This document provides information on several gangster films from different eras, from the 1920s to the 2000s. It includes brief plot summaries and memorable quotes. Each film features scenes in black and white to depict the gangster genre conventions of the time period. The films show gangsters dressed sharply in suits engaging in criminal activities like gambling, violence, and robbery. Throughout the decades, the genre maintained stereotypes like socializing in clubs and using machine guns, while also adapting to new styles. The document analyzes how gangster films have influenced and changed each other over the years through iconography, editing techniques, and use of color schemes like black and red.
This document discusses genre analysis and auteur theory in film. Genre analysis examines codes and conventions within a genre, while auteur theory focuses on directors who break these conventions with their personal creative vision. The document provides examples of directors like Alfred Hitchcock, Quentin Tarantino, and Francis Ford Coppola who are considered auteurs for innovating within genres through elements like editing, casting, and storytelling techniques. Specifically, Coppola's film Apocalypse Now is analyzed for breaking war film conventions through its depiction of the US bombing of a Vietnamese village.
This document summarizes some key codes and conventions of the thriller and horror genres seen in the films The Hateful Eight, Mad Max: Fury Road, Eli, and Hereditary. It discusses iconic opening scenes in The Hateful Eight and Mad Max: Fury Road that set tension through the use of music, shots, and lack of characters. It also analyzes a chilling scene late in Hereditary where the character Anne's headless body hovers up a treehouse to unsettling music, making the audience feel vulnerable. Both films examined employ elements common to thrillers like an imbalance of power, tense music, and unnerving visuals and settings to disturb audiences.
The three films Full Metal Jacket, Platoon, and Hamburger Hill brought the realities of the Vietnam War to cinema audiences in the late 1980s. Platoon was the first to depict the true horrors soldiers faced in Vietnam. Full Metal Jacket focused on transforming ordinary men into killers through boot camp. Hamburger Hill showed the human cost of battle through depicting a specific deadly engagement. Together these films provided a more accurate portrayal of the Vietnam War experience than earlier propaganda films.
Django Unchained is Quentin Tarantino's 2012 western film starring Jamie Foxx as Django, a slave who is freed by a bounty hunter named Dr. King Schultz (Christoph Waltz) and seeks to rescue his wife Broomhilda (Kerry Washington) from plantation owner Calvin Candie (Leonardo DiCaprio). While the film contains intense violence and over 100 uses of the n-word, which caused some controversy, the film is seen as a postmodern revisionist western that highlights how few films have addressed the issue of slavery. It provides an entertaining and thrilling story of Django's empowerment and fight for equality, using stylistic techniques like musical mashups of genres to
The document discusses various ways that the film Pulp Fiction uses intertextuality and references other works. It provides examples of scenes that reference or homage specific films, including copying a shot-for-shot scene from Psycho. Character looks and scenes are also discussed as referencing or being inspired by other works, such as Mia's haircut referencing Louise Brooks in Pandora's Box. The restaurant Jack Rabbit Slims is described as filled with references through its decor and costumes, mentioning films and stars from the 1950s.
This document provides an analysis of the Western genre and conventions through examining the film Django Unchained. It discusses the typical elements of Westerns like climactic shootouts between heroes and villains. The document also analyzes how people, places, and objects are represented in the trailer for Django Unchained, noting its portrayal of slavery and mistreatment of black people aligns with historical accuracy. As the main character is a black cowboy, it challenges some stereotypes about the typical characters featured in Westerns.
The document discusses conventions of gangster film subgenres including mob, British gangster, film noir, and detective/crime films. It focuses on analyzing openings of 5 gangster films - Long Stock and Two Smoking Barrels, Bugsy Malone, The Godfather, The Departed, and Pulp Fiction. Each opening uses different techniques for mise-en-scene, editing, camerawork, lighting, costumes, and more. The analysis provides inspiration for creating an original opening that incorporates aspects of British gangster and film noir themes like gender equality, while not directly remaking or copying another film.
1) The opening scene of Goodfellas breaks conventions by not including opening music titles, making the film feel more realistic.
2) Within the first two minutes, there is a killing at night, as is common in crime thrillers.
3) The audience hears strange noises from the trunk of a car, building suspense until it is revealed to contain a beaten man who is then violently murdered.
This document discusses genre analysis and auteur theory in film. Genre analysis examines codes and conventions within a genre, while auteur theory focuses on directors who break these conventions with their personal creative vision. The document provides examples of directors like Alfred Hitchcock, Quentin Tarantino, and Francis Ford Coppola who are considered auteurs for innovating within genres through elements like editing, casting, and storytelling techniques. Specifically, Coppola's film Apocalypse Now is analyzed for breaking war film conventions through its depiction of the US bombing of a Vietnamese village.
This document summarizes some key codes and conventions of the thriller and horror genres seen in the films The Hateful Eight, Mad Max: Fury Road, Eli, and Hereditary. It discusses iconic opening scenes in The Hateful Eight and Mad Max: Fury Road that set tension through the use of music, shots, and lack of characters. It also analyzes a chilling scene late in Hereditary where the character Anne's headless body hovers up a treehouse to unsettling music, making the audience feel vulnerable. Both films examined employ elements common to thrillers like an imbalance of power, tense music, and unnerving visuals and settings to disturb audiences.
The three films Full Metal Jacket, Platoon, and Hamburger Hill brought the realities of the Vietnam War to cinema audiences in the late 1980s. Platoon was the first to depict the true horrors soldiers faced in Vietnam. Full Metal Jacket focused on transforming ordinary men into killers through boot camp. Hamburger Hill showed the human cost of battle through depicting a specific deadly engagement. Together these films provided a more accurate portrayal of the Vietnam War experience than earlier propaganda films.
