tocertainelementswithinthe filmthatdonot appeal tome personally. Startingwith
whatdid appeal tome,I believethatthe storywhichwasusedwas veryunique tothe science fiction
genre andstood outfrom otherfilmssince manyfilmsare justseemtofollow the same pattern
makingthemun-uniqueandeventhoughthe filmfollowsasimilarpatternfromthe original film, it
still standsoutand that’swhatappealsto me.Asthisfilmisheavilysciencefictionbasedandmainly
includesmale actors,Ibelievethatthisfilmsjustappealstomale audiencesratherthanfemaledue
to the use of plotdevicesinordertoentice male viewers,the onlyaspectthatappealstofemale
viewersinmyopinionisthe use of anattractive youngmale leadactor to keepthe female audience
interestedtherefore promptingfemale viewerstohave anegotiatedreadingof the texthowever
thisisstereotypical meaningitall dependsonhow the viewerdecodesthe film. However,inmy
opinionwhatruinedthe filmforme wasthe character developmentasitjustseemedbasicallyand
poorlywrittenwhichmade me lose interestoncertaincharactersingeneral,forexamplethe main
antagonistandhissidekickwere notappealingtome.Ido believethatthese charactersstoodoutas
antagonistswithinthe filmhowevertheycouldhave beenportrayedmore effectively,viewersmay
disagree withme and thinkthatthe characterdevelopmentworkwellbutinmyopinionitdidnot
seal itfor me.Anotheraspectwhichdidnotworkwell forme was the use of a CGI mainantagonist
alongside real actors,thismade the characterlookfake and made the CGI lookun-realistic.Some
may argue that the visual effectsbackin2010 were notas appealingtothe filmindustryastheyare
whichmay be the case that whythisstoodout to me howeverIbelieve thiscouldhave been
executedmore effectively.Thoughinaddition tothis,otheraspectsof the CGIsuch as the shipsdid
standout ina positive outlookinmyopinionasthese alongsidethe use of non-diegeticsound
effectsbroughtthese shipstolife andmade me feellikeIwasa part of the scene.Thisiswhat I
believeruinedthe experience of the filmforme andif itwasn’tfor these aspectsof the film, my
interpretationwouldhave beendifferent.Althoughthe readingof the films all dependsonthe
viewerandthe viewingcircumstancesasaviewerbythemselvescanhave a differentreadingto
viewingthe filmforeducational purposesorwithfriendsasthe viewermaybe able topickup on
elementswithinthe filmbythemselvesratherthanbeingwithagroupof viewerssoIbelieve itall
comesdownto the viewingcircumstances
In contrary,the usesand gratificationstheorywhichwasdevelopedbyBlumerandKatzsuggests
that the audience isanactive audience whochose toseekoutspecificmediatextstosatisfyspecific
needs.The theoryisanaudience-centredapproachtounderstandingmasscommunications. The
drivingquestionof the UsesandGratificationsTheoryis“Whydopeople use mediaandwhatdo
theyuse themfor?” andthe theorydiscusseshow userschose mediathatwill satisfyneedsand
allowone toenhance knowledge,relaxation,socialinteractionsorescape toanotherreality. The
fourmain pleasuresthatanaudience gainfromfilmsare; Diversionwhichallowsthe viewerto
escape fromrealityandexperience fictionaluniversesandofferthe viewerthe chance toinhabit
worldsthatotherwise wouldneverexist.Nextispersonal relationshipswhichallowsthe audienceto
have an emotional orotherinteractionsuchasseeingaromanticcomedybecause theyare single or
watchinga filmbasedarounda groupof friendswithagroupof friendsbecause theylike beingwith
company.Self-reflectionwithinfilmsisanotherreasoninwhichaudiences maywatchfilmsasthe
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audience maysee acharacter withinthe filmandfeel theyrelatewiththe characterandtherefore
see themselvesreflectedwithinthe movie andthe final reasonissurveillance whichallowsthe
audience tocollectinformationwhich couldbe useful lateronwhetherthisbe froma historical film
or justfrom a newsstory.Thoughwhenitcomesto the usesand gratificationstheory,although
insightful onindividual factors,itdoesn’texplainsocietyasawhole insteadfocusesonasmall scale.
