The document discusses the representation of gender in the marketing campaign for the multimedia project "Two Minds". It examines how the female character Vanessa Warren is represented in the trailer, poster, and magazine cover. It aims to represent her as both dominant and mysterious as well as vulnerable at times. The representation of the male characters, especially Detective Wells, is also discussed. Wells is represented as both powerful and deteriorating in mental state throughout the narrative. The document emphasizes using techniques like shot composition, dialogue, and lighting to convey these representations of gender to the audience.
The document discusses how gender was represented across a marketing campaign for a film called "Two Minds". It focuses on the representation of the sole female character, Vanessa Warren, who is portrayed as both dominant/mysterious and vulnerable at different points. The creators aimed to represent her this multifaceted way to fit with the themes of suspense and mystery. They also discuss representation of the three main male characters, with a focus on representing the protagonist Detective Wells as a character whose mental health and life are deteriorating throughout the narrative.
This document analyzes aspects of the protagonist and other characters in a dystopian film. It discusses how the protagonist, Aurora, subverts expectations by being female in a typically male-dominated genre. Her ragged clothing and lack of makeup imply she must act masculine to survive. While the film features some diversity, the minority character plays a small role and is marginalized, suggesting tokenism. The protagonist is portrayed as a stereotypical moody teenager through her cynical internal monologue and surroundings in an abandoned area, continuing tropes of troubled youth.
Textual analysis - Lana del Rey - Born to diefrandownton98
The document provides an in-depth analysis of the music video for Lana Del Rey's song "Born to Die" across multiple elements:
1) The video tells a clear narrative story through Lana's character about a woman who falls in love and dies, conforming to common character archetypes.
2) Scenes alternate between medium shots to show the setting and close-ups to depict emotions as Lana navigates her relationship with the male antagonist.
3) Costuming, lighting, and locations are used to contrast Lana's purity with her lover's rough appearance and influence over her.
4) Fast editing, diegetic sound, and Lana's lip syncing give the video
This document summarizes how the media product uses conventions of thriller genres in its filming, editing, and overall narrative structure. Specifically, it discusses how the costumes, lighting, camera angles, sound, and color correction were used to reference films like Psycho, Essex Boys, and Kill Bill while also developing determined female and anonymous male characters. The document analyzes how conventions like extreme close-ups, low camera angles, and over-the-shoulder shots place the audience's perspective and build tension. It concludes by discussing the font and text transitions used in the credits and how they foreshadow the relationship between the two characters.
My film is a thriller defined by its dark poster and magazine cover featuring mysterious imagery. The trailer establishes the thriller genre through fast pacing, tension-building music and camerawork. It follows the protagonist Nina versus pursuing government forces. Nina disrupts the story's equilibrium and must establish a new one. Key themes include loss of childhood and portrayals of females. The target audience is young females who may connect with the young female protagonist, with young males also a potential audience.
The trailer for Black Swan uses several techniques to build suspense and intrigue potential viewers. It begins calmly and gradually increases tension through dark cinematography, quick cuts between shots, and a rising musical score. Close-ups on the main character's eyes and injuries hint at her deteriorating psychological state. The trailer also establishes rivalry between the main character and another dancer without providing full context, leaving the audience wanting more information. Text cards advertise the film's stars, directors, and release date to generate interest. Overall, the trailer employs standard thriller conventions to engage viewers through mystery, psychological distress, and a sense that more of the story remains untold.