Django Unchained is Quentin Tarantino's 2012 western film starring Jamie Foxx as Django, a slave who is freed by a bounty hunter named Dr. King Schultz (Christoph Waltz) and seeks to rescue his wife Broomhilda (Kerry Washington) from plantation owner Calvin Candie (Leonardo DiCaprio). While the film contains intense violence and over 100 uses of the n-word, which caused some controversy, the film is seen as a postmodern revisionist western that highlights how few films have addressed the issue of slavery. It provides an entertaining and thrilling story of Django's empowerment and fight for equality, using stylistic techniques like musical mashups of genres to
The document discusses various ways that the film Pulp Fiction uses intertextuality and references other works. It provides examples of scenes that reference or homage specific films, including copying a shot-for-shot scene from Psycho. Character looks and scenes are also discussed as referencing or being inspired by other works, such as Mia's haircut referencing Louise Brooks in Pandora's Box. The restaurant Jack Rabbit Slims is described as filled with references through its decor and costumes, mentioning films and stars from the 1950s.
This document provides an analysis of the Western genre and conventions through examining the film Django Unchained. It discusses the typical elements of Westerns like climactic shootouts between heroes and villains. The document also analyzes how people, places, and objects are represented in the trailer for Django Unchained, noting its portrayal of slavery and mistreatment of black people aligns with historical accuracy. As the main character is a black cowboy, it challenges some stereotypes about the typical characters featured in Westerns.
The document discusses conventions of gangster film subgenres including mob, British gangster, film noir, and detective/crime films. It focuses on analyzing openings of 5 gangster films - Long Stock and Two Smoking Barrels, Bugsy Malone, The Godfather, The Departed, and Pulp Fiction. Each opening uses different techniques for mise-en-scene, editing, camerawork, lighting, costumes, and more. The analysis provides inspiration for creating an original opening that incorporates aspects of British gangster and film noir themes like gender equality, while not directly remaking or copying another film.
1) The opening scene of Goodfellas breaks conventions by not including opening music titles, making the film feel more realistic.
2) Within the first two minutes, there is a killing at night, as is common in crime thrillers.
3) The audience hears strange noises from the trunk of a car, building suspense until it is revealed to contain a beaten man who is then violently murdered.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
This document provides an analytical review of Quentin Tarantino's film Inglourious Basterds. It summarizes that the film depicts alternate histories of Hitler's death and the end of WWII through a group of vengeful American soldiers known as the Basterds. Through violent yet stylistic scenes, Tarantino explores themes of cultural aesthetics, historical references, and motifs from his other films. The opening scene in particular blends multiple cultures and establishes tension through precise camerawork. Overall, the review analyzes how Tarantino uses violence in a way that conveys deeper meanings beyond simple spectacle.
The document provides an overview of the comedy genre in film. It discusses the history of comedy films from the silent film era to more recent developments. It also outlines several common types of comedy, including slapstick, fish out of water, parody/spoof, anarchic, black, and gross out comedies. Additionally, it examines hybrid comedy genres such as action comedy, comedy horror, fantasy comedy, and sci-fi comedy. Key comedy actors and popular comedy films from different eras are referenced throughout.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as costumes representing class and status, use of black and white to evoke earlier eras, and compositional elements like centering a dominant figure that establish power dynamics. Key gangster films mentioned include Angels with Dirty Faces, White Heat, The Godfather, Once Upon a Time in America, Pulp Fiction, and The Departed. The document examines how gangster films have portrayed and explored themes of organized crime over time.
This document provides information about different film genres including comedy, crime/gangster, drama, and teen films. It lists top 10 films in each genre and describes common characteristics of each genre such as typical characters, settings, narrative themes, props, history, and ideology.
Goodfellas is a 1990 crime thriller directed by Martin Scorsese based on a true story. It follows Henry Hill from New York who dreams of becoming a gangster and works for a violent gang against his family's wishes. Henry proves himself during a robbery and marries his wife Karen, though she fears his dangerous lifestyle. Tensions rise as gang members commit increasingly violent acts to cover their crimes, and Henry's involvement in the drug business leads to his arrest and entry into witness protection as the only way to escape his former gangster associates.
- Quentin Tarantino is a renowned American film writer and director known for his nonlinear storytelling and eclectic soundtrack choices.
- His films such as Pulp Fiction, Kill Bill, and Inglourious Basterds feature graphic violence and nonlinear narratives told through compelling dialogue.
- Tarantino's directing style incorporates trunk shots, Mexican standoffs, and blending black and white with color to create tension and memorable scenes.
- Films like Reservoir Dogs, Pulp Fiction, and Django Unchained showcase Tarantino's talent for crafting fascinating conversations between complex characters.
Quentin Tarantino is a renowned American film director and writer known for his nonlinear storytelling and eclectic soundtrack choices. His films such as Pulp Fiction, Kill Bill, and Inglourious Basterds feature graphic violence and nonlinear narratives told through memorable dialogue. Tarantino's unique directing style utilizes techniques like black and white cinematography, trunk shots, and Mexican standoffs to craft compelling characters and scenes. He is not afraid to rewrite history or subvert expectations with his unorthodox storytelling.
This document provides a summary and brief analysis of 52 Alfred Hitchcock films ranked from lowest to highest. It begins with Topaz (1969) which is described as Hitchcock's low point with a limp plot and lack of imagination. Number Seventeen (1932) is an oddity as Hitchcock's first comedy-thriller attempt. Champagne (1928) is deemed a flimsy affair without danger or pulse. Torn Curtain (1966) had problems with chemistry between stars and Bernard Herrmann rejecting Hitchcock's chosen score.
Drama films rely on the emotional and relational development of realistic characters and often deal with intense, real-life issues based on true stories. Some of the most well-known and top grossing drama films ever made are The Shawshank Redemption, The Godfather, and Casablanca. Drama films aim to tell honest stories of human struggles through the use of techniques like multiple climaxes and subplots to retain audience attention. The genre continues to grow in popularity at the box office, with recent films like American Sniper and The Dark Knight grossing far more than acclaimed dramas of the past.
The document discusses the evolution of the femme fatale character from 1940s films to modern films. It argues that early femme fatale characters like Rita Hayworth in "Gilda" seduced men while maintaining dignity, whereas modern characters like Sharon Stone in "Basic Instinct" explicitly exploit themselves sexually. Over time, as social norms have changed, the femme fatale has transitioned from suggestive to graphically sexual, reflecting broader changes in morality. Comparing early detective films to modern ones like "Basic Instinct" shows how the genre and gender roles have been influenced by the women's movement and changing social attitudes around sexuality.