The reasonI chose to analyse the genre of science fictionisdue tothe abilitytocreate interesting
worldsandscenesthataudienceshave neverseenbefore,itgivesthe writersanopportunityto
create and developtheirideaswhichcannotpossiblybe real andallowsthe viewertoescape to
anotherreality.Inthissection,Iwill be applyingthe UsesandGratificationstheorytomychosen
filmsinorderto depictthe pleasuresIgainfromwatchingthese moviesaswell asscience fiction
filmsoverall. StartingwithStarWars: The Force Awakens,the mainpleasure Igainedfromwatching
thisfilmwasdiversionasitallowsme toexplore thisfictional universe andallowsme toescape from
realitybyvisiting“agalaxyfar,far away.” I believethatDiversionisone of the mostcommonforms
of pleasure withinthe usesandgratificationstheoryasthe viewercanleave behinddistressfrom
realitywiththe use of these fictionaluniverseshowevereventhoughdiversionisone of the most
commonforms of diversion,itdoesn’tmeanthisappliestoeveryone.Althoughthisdoesnot apply
to me,anotherformof pleasure withinmoviesisforaudiencessee theirselvesreflectedwithintheir
favourite characters.Anexample of thiscouldbe seenfromafemale viewer’spointof view,even
thoughtheymay gainpleasure fromdiversion,theymayalsogainpleasure fromself-reflectionas
the filmfeaturesafemale leadrole. Ibelievewhatmakesthisappeal tothe female audience ishow
female characterswithinthe starwarsuniverse have alwaysbeenseenandtreatedassex objects
but have neverhada leadrole withinthe filmshoweverthisfilmgoesagainstconventionstoinclude
leadfemale actorwhichisnotjust seenasa sex object. CaptainAmerica:Civil Warinmyopinion
variescomparedtoStar Wars diversionisn’tthe onlypleasure thatIgainfrom watchingthisfilm, the
exceptionisself-reflection.Startingwithdiversion,sinceStarWars allowsme toexplore the fictional
universe whichvaryfromourown,Civil Waron the otherhand isplacedwithinourownuniverse
althoughsetinan alternate realityinwhichsuperheroesexistandhelpdefendourplanetfrom
extra-terrestrial invasion.Thisappealedtome asit placesthe charactersin recognisable locationsin
whichaudiencescanbrag totheirfriendsbystatingthey’ve beentothose locationsandgivesfans
interactivitywithotherfans,anotheraspectof the filmwhichappealedtome washow it places
characters whowere formeralliesagainsteach otherwhichisaconceptinsuperherofilmsthathas
not beenseen,the firstfilmtointroduce thiswasactuallyBatmanV Superman:Dawnof Justice
(Synder,2016) whichreleasedearlierthisyear. The aspectof diversionallowsme toexperience this
alternate universeasformerfriendsare placedagainsteachotherina political conflict,andasthe
viewerwe are placedinthe centre of thisconflicttobe able tosee it evolve andde-evolvefromboth
sides.Self-reflectiononthe otherhandallowsaudiencestosee theirselvesreflectedwithinthe
characters inthe movie since there are twomaincharacters withinflictingarguments,one beingfor
beingcontrolledbygovernments(IronMan) andthe otheristo be free-agents(CaptainAmerica)
althoughthis doesn’tgotoplan as itsparks a “Civil War” betweenformerallies.Producersmarketed
the filmtohave audiencesside withacharacter,whetheritwasIron Man or CaptainAmericabut for
me it was IronMan whoI saw as myself-reflectiondue tobeingable toconnectwiththe character
and understandhis ideologytohave superheroesundercontrol andnotallow themtoundertheir
ownfree will whichresultsin civiliancasualties.Otherviewersonthe otherhandmayargue withme
and share the same opinionsasCaptainAmericawhichisinobjectiontothispolitical argumentin
whichsuperheroeswouldbe able toactundertheirownfree will,Ibelieve thisiswhythe producers
marketedthe filminthiswaysoit wouldmake audience take aside withtheirfavourite characters
and theirpoliciesandinmyopinionIthinkthisiswhythe studiousedthisstoryline,asaway to
divide the fansinorderto take sidesasmanyfans favourite one herooveranother.Myfinal film
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whichisTRON: Legacy(Kosinski,2010) is similarto myviewsonstar wars and how the onlypleasure
I gainedfromthe filmwasthroughdiversion.Whatmakeshisfilmstandoutfromotherscience
fictionfilmsishowitsetinthe moderntimes,justmore technologicallydevelopedearlieron. Since
star wars wasset ina fictional universe andCivil warwassetinan alternate universewith
superheroes,the onlydifference thisfilmsvariesfromrealityishow more technologicallydeveloped
theyare incomparisonsince people are able totravel insidecomputerstovisitdigital realities.The
filmmade audiencesquestion,like myself,tohow computersinsideoperate whenitcomes downto
the computerscomponents,well thisfilmtriedtoanswerthatwiththisfilmandinmy opinionI
thoughtit wasan interestingconceptandwaswell developed. Audiencesmaywatchthisforthe
self-reflectionneedasthe filmrevolvesaroundacharacter whohas losthisfatherand livesonthe
outskirtsof the cityby himself asviewersmayinfact relate tothis character insome way,whetherit
be that they’ve lostalovedone orthat theyfeel segregatedfromsociety,itall dependsonthe
viewerandhowtheyrelate tothe character. AlthoughIonlystateda few needsandpleasuresin
whichaudiencescangainfromwatchingthese films,the listwouldbe un-endingsince active
audiencesdecode filmsdifferentlytoone another.