Representation of gender in our multi-media advertising campaignSean Welsh
This document discusses the representation of gender in classic noir films from the 1940s-50s compared to neo-noir films. In classic noir, femmes fatales manipulated men through their sexuality and intelligence, while men were portrayed as easily seduced. Neo-noir featured more empowered male protagonists and explicit portrayals of femmes fatales. The document then discusses how the filmmakers aimed to represent gender in their own neo-noir trailer, poster, and magazine cover - portraying the male protagonist as vulnerable but intelligent and the femme fatale through mystery and power rather than sexuality. Theories of Laura Mulvey and Daniel Chandler are discussed in relation to subverting traditional representations of powerful men and sexual
The document analyzes the representation of characters in three horror film trailers through their use of sound, editing, camerawork, and mise-en-scene. Male characters are generally portrayed as dominant through dialogue, protective gestures, and shot compositions that make them appear bigger or in control. Female characters are often represented as vulnerable through close-ups of their scared expressions and positioning that reveals their bodies for the "male gaze." Dark lighting and fast editing aim to depict all characters as vulnerable to the impending horror. Common stereotypes are employed, such as the "blonde bimbo" character sexualized for her appearance.
The document discusses how gender was represented across a marketing campaign for a film called "Two Minds". It focuses on the representation of the sole female character, Vanessa Warren, who is portrayed as both dominant/mysterious and vulnerable at different points. The creators aimed to represent her this multifaceted way to fit with the themes of suspense and mystery. They also discuss representation of the three main male characters, with a focus on representing the protagonist Detective Wells as a character whose mental health and life are deteriorating throughout the narrative.
This document analyzes aspects of the protagonist and other characters in a dystopian film. It discusses how the protagonist, Aurora, subverts expectations by being female in a typically male-dominated genre. Her ragged clothing and lack of makeup imply she must act masculine to survive. While the film features some diversity, the minority character plays a small role and is marginalized, suggesting tokenism. The protagonist is portrayed as a stereotypical moody teenager through her cynical internal monologue and surroundings in an abandoned area, continuing tropes of troubled youth.
Textual analysis - Lana del Rey - Born to diefrandownton98
The document provides an in-depth analysis of the music video for Lana Del Rey's song "Born to Die" across multiple elements:
1) The video tells a clear narrative story through Lana's character about a woman who falls in love and dies, conforming to common character archetypes.
2) Scenes alternate between medium shots to show the setting and close-ups to depict emotions as Lana navigates her relationship with the male antagonist.
3) Costuming, lighting, and locations are used to contrast Lana's purity with her lover's rough appearance and influence over her.
4) Fast editing, diegetic sound, and Lana's lip syncing give the video
This document summarizes how the media product uses conventions of thriller genres in its filming, editing, and overall narrative structure. Specifically, it discusses how the costumes, lighting, camera angles, sound, and color correction were used to reference films like Psycho, Essex Boys, and Kill Bill while also developing determined female and anonymous male characters. The document analyzes how conventions like extreme close-ups, low camera angles, and over-the-shoulder shots place the audience's perspective and build tension. It concludes by discussing the font and text transitions used in the credits and how they foreshadow the relationship between the two characters.
My film is a thriller defined by its dark poster and magazine cover featuring mysterious imagery. The trailer establishes the thriller genre through fast pacing, tension-building music and camerawork. It follows the protagonist Nina versus pursuing government forces. Nina disrupts the story's equilibrium and must establish a new one. Key themes include loss of childhood and portrayals of females. The target audience is young females who may connect with the young female protagonist, with young males also a potential audience.
The trailer for Black Swan uses several techniques to build suspense and intrigue potential viewers. It begins calmly and gradually increases tension through dark cinematography, quick cuts between shots, and a rising musical score. Close-ups on the main character's eyes and injuries hint at her deteriorating psychological state. The trailer also establishes rivalry between the main character and another dancer without providing full context, leaving the audience wanting more information. Text cards advertise the film's stars, directors, and release date to generate interest. Overall, the trailer employs standard thriller conventions to engage viewers through mystery, psychological distress, and a sense that more of the story remains untold.