Quentin Tarantino's career as a filmmaker began after working as a video store clerk in Los Angeles. His 1992 debut film Reservoir Dogs established his signature nonlinear storytelling style and generated both acclaim and controversy for its graphic violence. Tarantino's second film Pulp Fiction (1994) was a massive commercial success that popularized his eclectic dialogue and references to obscure pop culture. His later films Jackie Brown (1997) and Kill Bill (2003-2004) continued exploring themes of characters seeking escape from dangerous lives.
11) The Hollywood Art The Legacy Of The Three StoogesNick Zegarac
This document provides a detailed history and summary of the careers of the Three Stooges comedy act:
- The Three Stooges (Moe Howard, Larry Fine, and Jerome "Curly" Howard) began as part of Ted Healy's act in the 1920s but broke away on their own in the early 1930s.
- They found great success making short comedy films at Columbia Pictures from 1934-1957, producing over 200 films and becoming the studio's top moneymakers.
- The Stooges helped pioneer the slapstick comedy genre and created many memorable comedy routines that have endured for decades.
- Off screen, the Stooges had to deal with restrictive contracts from studios and
This document discusses British gangster films and their conventions. It provides summaries of several successful British gangster films including Lock, Stock and Two Smoking Barrels (1998) and Layer Cake (2004). It also outlines some common conventions of the genre such as films being set in outdoor urban areas, characters wearing intimidating clothing like hoodies and jewelry, use of props like guns and money, dark color palettes, and fast-paced openings with lots of shots and editing.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The Fast and the Furious is a 2001 street racing film directed by Rob Cohen and starring Vin Diesel and Paul Walker. It follows undercover cop Brian O'Conner who infiltrates the street racing scene in Los Angeles to investigate a series of truck hijackings. He bonds with the leader of a street racing crew, Dom Toretto, and finds himself drawn into a life of fast cars and illegal street racing. The film culminates in a climactic three-way chase scene between Brian, Dom, and the hijackers. Though the film relies on street racing tropes and simplistic dialogue, the focus is firmly on the pulse-pounding car chase sequences.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as men in suits connoting class and guns representing violence. The analysis describes how gangster films evolved over time but maintained conventions like black and white cinematography linking to traditions of earlier films. Gangster films remain a popular genre exploring themes of crime, masculinity, and the rise and fall of organized crime organizations.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as costumes, mise-en-scene elements, and cinematography that establish settings and power dynamics between characters. Key gangster films mentioned include Angels with Dirty Faces (1930s), White Heat (1940s), The Killing (1950s), The Big Risk (1960s), The Godfather (1970s), Once Upon a Time in America (1980s), Pulp Fiction (1990s), and The Departed (2000s). Each screenshot analysis highlights visual elements that appeal to audiences and relate to common gangster film tro
This document provides background information on film trailers and analyzes trailers for three films: Snatch, Lock Stock and Two Smoking Barrels, and Drag Me to Hell. It discusses the history of film trailers and conventions commonly found in trailers such as using exciting scenes to entice viewers. The analyses identify character and genre tropes and how the trailers immerse viewers in the action and tone of each film through the use of shots, music, and pacing.
The document analyzes conventions of gangster film openings through examples. It begins by summarizing the key points made in the document's introduction about gangster film conventions involving violence, wealth, and the rise and fall of gangsters. It then provides a more in-depth analysis of openings from Goodfellas, Pulp Fiction, and The Godfather to illustrate conventions around mise-en-scene, lighting, costumes, settings and the establishment of characters and power dynamics through dialogue and shot composition. The summary concludes that the document examines how successful gangster films utilize many typical genre conventions in their openings to immerse audiences in the world and story.
This document provides an overview of the development of the crime/gangster genre in films from the early 1900s through the 1990s. It describes how early films focused on prohibition-era criminals and the crime boom of the 1920s. The genre evolved through the decades with developments like film noir in the 1940s and the rise of more realistic portrayals of organized crime in films like The Godfather trilogy in the 1970s. By the 1990s, the genre had become a more established area for realistic movies about the criminal underworld.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
This document provides an analytical review of Quentin Tarantino's film Inglourious Basterds. It summarizes that the film depicts alternate histories of Hitler's death and the end of WWII through a group of vengeful American soldiers known as the Basterds. Through violent yet stylistic scenes, Tarantino explores themes of cultural aesthetics, historical references, and motifs from his other films. The opening scene in particular blends multiple cultures and establishes tension through precise camerawork. Overall, the review analyzes how Tarantino uses violence in a way that conveys deeper meanings beyond simple spectacle.
The document provides an overview of the comedy genre in film. It discusses the history of comedy films from the silent film era to more recent developments. It also outlines several common types of comedy, including slapstick, fish out of water, parody/spoof, anarchic, black, and gross out comedies. Additionally, it examines hybrid comedy genres such as action comedy, comedy horror, fantasy comedy, and sci-fi comedy. Key comedy actors and popular comedy films from different eras are referenced throughout.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as costumes representing class and status, use of black and white to evoke earlier eras, and compositional elements like centering a dominant figure that establish power dynamics. Key gangster films mentioned include Angels with Dirty Faces, White Heat, The Godfather, Once Upon a Time in America, Pulp Fiction, and The Departed. The document examines how gangster films have portrayed and explored themes of organized crime over time.
This document provides information about different film genres including comedy, crime/gangster, drama, and teen films. It lists top 10 films in each genre and describes common characteristics of each genre such as typical characters, settings, narrative themes, props, history, and ideology.
Goodfellas is a 1990 crime thriller directed by Martin Scorsese based on a true story. It follows Henry Hill from New York who dreams of becoming a gangster and works for a violent gang against his family's wishes. Henry proves himself during a robbery and marries his wife Karen, though she fears his dangerous lifestyle. Tensions rise as gang members commit increasingly violent acts to cover their crimes, and Henry's involvement in the drug business leads to his arrest and entry into witness protection as the only way to escape his former gangster associates.
- Quentin Tarantino is a renowned American film writer and director known for his nonlinear storytelling and eclectic soundtrack choices.