NickLacey consideredthatthe “Repertoireof elements”ineachfilmworktogetherinacombination
whichsuggeststhata filmcan be categorisedunderacertaingenre Whenitcame downto analysing
filmgenre’s,he broke itdowntothese five areaswhichidentifythe elements:
- Setting
- Character
- Narrative
- Iconography
- Style
Thoughhe didnotsee genresasfixedbutmore as dynamicfeatureswhichconstantlychange over
time andnow usingLacey’sRepertoire of elements,Iwill be analysingmythree movies andthrough
thiswill be able todistinguishthe similaritiesbetweenall threemovieswhichbestrepresentthe
science fictiongenre.
Firstis setting,the settingiskeytocreatingscene whichcandistinguishthe genre of the film.Genres
are recognisable fortheirsettings,whetherthisbe huge citieslike New Yorkorfictional universes
like instar warsso it isthe job of the studioto use the correct settingwhichbestfitsthe genre.I
believethatsettingscandefine whetherornotthe scene iseffective inimmersingthe viewerinthe
experience, itisalsosettingthatcan eithermake or breakthe filmsoit iscrucial forstudiosto get
thisright.Settingcan be splitinto twosections:the time andthe location,time canvary inscience
fictionasit can range from fictional universeswherethe time isunknownlike the one we see inStar
Wars all the wayto alternate realtieslike CivilWarand Tron: Legacy.Findingsimilaritieswithin
science fictionscanbe difficultaswithscience fictionthereare infinite possibilitiesforstudiosto
expresstheircreativevision. Startingwithtime,since StarWarsis setwithinafictional universe with
a differentformof time itisunclearwhetherStarwarscan be setinthe future howeverfictional
universesare keyconventionof the science fictiongenre asitisincontrary withour reality,fictional
universesusuallyhave keytiestowardsthe science fictiongenre due tothe frequentportrayal of
space,time travel andevenalienlife.Civil WarandTron on the otherhand are quite similarasboth
are setwithinalternate universeswithmanysimilaritiestoourownreality,howevertheserealties
vary quite widelycomparedtoourown,for example Civilwarincludesafictional country called
“Wakanda” whichisbasedinthe continentof AfricawhereasTronon the otherhand featuresa
digital realityasopposedtoafictional county. Whentalkingaboutsettings,anotheraspect totake
intoaccount istime,as statedpreviouslywithstarwarsitis unclearif star wars isset in the past,
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future or presentincorrelationtoourrealitysounfortunatelyIam unable tocommentonthisfactor
howeverIam able tocommenton the othertwo films.Ibelieve thatCivilWarand Tron are intended
to be synchronisedwithourtime,therefore inthe presentalthoughwiththe additionof beinginan
alternative timeline. The impressivethingIfindaboutscience fictionisthateventhoughthese film
vary significantlyfromeachother,the settingsof these filmsare similardue tofeaturingfictional
locations,althoughfromthisIwouldsaythat of the three filmsthatTron and Civil Warare similar
due to usingalternate realtiestoportrayedbothfictional andnon-fictional locationswithinthe films
as opposedtoStar Wars whichonlyfeaturedafictional location.