Representation of gender in our multi-media advertising campaignSean Welsh
This document discusses the representation of gender in classic noir films from the 1940s-50s compared to neo-noir films. In classic noir, femmes fatales manipulated men through their sexuality and intelligence, while men were portrayed as easily seduced. Neo-noir featured more empowered male protagonists and explicit portrayals of femmes fatales. The document then discusses how the filmmakers aimed to represent gender in their own neo-noir trailer, poster, and magazine cover - portraying the male protagonist as vulnerable but intelligent and the femme fatale through mystery and power rather than sexuality. Theories of Laura Mulvey and Daniel Chandler are discussed in relation to subverting traditional representations of powerful men and sexual
The document analyzes the representation of characters in three horror film trailers through their use of sound, editing, camerawork, and mise-en-scene. Male characters are generally portrayed as dominant through dialogue, protective gestures, and shot compositions that make them appear bigger or in control. Female characters are often represented as vulnerable through close-ups of their scared expressions and positioning that reveals their bodies for the "male gaze." Dark lighting and fast editing aim to depict all characters as vulnerable to the impending horror. Common stereotypes are employed, such as the "blonde bimbo" character sexualized for her appearance.
This document discusses how the media product represents different social groups through its main character Sally Blunt and villains. Sally is portrayed as a strong, independent female ex-FBI agent, challenging thriller conventions which typically feature male heroes. Her plain clothing and lack of dialogue create mystery. The villains wear dark clothes and masks to hide their identities and blend into the shadows, seen watching Sally in an unnerving manner. Sound, editing, cinematography and other techniques are used to build suspense and portray Sally and the villains in a way that follows thriller genre codes.
1) The document analyzes Propp's character archetypes and applies them to analyze two trailers - one for "Easterners" and one for "Coronation Street".
2) For the "Easterners" trailer, several female characters could represent the heroine role, while the villain is intentionally kept ambiguous to generate mystery.
3) In the "Coronation Street" trailer, many characters display villainous traits for dramatic effect, while others take on helper, donor, dispatcher, or false hero roles according to Propp's definitions.
This document discusses gender representation in the noir genre and how it was applied to the creator's media package, which included a neo-noir trailer ("Azrael"), poster, and magazine cover. In noir films, gender representations are typically reversed, with females portrayed as powerful, controlling, and manipulative while males are weak, dominated, and victims of lust. The creator's works conformed to these representations by depicting the female lead as a femme fatale who uses red lipstick, smoking, and dominance over the male character. However, some elements also subverted expectations, such as having a female detective character. Overall, the document examines how the creator both conformed to and challenged typical gender stereotypes within the
Warren Jeffreys will play The Silencer, an assassin protagonist who takes rough approaches to his missions but is more relatable than an "alpha male" tough guy. Warren is suitable because he has a mature, tall look with facial hair giving him a rough edge, and shares the character's blasé and satirical personality.
Hannah Lortie will voice Claire, The Silencer's briefings assistant who is like a female James Bond character. She is intelligent, calm and the voice of reason. Hannah shares these traits and has a down-to-earth voice suited for the role. She has experience acting from secondary and advanced level performing arts studies.
The video represents Lucy Rose in a strong, dominant manner through various camera techniques, editing, and mise-en-scène elements. She is frequently framed in close-ups at the center of shots to portray her as important and heroic. Her aggressive character is emphasized through direct address and violence portrayed in slow motion. Lucy is dressed masculinely on a large quad bike, participating in typically male activities to challenge gender norms and portray herself as down-to-earth and adventurous.
This document analyzes the promotional materials for the film Black Swan, including the theatrical poster, trailer, and magazine cover. It finds several common elements across the materials: a black background, simple white typography, a focus on the female protagonist wearing makeup, and hints that her character is hiding something darker underneath the surface. The analysis suggests these elements link the film to the psychological thriller genre and fulfill audience expectations of familiar genre conventions.
Question 2 evaluation. By Jumana IsmailJumana Ismail
The document summarizes how different social groups are represented in the opening sequence of a media product. It represents the main character as working class based on her plain clothing. The antagonist is depicted as possibly upper class by her expensive coat. Both main characters are white to fit British horror conventions, though the antagonist has darker skin. The target age range is 16-25. Female characters only are included, with the protagonist and hero portrayed positively and the antagonist as powerful.