- His films such as Pulp Fiction, Kill Bill, and Inglourious Basterds feature graphic violence and nonlinear narratives told through compelling dialogue.
- Tarantino's directing style incorporates trunk shots, Mexican standoffs, and blending black and white with color to create tension and memorable scenes.
- Films like Reservoir Dogs, Pulp Fiction, and Django Unchained showcase Tarantino's talent for crafting fascinating conversations between complex characters.
Quentin Tarantino is a renowned American film director and writer known for his nonlinear storytelling and eclectic soundtrack choices. His films such as Pulp Fiction, Kill Bill, and Inglourious Basterds feature graphic violence and nonlinear narratives told through memorable dialogue. Tarantino's unique directing style utilizes techniques like black and white cinematography, trunk shots, and Mexican standoffs to craft compelling characters and scenes. He is not afraid to rewrite history or subvert expectations with his unorthodox storytelling.
This document provides a summary and brief analysis of 52 Alfred Hitchcock films ranked from lowest to highest. It begins with Topaz (1969) which is described as Hitchcock's low point with a limp plot and lack of imagination. Number Seventeen (1932) is an oddity as Hitchcock's first comedy-thriller attempt. Champagne (1928) is deemed a flimsy affair without danger or pulse. Torn Curtain (1966) had problems with chemistry between stars and Bernard Herrmann rejecting Hitchcock's chosen score.
Drama films rely on the emotional and relational development of realistic characters and often deal with intense, real-life issues based on true stories. Some of the most well-known and top grossing drama films ever made are The Shawshank Redemption, The Godfather, and Casablanca. Drama films aim to tell honest stories of human struggles through the use of techniques like multiple climaxes and subplots to retain audience attention. The genre continues to grow in popularity at the box office, with recent films like American Sniper and The Dark Knight grossing far more than acclaimed dramas of the past.
The document discusses the evolution of the femme fatale character from 1940s films to modern films. It argues that early femme fatale characters like Rita Hayworth in "Gilda" seduced men while maintaining dignity, whereas modern characters like Sharon Stone in "Basic Instinct" explicitly exploit themselves sexually. Over time, as social norms have changed, the femme fatale has transitioned from suggestive to graphically sexual, reflecting broader changes in morality. Comparing early detective films to modern ones like "Basic Instinct" shows how the genre and gender roles have been influenced by the women's movement and changing social attitudes around sexuality.
Quentin Tarantino's career as a filmmaker began after working as a video store clerk in Los Angeles. His 1992 debut film Reservoir Dogs established his signature nonlinear storytelling style and generated both acclaim and controversy for its graphic violence. Tarantino's second film Pulp Fiction (1994) was a massive commercial success that popularized his eclectic dialogue and references to obscure pop culture. His later films Jackie Brown (1997) and Kill Bill (2003-2004) continued exploring themes of characters seeking escape from dangerous lives.
11) The Hollywood Art The Legacy Of The Three StoogesNick Zegarac
This document provides a detailed history and summary of the careers of the Three Stooges comedy act:
- The Three Stooges (Moe Howard, Larry Fine, and Jerome "Curly" Howard) began as part of Ted Healy's act in the 1920s but broke away on their own in the early 1930s.
- They found great success making short comedy films at Columbia Pictures from 1934-1957, producing over 200 films and becoming the studio's top moneymakers.
- The Stooges helped pioneer the slapstick comedy genre and created many memorable comedy routines that have endured for decades.
- Off screen, the Stooges had to deal with restrictive contracts from studios and
This document discusses British gangster films and their conventions. It provides summaries of several successful British gangster films including Lock, Stock and Two Smoking Barrels (1998) and Layer Cake (2004). It also outlines some common conventions of the genre such as films being set in outdoor urban areas, characters wearing intimidating clothing like hoodies and jewelry, use of props like guns and money, dark color palettes, and fast-paced openings with lots of shots and editing.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The Fast and the Furious is a 2001 street racing film directed by Rob Cohen and starring Vin Diesel and Paul Walker. It follows undercover cop Brian O'Conner who infiltrates the street racing scene in Los Angeles to investigate a series of truck hijackings. He bonds with the leader of a street racing crew, Dom Toretto, and finds himself drawn into a life of fast cars and illegal street racing. The film culminates in a climactic three-way chase scene between Brian, Dom, and the hijackers. Though the film relies on street racing tropes and simplistic dialogue, the focus is firmly on the pulse-pounding car chase sequences.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as men in suits connoting class and guns representing violence. The analysis describes how gangster films evolved over time but maintained conventions like black and white cinematography linking to traditions of earlier films. Gangster films remain a popular genre exploring themes of crime, masculinity, and the rise and fall of organized crime organizations.
This document provides an overview of gangster films from the 1930s to the 2000s. It analyzes screenshots from notable gangster films of each decade and discusses conventions seen such as costumes, mise-en-scene elements, and cinematography that establish settings and power dynamics between characters. Key gangster films mentioned include Angels with Dirty Faces (1930s), White Heat (1940s), The Killing (1950s), The Big Risk (1960s), The Godfather (1970s), Once Upon a Time in America (1980s), Pulp Fiction (1990s), and The Departed (2000s). Each screenshot analysis highlights visual elements that appeal to audiences and relate to common gangster film tro
This document provides background information on film trailers and analyzes trailers for three films: Snatch, Lock Stock and Two Smoking Barrels, and Drag Me to Hell. It discusses the history of film trailers and conventions commonly found in trailers such as using exciting scenes to entice viewers. The analyses identify character and genre tropes and how the trailers immerse viewers in the action and tone of each film through the use of shots, music, and pacing.
The document analyzes conventions of gangster film openings through examples. It begins by summarizing the key points made in the document's introduction about gangster film conventions involving violence, wealth, and the rise and fall of gangsters. It then provides a more in-depth analysis of openings from Goodfellas, Pulp Fiction, and The Godfather to illustrate conventions around mise-en-scene, lighting, costumes, settings and the establishment of characters and power dynamics through dialogue and shot composition. The summary concludes that the document examines how successful gangster films utilize many typical genre conventions in their openings to immerse audiences in the world and story.