As opposedtosetting,characterdevelopmentisalsoaneffective wayof establishingthe viewerin
the experience bythe use of character development.Studioscreate characterswhichare essential
to the plothowever,whatmakesthese charactersiconicishow relatable tothe audience theycan
be and science fictionisnoexception.Typical science fictionfilmsinclude predominantly male based
characters,whetherthese be the protagonistorthe antagonistwithfemalecharactersplayingminor
rolesincomparisonor love interests.HoweverfortunatelyforStarWars, thisfilmbreaksthe
conventionsof the science fictiongenre byusingafemale leadrole insteadof the stereotypical male
lead.Eventhoughthisdefiesconventionsof the genre,Idobelieve thatthisisthe stepinthe right
directionforthe use of female leadactorswithin the science fictiongenre.However,thisisnotthe
case withCivil Warand Tron whichprimarilyinclude male actorsthoughthe difference withCivil
War comparedtoTron is that the filmincludes more renownedfemale actorswhotake up
importantrolesin the filmasopposedtoTron whichonlyfeaturesasingle female majorrole. You
couldargue thisis due to release datesdue tothe fact thatTron wasreleased5yearsbefore Star
Wars and Civil Warand it wasn’tupand till The HungerGames (Ross,2012) that bigblockbuster
science fiction filmsusesfemale leadactors.Whenitcomesdownto comparingcharacters
regardlessof gender,we are able tofindsimilaritiesbetweenthe charactersdue tothe conventions
of the science fictiongenre.Startingwiththe antagonist, the mainsimilaritybetweenmostof these
characters ishowtheyare all seekingvengeance onanothercharacterdue toa particularevent
withinthe past,forexample inCivil War,Zemo(DanielBruhl) isseekingvengeance onthe avengers
for killinghiswife whereasClu(KevinBridges)in Tronistryingto get revenge onhiscreatorfor
betrayinghimandfor whathe stoodfor. KyloReninStar Wars behavesdifferently,forexamplehe is
tryinglookup to hisgrandfather(Whowasthe antagonistinthe previousfilms) andbe someone he
isnot. You couldargue that because he due to hisyoungage that he isunable tograsp the concept
on whathe isdoing,therefore signifyingthathe isnot infull control.Protagonistsonthe otherhand
vary differentalso,withsimilaritiesbetweensome charactersbutnotothers,forexample since Tron
featuresanewprotagonist,the filmfeaturesasetuptoestablishthe characterwithinthe story.He
starts off beingweakbuttowardsthe endgetstoughand togetherwiththe helpof the characters
are able toother throwthe antagonist, the same happensinStarWars howeverakeynote to add is
that bothof these charactersstart off theirstoryby livingbythemselves,isolatedfromsociety.
Furthermore,Ifind itinterestingthateventhoughthese charactersare fromdifferentstories,that
we as the audience are able to findsimilaritiesbetweencharacters of differentbackgroundsand
genders.
Followingthiscomesnarrativewhichishow the storyof the film isstructure,whetherthatbe in
linear(Chronological) orinnon-linear(Non-Chronological) orthe narrative elementswhichmake up
the plot.Startingwiththe narrative style of the films,all filmsare toldina linearfashionwhichI
believemakesit simplerforthe audience tocomprehendasthe storystarts fromthe setup
(Beginning) andfinishedatthe resolution(Ending.) Ibelieve the reasoningbehindscience fiction
filmsfollowingthistrendof linearnarrative issothe storyappealstothe wideraudiencesasinmy
opinionnon-linearfilmsonlyappeal toniche audiencesdue totheircomplex narrative structures.
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Science fictionfilmsare becomingmore andmore commonasthe yearsgo bywiththe majorityof
the top tenhighestgrossingfilmsof all time come underthe sciencefictiongenre whichshows
studioshowpopularthe filmshave become,soinorderto have filmsappeal towideraudiencesI
believestudioscreate linearin-depthnarrative whichiseasytocomprehend.Audiencesalsocome
to expectashowdownbetweenthe mainprotagonistandthe mainantagonistdue tothe conflict
betweengoodandevil,thisshowdownisintendedtoshow the progressof the protagonistfrom
startingoff weakto beingable totake on the mainantagonistinthe ending,thisconflictbetween
goodand evil isseenwithinthe majorityof science fictionfilms,withall myfilmsbeingprime
exampleshoweverthe one thatstandout the mostin myopinioniscivil warand how the main
protagonistcanbe seenasthe main antagonistof the film.Since CivilWar revolvesaroundCaptain
America’sstory,thissymboliseshimasthe mainprotagonisthoweversince IronMan alsohas a
majorrole he can alsobe seenas a protagonist.Thoughthe twistiseventhoughZemoisthe
antagonistashe stirsup the plotand causesthe heroestobattle itout, IronMan was the reason
due to the final conflictwithCaptainAmericaandIronMan. Howeverthatjustcomesdownto my
opinion,audiencescanexpecttosee similaritiesbetweenthe filmswiththe narrative elements
withinthe films,suchasthe conflictbetweengoodandevil.
Anotherwayof distinguishingthe science fictiongenre isbyuse of iconography,science fictionfilms
needtomake the audience believe whattheyare seeingsobyincludingcorrecticonographywhich
linkstowardsthe storyand the location,theywouldbe able tohelpthe audience believe aswell as
immerse the audienceinthe experience.One key formof iconographyisthe use of futuristic
elementssuchaspropsand costume designisordertorepresentthe scientificadvancementsinthe
film,inall three of the filmsaudiencescancome to expectfilmiconographywhichsignifiesscientific
advancementshowevereachfilmpullsitoff differently.The
onlydifferentTronvariesfromourrealityishow further
advancedintechnologytheyare asbefore Samentersthe
grid,the audiences cansee an oldtouchscreencomputer
fromthe 1970’s howeverthiscomputerIsfurtheradvanced
than the computersavailable today,therefore symbolising
technologyhasbeenfurtheradvancedforawhile.There isalsothe additionthatpeopleare able to
travel withinthisdigital universe andinteractwithfellow programs,
thisalsosymbolisestowardsthe audience how fardevelopedsociety
has become,inchoice of costume designwe cansee thatthe clothing
representedonthe protagonistisof science fictiondesignasthisisnot
seenwithinourreality.StarWarson the otherhand has manyforms
of science fictioniconography,ranging fromspace shipstorobotsto
evenweaponiconography,fromthe image onthe leftwe cansee that
star wars representsthe sciencefictiongenre frommanydifferentfactors,firstlyisthe use of
futuristiccostume designforthe stormtroopers andtheirlaserblasterswhichare notseenin
today’stimes.Eventhoughitmaybe difficulttosee,there isasmall roverdroidwhichisroamingin
the back groundwhichsignifiesscientificorigininawayto immerse the viewerinthe experience.
Lastlyis Civil WarwhichisverysimilartoTron Legacy byincludingiconographywhichwould
representmoderntimeshoweverwithascientifictwistsuchasthe use of mechanisedwarfare (Iron
Man) and hologramswhichIbelievestudiosuse inordertosymbolise thatcivilisationisfurther
advancedwithoutshowingtoomuch.Science fictionfilmsneedtoimmerse audiencesinthe
experience of viewingthe filmorthe connectionbetweenthe filmandthe audience wouldbe non-
existent,thisisdone byuse of iconographywhich bestfitstowardsthe filmssettingbutalso
representsthe science fictiongenrewhichisdistincttothe film.
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Finallyisstyle,whichrepresentsmanyformsof the filmsfromcinematographytonon-diegetic
soundto evenvisual effects.Withmostmodernfilms,audienceshave come toexpecttosee visual
effectswithinthe majorityof filmswithscience fictionbeingnoexceptions. Visual effectshave taken
overthe filmindustryfrombeingable tochange minorthingstomajorthingslike backdrop,it
meansdirectorsare able to create locationswhichare non-existentsuchasthe majorityof scenes
whichtake place instar wars as many of the scenestake place on differentplanetsorevenmassive
space ships.Same goeswithCivil Warand Tron as the visual effectswithinthese filmsmake them
whattheyare, whetheritbe the gridin Tron or IronMans suitinCivil War.These formsof visual
effectshave animpacton the filmsandendup makingthe filmwhatitis,studioswouldbe unable to
create an immerse realitywithoutthe use of visual effectshoweversometimesstudioscanoverdo
visual effectsandtherefore ruinthe experiencehoweverfortunatelythisisnotthe case withthese
films. Ibelieve science fictionfilmshave acontrastof low keylightingandhighkeylightingwhich
signifiesthe battle betweengoodversusevil asinmanyscenesinscience fictionmovies,audience
wouldexpecttosee darksceneshoweverinlaterscenesyouaudienceswouldseehighkeylit
rooms.One example of thiscanbe able to signify
the protagonistsfromthe antagonists,for
example inStarWars sceneswiththe antagonists
alwaystendto be dark withlowkeylighting
howeverwiththe protagonistit’sdifferentas
these feature highkeylighting,anotheraddition
of science fictionfilmswhichisvisible inall films
isthe use of vibrantcolours,whetherthisbe the
suitsof programs inTron to the battle stationsin
Star Wars all the wayto the government
buildingsinCivil War.Finallyiscinematography
whichisthe essence of filmmaking,withevery
shotmakingan impactwhetherthatbe a positive
or negative influence onthe film. Inscience
fictionfilms,Ibelieve audiencesshouldexpectto
see a mixture of fastand slowpaced
cinematographydependingonscenario of the
scene,forexample fastpacedsceneswouldinclude fastpacedcinematographyandvice-versa
howeverwhenitcomesdowntoscience fictionmanyshotscanbe usedto effectivelytellthe story,
the most commonshotis mediumshotswhichincludethe face aswell asmostof the bodyinorder
to showthe audience thatthe character istalkinghoweverthere isnotmuchemotionwithinthe
characters expression,thisformof cinematographyissightedinmychosenfilmsasthe director
believesthisformof cinematographybestrepresentstheircreative visionforthe film.