This document provides an overview of the development of the crime/gangster genre in films from the early 1900s through the 1990s. It describes how early films focused on prohibition-era criminals and the crime boom of the 1920s. The genre evolved through the decades with developments like film noir in the 1940s and the rise of more realistic portrayals of organized crime in films like The Godfather trilogy in the 1970s. By the 1990s, the genre had become a more established area for realistic movies about the criminal underworld.
This document provides an overview of the development of the crime/gangster genre in films from the early 1900s through the 1990s. It describes how early films focused on prohibition-era criminals and the crime boom of the 1920s. The genre evolved through the decades with developments like film noir in the 1940s and the rise of more realistic portrayals of organized crime in films like The Godfather trilogy in the 1970s-80s. By the 1990s, the genre had become a more established area for realistic movies about criminal organizations.
This document discusses genre analysis, auteur theory, and provides examples of directors considered auteurs such as Alfred Hitchcock, Francis Ford Coppola, and Quentin Tarantino. It analyzes how these directors broke conventions of their genres through elements like editing, music, casting, and plot devices. The document also considers whether Rian Johnson can be considered an auteur for his film Looper, but concludes he has not yet directed enough critically acclaimed, unconventional films to earn that label.
The document provides an outline for understanding gangster films by examining seven key parameters: the nature of the protagonist and antagonist, the shape of the dramatic action, the catalytic event, the resolution or climax, the narrative style, and the narrative tone. It then analyzes several famous gangster films like Snatch and The Godfather trilogy based on these parameters. Finally, it examines the Bollywood film Vaastav: The Reality as a case study, focusing on how it realistically portrays the protagonist's descent into the Mumbai underworld.
The document discusses several topics related to film genres including: the definitions of genre and how genres are used to categorize different types of films; descriptions of the western and film noir genres including their history, conventions, and subgenres; and examples of influential western and film noir movies as well as posters and trailers for some of these films. It also provides a brief comparison of similarities and differences between the western and film noir genres.
The document provides an outline for understanding gangster films by examining seven key parameters: the nature of the protagonist and antagonist, the shape of the dramatic action, the catalytic event, the resolution, the narrative style, and the narrative tone. It then analyzes the 1999 Indian film "Vaastav: The Reality" based on these parameters, summarizing that the film realistically depicts the protagonist's descent into the Mumbai underworld and harsh resolution when he is targeted by the police.
The document discusses several topics related to film genres including westerns, film noir, and their similarities and differences. It provides background information on genre and subgenres. It also analyzes key western and noir films, their visual styles, plots, and popularity during the golden era of Hollywood in the 1940s-1950s.
The document discusses several topics related to film genres including westerns, film noir, and their similarities and differences. It provides background information on genre and subgenres. It also analyzes key western and noir films, their visual styles, plots, and popularity during the golden era of Hollywood in the 1940s-1950s.
The document discusses several topics related to film genres including westerns, film noir, and their similarities and differences. It provides background information on both genres, noting they were popular during Hollywood's golden era and influenced American film. Both genres involve harsh or corrupt depictions of life, though westerns were set in the 19th century frontier while noir films took place in the 1940s-50s and focused more on crime.
The document discusses postmodernism and genre theory. It provides definitions of genre as a style or category of art and discusses how genres have become more flexible with new hybrid genres emerging. It notes that negotiations now occur between producers and audiences. Steve Neale is cited saying genres involve repetition and difference, and Hollywood uses genres to guarantee meaning, pleasure, and offset economic risks. Horkheimer's critical theory is mentioned as embracing future societal possibilities through critiquing and changing society as a whole.
This document provides an analysis of the Western genre and conventions through examining the film Django Unchained. It discusses the typical elements of Westerns like climactic shootouts between heroes and villains. The document also analyzes how the trailer for Django Unchained represents people and reinforces or challenges stereotypes, noting it depicts the historical mistreatment of blacks during the era of slavery in 1858.
This document analyzes conventions of the British gangster film subgenre. It finds that these films often use fast-paced editing and shot types to quickly immerse viewers in the story. Costumes range from traditional suits to more casual modern clothing. Settings typically take place outdoors in cities and feature props like guns, cars, and cigarettes. During openings, non-diegetic music is more common than diegetic sounds to build tension. Commercially, Guy Ritchie films like Snatch and Lock, Stock and Two Smoking Barrels were very profitable for their budgets. Overall, the document provides an in-depth examination of techniques and trends in British gangster films.
This document analyzes conventions of the British gangster film subgenre. It finds that these films often use fast-paced editing and shot types to quickly immerse viewers in the story. Costumes range from traditional suits to more casual modern clothing. Settings typically take place outdoors in cities and feature props like guns, cars, and cigarettes. During openings, non-diegetic music is more common than diegetic sounds to build tension. Commercially, Guy Ritchie films like Snatch and Lock, Stock and Two Smoking Barrels were very profitable for their budgets.
Codes and conventions of the mystery genreasmedia16
The document discusses codes and conventions of the mystery genre that will influence the filmmaker's project. It describes how mystery films are often set in modern, dystopian cities which feel dark and gloomy. The protagonists are usually questionable and ambiguous, making the audience distrust them. Technical elements like lighting, camera work, and music are used to build tension and atmosphere. Specifically, the filmmaker intends to use a sepia tone, black and white footage, and a mix of jazz and classical music to invoke suspense and unease in the audience. The themes of mystery films often subvert social norms and peer into the dark underbelly of society.
godfather watch online free movies trailerslecoqmaxime77
The Godfather Part II is a 1974 crime film directed by Francis Ford Coppola, starring Al Pacino and Robert De Niro. The film presents parallel dramas - one continues the story of Michael Corleone in 1958 protecting his crime family business, while a prequel covers his father Vito's journey from Sicily to founding the family in New York. The Godfather Part II received mixed initial reviews but was nominated for 11 Oscars, winning 6 including Best Picture, and is now considered one of the greatest films ever made.
This document provides information about genres and films to create a promotion package for a new film. It includes requirements to create a teaser trailer, website homepage, film magazine cover, or poster. It then discusses postmodernism and various postmodern theorists. It also covers narrative theory concepts from Propp, Todorov, and Levi-Strauss. Next, it defines genre and provides details on the crime and dystopian genres, including their origins and conventions. It includes timelines of influential crime and dystopian films. It concludes with short analyses of the trailers for Lock Stock and Two Smoking Barrels, Kill Bill Volume 1, and Get Carter.
Similar to Key Changes of the Genre Over Time (20)
This document discusses the directing styles and techniques of 10 famous directors within the gangster genre. It notes that Brian De Palma often uses split screens to build suspense, while Quentin Tarantino features briefcases and uses the phrase "Bingo". Guy Ritchie employs narration and fast editing. Martin Scorsese is known for long tracking shots and nonlinear narratives. Robert Rodriguez's protagonists dress in black and he works on low budgets. The document then evaluates how these directors have influenced the genre's conventions and how mise-en-scene is important to control audience perception.
1) The target audience for the film is 15-17 year olds as the certification is a 15. Most interviewees fell in this age range and found the gangster genre most interesting as it depicts ways to earn money and security.
2) More males (six) than females (four) responded to the questionnaire. To attract a mixed audience, the film will feature a variety of characters appealing to both genders.
3) The most popular genres voted for were gangster and comedy. The film will include elements of both, along with amusing scenes, to broaden its appeal.
4) The most effective camera shot was found to be the establishing shot, which orients viewers and shows body
The opening sequence of Goodfellas uses several techniques to set the tone and provide context for the film. It begins with a flash-forward scene to build tension and give a sense of the characters' demise. The title frames have a fast-paced feel resembling a speeding car to portray the film's forward motion. Using a lack of soundtrack makes the scene feel more realistic. The white bold title text against a black background symbolizes the dangerous and perilous nature of the gangster genre. One character commits a shadowy murder that reflects the film's heading, using color and expressions to represent rage and vulnerability.
The opening sequence of Scarface uses nondiegetic music to set a mysterious tone and raise suspense. As the music plays, background information on screen helps viewers understand the upcoming movie. Footage of Fidel Castro gives context for why the main character Tony Montana is sent to another country. The music contrasts between depressing and joyful tones to reflect Tony's rushing life. Elements of gunshots in the music establish the film's genre. The agitated soundtrack suggests to viewers that the narrative will get crazier and injects excitement through hurried editing, interrogating the entire film in its opening sequence.
Soundtrack Analysis - Lock, Stock and Two Smoking BarrelsAStamatiou
The opening scene of Lock, Stock and Two Smoking Barrels uses non-diegetic music to build suspense and tension as Eddie warns that the police are coming. This instigates the antagonists to run away into a dilapidated warehouse as goods are thrown into a suitcase. The indistinct lighting, shadows, and jittery soundtrack in the warehouse create an eerie atmosphere and foreshadow a theme of good vs. evil. As the police enter the frame, the soundtrack acts as a "sound bridge" and "sting" to punctuate the ending of the opening scene and warn the audience of the illegal activities and disruption to come.
Opening Sequence Analysis - The Godfather Part 1AStamatiou
The opening sequence of The Godfather Part I begins with the title framed in a bold white font against a black background, symbolizing the control and authority of the Godfather character. It then fades to black before cutting to a voiceover by a man talking about violence against his daughter, setting the scene in America and hinting at themes of crime and corruption. Shots of the characters in a wooden-paneled office show them in suits, symbolizing wealth and authority, with a red flower on one character's suit perhaps representing hidden danger. The sequence ends by freezing on the third character as the soundtrack becomes more intense, raising expectations for what is to come in the film.
The opening sequence of Pulp Fiction uses an unexpected technique to introduce the audience to the main characters. It begins with a still shot of a dictionary definition of "pulp" to set expectations for the gangster genre film. However, the following scenes depict the main characters, a male and female, casually talking in a coffee shop in a peaceful setting. Their conversation then takes a turn as the male proposes robbing the shop, surprising the audience. As tension builds, the female unexpectedly pulls out a gun, subverting expectations of her character. This establishes Tarantino's style of challenging conventions to keep the audience engaged in guessing what will happen next.
Google Calendar is a versatile tool that allows users to manage their schedules and events effectively. With Google Calendar, you can create and organize calendars, set reminders for important events, and share your calendars with others. It also provides features like creating events, inviting attendees, and accessing your calendar from mobile devices. Additionally, Google Calendar allows you to embed calendars in websites or platforms like SlideShare, making it easier for others to view and interact with your schedules.
1. 1920
Brief Information: Dr. Mabuse: The
Gambler (26th May 1922). Certification is a
PG. Runtime is 242 minutes.
Plot Summary: Dr. Mabuse, who is the archcriminal (and the main character), and his
mob of criminals set out to make a fortune
and run the city of Berlin. Detective Wenk
tries to stop him in the process.
Disguise, madness and depravity would be
the words to best describe the plot of the
film.
Memorable Quote: “There is no such thing as love, only passion!
No luck, only the will to gain power!” – Dr. Mabuse
Scene Link: http://www.youtube.com/watch?v=bBXB_wk7T5I
2. This scene (as well as the whole film) is shot in
black and white. This was the only option back in
the 1920’s. It makes the scene/film look aged
and shows a depiction of the conventional
Chicago gangster.
The gangsters are positioned around a poker table
watching two gamblers play the game. Here we get
to see the worried and apprehensive facial
expressions and body actions of these individuals.
In conjunction with this long-range
shot showing the mise-en-scene,
there is an increasingly rapid melody
in the background which builds up the
suspense.
Each person is
dressed classy
with the typical
gangster blacksuit and bowtie
appearance.
Dr. Mabuse: The Gambler (1922)
3. 1930
Brief Information: Scarface (9th April 1932).
Certification is an A. Runtime is 93 minutes.
Plot Summary: An ambitious and violent
gangster climbs the ranks within the mob,
but it later comes out that his weaknesses
prove to be his breakdown.
Murder, police and mob would be the words
to best describe the plot of the film.