Withintertextuality,there wasnotmuchto be
seenwithinthese filmsexceptinCivil Warwhen
Spidermanmakesreference toStarWars: The
Empire StrikesBack(Kershner,1980) whena
walkerwastrippedbyusingstringroundthe legs,
Spidermanmakesreference tothismovie by
signifyingtothe charactersthat theycan use a
similartacticto overcome the enemy.There was
alsominorreferencestothe previousTronfilmby
use of an arcade machine whichI believe paidhomage tothe original creatorsof the original film.
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Medialiteracygivesaudiencesthe abilitytoanalyse,evaluateandevencreate mediatextshowever
it all comesdownto factorson howaudiencesperceive mediatexts,this
can range froma person’sage to theirgender. This formof media
evaluationgivesaudiencesthe opportunitytofeedbacktowardsmedia
textswhetherbe the plot,genre oreventhe format.Althoughinaddition
to this,duringthissectionIwill be explaininghow Iachievedmedia
literacywithmychosenfilmsandhowthe filmsdeveloparelationship
withtheiraudience;thiscanrange fromthe interactivityaswell asthe pre
and postviewingexperiences. Startingwiththe firstfilm, StarWars:The
Force Awakens(J.JAbrams,2016) whichis well renownedforthe fandom
(The communitywhichsurroundsthe film, whichcanrange fromonline to
social gatheringslike ComicCon) andthe great lengthsfanswill goto
expresstheirlove forthe film.One example of afandomwhichistakento
great lengthsisthe 501st
legionwhichisan“all-volunteerorganisation formed to expresspurposeof
bringing costumeenthusiastsundera collective identity within which to operate.” Thisorganisation
consistsof star wars enthusiasts,whodressupinhigh-qualitycostumeswhichare portrayedwithin
the film,howeverIhave seenmembersuse thisopportunityinapositive perspectivebyvisitingand
evendonatingmoneytosickchildreninhospitalwhoare fansof the star warsfranchise which
showstheirdedicationtowardsthe filmandeventheircause. Audienceswhoare bigfansof the
franchise suchas myself willgotogreat lengthstoexpandtheirinterestinthe bycollectingthe box
sets,playinggamesorevenwearingclothingwhichrepresentsthe films,one keypointregardingthe
star wars fandomcan be seenwithmay4th
or betterknownasStar wars day celebratesStarsWars
createdby George Lucas due to the catchphrase “May the force be withyou” whichtranslatesto
May The Fourth be withyou,eventhoughthisisnotdeclaredasan official holidaymanyfansacross
the worldchoose to celebrate the holiday. There are manywaysonhow audiencescaninteractwith
filmsinorderto gaina widerunderstanding,one exampleof thiscanbe seeninresearchingthe
themesorelementsof the filminwhichaudiencesmayhave missedwiththe firstshowingof the
filmhoweverone example frommyperspective canbe seenasresearchingthe backstoryregarding
the filmswhichcovers before,duringandafterthe filmswhichhelpsaudiencesunderstandand
connectmore to the film.Inadditiontothe interactivityof the filmcomesinthe formof social
mediawhichallowsaudiencessuchasmyself tointeractwiththe directororthe studiobehindthe
filmandprovide positive ornegative feedbacktowardsthe film, websitessuchastwitterallows
usersto interactwiththe directorhimself howeverthe directorof thisfilm, JJAbramsdoesnothave
hisownpersonal twitteraccount.Alongside personal accounts,there are fanmade accountswhich
can be seenasparodyaccounts of star warscharacters inorder to appeal tothe niche audience of
star wars fans. It iswiththisinteractivitythatappealstotheiraudiencesthatfansaroundthe world
can interactotherfans,whetheritbe inpersonor online.There isalsothe aspectof the filmin
whichaudiencesinterpretthe filmfromapre andpost viewingexperience,forexampleIgainedmy
a positive interpretationfromthe pre-viewingexperience due tothe likesof social mediaand
promotional contentwithtrailers,postersandevenpromotional interviewsinordertocreate hype
towardsthe release of the filmandto attract my attentionandsafe tosay viewingof the filmdidn’t
change my opinionof the film.However,mypost-viewingexperience didchange asafterviewingthe
filmIwas able to interactwiththe filmmore freelywithoutneedingtoworryregardingspoilersby
researchingbackgroundsof characters,organisationsoreventhe backstoryingeneral.
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On the otherhand,the secondfilmIhave chosenis CaptainAmerica:Civil War(RussoBrothers,
2016) comesunderthe marvel franchise whichisnostrangertolarge fandomslike the previousfilm
I covered.Comicbookshave beenaroundfora longtime muchlike superherofilmshoweverwith
the up rise inSuperheroblockbusters,Superherofilmshave neverbeenaspopularastheyare
todaywiththree moviesinthe toptenhighestgrossingfilmsof all time comingunderthe superhero
genre.However,the fandombehindCaptainAmerica/Marvel Franchisecanbe to be as bigas Star
Wars if not biggerwhichmaybe due to the frequentreleasesof superherofilmseveryyear. I
believethe reasonthatsuperherofilmsappeal towide audiences due tohow easilythe audience
can connectwiththe characters withinthe film, thismaybe due tothe fact the audience cansee
themselvesbeingportrayedwithinthe filmdue tonumerousamountof characters.There are many
waysin whichaudiencescanexpresstheirinvolvementtowardsthe franchise,one of these
examplescouldbe seenwithfansbeingable todressupincostumesorjustwear merchandise
relatingtothe brand. Thisiswhat I believe tobe the mostcommonway of connectingwiththe
fandomof the marvel franchise asfrommy pointof view,Ihave seenmanypeople outwearing
clothingrelatingtothe marvel franchise.However,there are peopleoutthere whotryand outdo
othersby creatingcostumesinordertolookas close to the original as possible,one example comes
inthe formof a creatinga replicaof the iron
man suitout of recyclable cardboardwhich
has beencoveredinfiberglass,thissomething
that standsout fromthe crowd withother
science fictionfilmsasthoughmanyscience
fictionfilmsmayhave awide following,I
believetheydonothave a biggerfandomthan
the marvel franchise due tothe lengthsthat
fansgo to. In additiontothisthere are many
waysfanscan interactwithfellowfansinordertodiscussthe filmfurther, one example comesinthe
formof the website Redditwhichisanentertainmentsocial networkingservice inwhichuserscan
submitcontentinthe formof textpostsor directlinkswhichmakesthe website anonline bulletin
board.
https://www.reddit.com/r/marvelstudios (Sub-Redditpage forMarvel CinematicUniverse)
Otherformsof interactivitycanbe seenwithonline andsocial networking,forexample if someone
was wantingtoknowinformationregardingthe film, theywouldbe able tosearchforit online and
therefore wouldbe interactingwiththe film.The internetismassiveandhasthe abilitytogive a
userinformationwiththe pushof abutton whichisa breakthroughformoderncinemaasit allows
usersto digdeepintothe webinorderto findout interestinginformationregardingthe filmthat
audienceswouldn’tbe able tofindoutanywhere else.Socialmediaonthe otherhandisa different
wayof interactingwiththe filmasaudiencesare able toconnectwitheachotherandit alsogives
usersthe opportunitytoconnectwiththe directorsandproducersinorder topost feedbackorask
the questionsregardingthe film.Howeverwiththe directorsof CaptainAmerica:Civil War,their
twitterpage wascreatedprimarilytoleave hintstowardsthe filmwhichIbelieveisaneffective way
of anchoringaudiencesbymakingthemwantmore.Lastlyisthe pre and postviewingexperiences
and howyour experience of the filmcanchange afteryou’ve seenit,in the formof pre-viewing
audiencescankeepthemselveshookedbywatchingpromotional contentsuchastrailersand
interviewsalthoughonthe otherhand,the post-viewingexperience canchange the wayaudiences
see the film.Audience’sopinionsonthe film afterviewingthe filmcanchange forexample from
whatwas a preferredreadingfromlookingatpromotional contentcanchange toan oppositional
readingdue tofeaturesof the filmthatthe audience didn’tenjoy.Idobelieve thatcomicbookfans
11. AdamGrundy