Memorable Quote: “Listen, Little Boy, in this business there’s
only one law you gotta follow to keep out of trouble: Do it
first, do it yourself and keep on doing it” – Tony Camonte
Scene Link: http://www.youtube.com/watch?v=g9OmTSM0i9s
4. This scene (as well as the whole film) is shot in
black and white. This was the only option back in
the 1930’s too. It makes the scene/film look aged
and shows a depiction of the conventional
Chicago gangster.
The gangster (wearing the typical black-suit
clothing) is holding a machine gun which portrays
how the life of a gangster has already developed
from the 1920s – as being a chaotic adventure.
This scene commences with two
people sitting serenely in a cafe which
soon gets disrupted as there are
gunshots and grenades being
thrown, using Todorov’s Equilibrium
theory.
The type of
camera shot
which is
frequently used in
the film was a
mid-shot.
Scarface (1932)
5. 1940
Brief Information: The Woman in the
Window (3rd November 1944). Certification
is a PG. Runtime is 107 minutes.
Plot Summary: A middle-aged conservative
professor gets involved with trouble, and he
is then plunged into a nightmarish spiral
consisting of blackmail and crime.
Murder, professor and blackmail would be
the words to best describe the plot of the
film.
Memorable Quote: “[Talking about sex] The flesh is still strong
but the spirit grows weaker by the hour” – Richard Wanley
Scene Link: http://www.youtube.com/watch?v=cx_AiyI3zcw
6. This scene (as well as the whole film) is shot in
black and white. It makes the scene/film look
aged and shows a depiction of the conventional
Chicago gangster. Gangster movies hadn’t
changed much since the 1920s.
The selection of clothing still has not changed since
the 1920s, and this gives the symbolic stereotype
of a gangster that most people view as today.
This scene portrays a protagonist
against the antagonist whereby the
gangster comes into the room
unexpectedly – Binary Opposition
(Good vs. Bad) helps to hype up the
narrative.
Shows the
gangster from a
low down
angle, which also
portrays his
supremacy in this
situation.
The Woman in the Window (1944)
7. 1950
Brief Information: The Killing (6th June
1956). Certification is a PG. Runtime is 85
minutes.
Plot Summary: After spending time in
prison, Johnny Clay and friends mastermind
a plan and execute a daring racetrack
robbery. But, there are obstacles in their
way.
Airport, ex convict and robbery would be the
words to best describe the plot of the film.
Memorable Quote: “You like money. You’ve got a great big dollar
sign there where most women have a heart” – Johnny Clay
Scene Link: http://www.youtube.com/watch?v=V5Rzh8XjzHI
8. This scene (as well as the whole film) is shot in
black and white. It makes the scene/film look
aged and shows a depiction of the conventional
Chicago gangster. Gangster movies hadn’t
changed much since the 1920s.
The gangsters here are still kitted out quite smartly
and they are situated in a social club. This is one of
the many places where mobsters hang out as their
life orbits around amusement and hideouts.
This scene is represented by an overthe-shoulder shot which alternates
between the two characters during
conversation. This is significant to see
each individual’s reaction.
This line suggests that
this gangster film will
live up to it’s
expectations with this
disturbance.
(Todorov’s
Equilibrium)
The Killing (1956)
9. 1960
Brief Information: Point Blank (30th August
1967). Certification is an X. Runtime is 92
minutes.
Plot Summary: After being forgotten and
left for dead, a mysterious man called
Walker tries to retrieve the huge sum of
money which was primarily stolen from him
in the first place.
Mafia, money and serial killers would be the
words to best describe the plot of the film.
Memorable Quote: “I want my money. I want my $93,000.” –
Clyde Barrow
Scene Link: http://www.youtube.com/watch?v=yzpKedWubmc
10. This scene is set in an administrative centre
whereby the two mobsters are talking. The use
of the muted colours/lighting in the office may
connote a negative disposition or possibly
danger later in the film.
This character’s body expression may represent
that he is in control of the situation. An eminent
gangster film convention is how they present
themselves to others, with body language and
facial expressions being pivotal.
The characters’ choice of clothing in
this film are still neat and
tidy, showing that this is one of the
main genre aspects that have
remained throughout the eras.
Using the Barthes
– Enigma Code,
the narrative here
is delivered to the
audience with an
increase in
suspense and
closure.
Point Blank (1967)
11. 1970
Brief Information: The Godfather (24th
March 1972). Certification is an 18. Runtime
is 175 minutes.
Plot Summary: The aging patriarch (known
as “Don” Vito Corleone) of an organised mob
transfers the full control of his empire to his
son.
Drugs, drug dealers and crime would be the
words to best describe the plot of the film.
Memorable Quote: “It makes no difference, it don’t make any
difference to me what a man does for a living, you understand.
But your business is a little dangerous.” – Don Corleone
Scene Link: http://www.youtube.com/watch?v=-eu3DWJjYP0
12. This scene (as well as a few others in the film)
uses montage editing. It cuts between the
passive, calm and religious ceremony to the
violent murders going on at the same time. This
is a multi-stranded narrative.
The editing montage separates the
holy and unholy traits of this
character. It shows that he is good and
evil which are two opposites (Binary
Opposition). This is to show that there
can be many sides to
a gangster and not
just the stereotypical
hard chap.
The background music is lurid and jumpy, and the priest’s voice adds
suspense and exhilaration to the scene as well. The setting of the church
also gives off a blue and cold feeling. The lighting inside of the church is
dim, which gives off a gothic feel to the church. The music and the voice
seems to get louder as each man is murdered as the scene goes on.
This film features
a lot of close up
shots in order to
see the reaction
and anxiety of the
character.
The Godfather (1972)
13. 1980
Brief Information: Rumble Fish (21st
October 1983). Certification is an 18.
Runtime is 94 minutes.
Plot Summary: Rusty James, a thug who
struggles to live up to the reputation of his
well-known, legendary brother, and longs for
the days when gang warfare was going on.
Motorcycles, thugs and alcoholics would be
the words to best describe the plot of the
film.
Memorable Quote: “Biff Wilcox is looking for you, Rusty James.