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seemtobe hardesttoplease due towantingto keep the filmasclose tothe original storyline
withoutchange,one minorchange couldresultinalot of angry comic bookfanswhichinmy opinion
seemstobe over the top.However,myreadingdidn’tchange frompre topost viewingandstayed
at a preferredreadingalthougheventhoughIknew more aboutthe film, itdidnotstopme from
viewingtrailersandpromotional clipsagaindue tomyinterestwithinthe film.Iwasalsoable to find
the official soundtrackwithhelpfromthe internetwhichIdidenjoysothe factthat I was able to
findcontentregardingthe filmwasgood,italsokeepsthe audience onedge untilthe DVD/Blu-ray
release of the filminwhichfanswill be able towatchas manytimesas theywant.My final filmis
TRON: Legacywhicheventhoughdoesnothave a followingaswide asthe previousfilms,doeshave
a considerable fanbase (Myselfincluded)whichfollow the film.One example of the fandomwhich
spansthe TRON universe isthe abilityforfanstopurchase a lightcycle whichisa replicaof the bikes
whichwere usedwithinthe film,Inmyopinionthisisaneffective thisisaneffective wayinbringing
audiencesclosertothe filmandmakesthisuniverseseemtobe areality.Unfortunatelyforthe film,
the fandomwhichspansonline isinsignificanttothe likesof marvel andstarwars whichmeaning
there isverylittle tonone available online onwebsiteslike tumblrwhichare well renownedfor
havingblogsregardingfandomrelatedcontent,Marvel andStarWars as an example.Although
TRON: Legacywas seenasa big release,itwasn’tbigincomparisontomypreviousfilmswhichmay
be the reasonthatthe filmdoesmassive following.Thoughasstatedpreviouslywithinteractivity
withhow audiencescansearchonline forusercontent,whetherthisbe trailerstoofficial sound
tracks, thisfilmisnotan exceptionasitfeaturestwoalbumsjustforthe soundtrackalone whichwas
producedbythe famousduo DaftPunk,whohave a huge following inthe musicindustry.However
on a positive note forthe online fandomregardingthe film, there isaSub-Redditwhichincludes
usercontentregardingthe filmunfortunatelythisisnotaspopularas the previousfilms.Thoughthe
sequel forthe filmwas cancelleddue tothe failedrelease of Tomorrowland(Bird,2015) which
haltedthe productionof the sequel whichwassettostart towardsthe endof 2015. Many petitions
online have beenstagedInordertopersuade Disneytostartproductiononthe third filminthe Tron
Franchise,InmyopinionIunderstandwhyDisneypulledoutthoughIwouldhave likedtoseena
sequel asI holdTronas one of my all-time favouritesfilms.Howeverregardingmyviewing
experiencesregardingthe film,the filmwasalreadyreleasedonDVDwhenIwatcheditso in order
to give myself anunderstandingof the filmwhichwasbackedupviewingtrailersinordertoshow
myself whatthe filmsmisé enscene wasgoingtobe like.Mypostviewingonthe otherhand
surroundedmyselfwatchingfavourite scenesinthe movie whichmainlyappealedtome,sometimes
justappealstome more ratherthan watchingthe movie,thiswassupportedbythe release of the
official soundtrackplusremakesinordertoimmerse myselfinthe experience of watchingitagain
for the firsttime.Toconclude,viewingexperiencesvaryfrompersontoperson,forexample I
believesciencefictionfilmsstereotypicallyappeal tomale audiencesdue tothe portrayal of
characters andthe storylinesandfromthiswe cansee that noteveryone enjoyseveryfilmso
everyone will have differentinterpretationsof the film, whetherthisbe pre orpost viewing.
In conclusion,Ibelievethatgenre theoryisaneffective wayof linkingfilmsof the same genre asan
effectivewayof findingsimilaritiesbetweenthe majorityof films.However,asstatedinthisfilm
some filmswill be similarsome filmsbutnoteveryfilm,the use of genre theorieslikethe reception
theoryand the usesandgratificationsshowsthe connectionbetweenthe audiencesandfilms.