He’s gonna kill you, Rusty James.” – Midget
Scene Link: http://www.youtube.com/watch?v=2fPIzvjiwqY
14. In this screenshot, the gangsters are dressed in a
more casual manner than they have been conveyed
in previous years. This may connote that gangsters
are now more carefree. Also, this shows that the
gangster genre has allowed experimentation since
the 1920s.
This scene portrays the stereotypical
social life of a gangster; as a mob of
them are at a snooker club. Also, they
are drinking alcohol and smoking
illegal drugs.
The entire film is filmed in black and white. One would think that
this film is an older film, for most modern films are filmed in
colour, but this film chose to film in black and white on purpose.
The black and white in this film helps to convey the primitive and
chaotic world that the characters live in.
This film features
a lot of high speed
shots by reversing
to other angles in
order to enhance
the fanatical
lifestyle.
Rumble Fish (1983)
15. 1990
Brief Information: Lock, Stock and Two
Smoking Barrels (28th August 1998).
Certification is an 18. Runtime is 107 minutes.
Plot Summary: A simple card game in
London triggers four friends plus thugs,
weed-growers, hard gangsters, loan sharks
and debt collectors to collide all for the sake
of marijuana, cash and two antique shotguns.
Antiques, debt and gang would be the words
to best describe the plot of the film.
Memorable Quote: “If you hold back anything, I’ll kill ya. If you
bend the truth...I’ll kill ya. In fact, you’re gonna have to work very
hard to stay alive, Nick.” – Rory Breaker
Scene Link: http://www.youtube.com/watch?v=rKX32WqDNDU
16. In this scene, the camera performs an ultra slowmotion, low-angle shot with narration in the
background giving more information about each
character. His voice is tremendously distinguishable
and is a technique which has been adopted by Guy
Ritchie over the past
few years.
It shows them running down a flight of
stairs and throwing a suitcase (with
goods), in the air. The slowing down of the
editing is to show the panic and how little
time they have to think about their actions
which is ironic as
this scene is in slowmotion.
This scene (part of
the opening
sequence) shows the
theory of Todorov’s
Equilibrium, which
brings a thrill for the
audience early on
which stimulated
from a calm tenor.
The editors have de-saturated the picture by
darkening it ever so slightly. This is typical of the
gangster genre, and the significance of this is to
give the whole film an ominous and sinister
Lock, Stock and Two Smoking Barrels (1998)
atmosphere.
17. 2000
Brief Information: Snatch (19th January
2001). Certification is an R. Runtime is 102
minutes.
Plot Summary: Deceitful boxing
promoters, violent bookmakers, a Russian
gangster, ineffectual amateur robbers, and a
gang of jewellers battle to track down a
priceless stolen diamond.
Diamond, fight and gang would be the
words to best describe the plot of the film.
Memorable Quote: “You should never underestimate the
predictability of stupidity.” – Bullet Tooth Tony
Scene Link: http://youtu.be/MpGTn-Z6WbA
18. In this scene, the camera performs a medium shot
to facilitate the characters and the mise-en-scene.
Here it shows four men holding a diamond (which is
very symbolic in the film) and this gives us an
indication to a robbery.
Once again, the characters are wearing suits, but
with the top button undone. Even though they
like to present themselves courteously, they also
like to send across the menacing look to others.
The soundtrack is very jazzy and upbeat
and it grips the audience for the ride
ahead. The editing is smooth and cuts from
one clip to another causing an
incessant and fluid transition. Editing
methods such as cross
dissolving helps make
the process much
smoother.
The editors
intentionally use dark
lighting/colours in this
scene to emphasise the
danger in which is
about to appear in the
upcoming situation
(robbery) .
Snatch (2001)
19. Evaluation
Ever since their arrival during The Great Depression of the 1930s, gangster movies provided an
escape into the complexities of the gangster, with a life of luxury, adventure and criminality
(Escapism as part of the Uses and Gratification Theory). These are constructed from the
sensational exploits of real-life gangsters such as Al Capone, John Dillinger and Henry Hill who, as
well as the directors, have made a vast influence on the genre over time.
Conceivably, the most noteworthy moment in history that would give gangster films their
traditional stereotype, is the prohibition era of the 1920s. Gangsters like Al Capone created real
life stories fit for the narratives of the movies. One of the more acknowledged cases is the St.
Valentines Day Massacre; where men employed by Capone, dressed as police officers and
violently murdered a rival gang with Thompson sub-machine guns. Thus, the gangster film was
born, and it was 1930’s Hollywood where classic films like Scarface and Shame of a Nation made
their introduction in the history of the genre.
Iconography is probably one of the key elements of defining the gangster genre, covering many
elements such as the vehicle. It is the means whereby the protagonist carries out his work and it
becomes like his clothes, the visible token of his success (connotation). One of the more
influential gangster genre convention is the gangster working his way up to a high priced luxury
vehicle. This can be seen not only in the gangster films of the 1920s and 1930s, but in almost
every film that can be classified a gangster film as these eras prompted this trend.
Similarly, my piece (Konvicted) will include a lot of these aspects which have been adapted and
sustained throughout the years. From the 1920s all the way to the 20th century, the genre has
conducted research and applied the key changes over time which has made the genre such the
success it is today.
20. Black and Red in the
Gangster Genre
I have also noted how Black and Red are present in almost every
gangster and crime film, whether it’s part of the marketing
campaign or the film itself. For example, the colour black
connotes the dimness and underworld of structured crime that
the Mafia epitomise. The ‘underworld’ is where the gangster
have to make their living. It is a world that the audience is most
often not familiar with, however, it is a world that exists all the
same. Furthermore, the colour red connotes the violence of the
Mafia culture, representing antagonism and blood.
These colours are used in costumes, sets, cars and even
lighting, and the viewers subliminally acknowledge and
understand this as being a vital facet of gangster-orientated films.
These include Reservoir Dogs (1992) and Mean Streets (1973)
which shows how there have been similarities as well as
differences throughout time. Other films which skilfully use the
colours black and red include: Carlito’s Way (1993), Donnie
Brasco (1997), Eastern Promises (2007), Little Caesar (1931) and
many more.