The document analyzes a music video by Katy Perry called "Roar". It summarizes the video in three parts:
1) It describes the opening scene showing Katy isolated from a man taking a selfie, looking scared in low lighting while he is happy in high lighting.
2) It discusses a later scene of Katy making a spear, taking on a dominant role by hunting. Her body language and lyrics show her growth into a fighter.
3) Near the end, Katy is shown sitting on a throne in colorful clothing, looking powerful surrounded by animals. She sits with her legs apart, subverting female stereotypes to appear more dominant and in control.
The document provides details on the mise-en-scène for the music video of "Stay With Me" by Sam Smith. It outlines how the macro representations of loneliness and longing for the female protagonist will be conveyed through micro details. These include isolating shots of the male protagonist to show his lack of social contact, and over-the-shoulder shots suggesting he still watches the female protagonist. Specific locations like the bedroom, shower, party and busy road will further emphasize his isolation and vulnerability as well as contrast his current lonely state with happier past moments with the female protagonist. Costumes, lighting, and props like lipstick will also be used to represent the characters' emotions and development throughout the relationship and its breakdown
The document provides an evaluation of a media product titled "Stolen" created by Danielle Gallagher. It summarizes how the product used and developed conventions of the psychological crime thriller genre. It analyzed elements like camera work, titles, lighting, costumes, and characters to represent stereotypes and attract its target middle-class audience of 15+ year old males and females. The evaluator believes the product could be distributed by film companies like New Line Cinema or Film4 and garner interest from those who enjoy thrillers with similar conventions like Misery. Feedback on an early cut praised the music, titles, and ability to engage and intrigue the audience about what would happen next.
The document discusses how the media product represents various social groups through its characters and filming techniques. It shows teenagers in a positive light rather than as stereotypical delinquents. The two main female protagonists, aged 15, are portrayed as vulnerable but one is more dependent on others. The antagonist chasing them is male, conforming to stereotypes of villains being male. Camera shots are used to suggest one girl is more dominant. The document discusses how it could represent ethnic groups in a way that challenges stereotypes.
The document is a storyboard for a flashback sequence in a film. It provides descriptions of shots that will be used to visualize the protagonist Hayle having a restless night and experiencing disturbing visions. The storyboard outlines shots that will show Hayle trying to sleep, hearing noises outside, and then seeing shadowy figures emerge and approach her bed, conveying her rising fear and paralysis. The shots become increasingly close and intense, emphasizing the threatening nature of the figures and Hayle's terror and inability to escape.
The document discusses representation of social groups in a media product. It focuses on portraying characters of different genders, ages, and social classes through mise-en-scene and props. For the femme fatale character, the goal was to portray an empowered upper-class woman through lighting and costume, including red lipstick and a black dress with fur. For the detective character, the aim was to show a worn-down but corrupt middle-class man through his unkempt appearance and drinking of whiskey in his run-down office. Overall, the opening sequence relies on stereotypes like the femme fatale manipulating the detective with her seductive looks and behavior.
The document provides an analysis of a short horror film opening. It discusses various technical and stylistic elements used that conform to conventions of the psychological horror genre. These include the setting, plot, characters, sound, editing, mise-en-scene, camera work, titles, and color palette. It also analyzes how the film represents particular social groups through its gendered characters and their roles. Finally, it considers potential distribution partners for an independent film like theirs, such as television slots and film festivals, and viral marketing strategies to connect with audiences.
The document discusses creating representations of loneliness and longing for the male protagonist character through his isolation in shots and watching the female antagonist character. Specific cinematography techniques are mentioned, like over the shoulder shots of the male character watching the female from a distance. Locations like the bedroom, shower, and party are discussed in terms of depicting the characters' relationship before and after its breakdown. Props like lipstick and costumes for each character are addressed in creating meanings around moving on and sadness. Lighting techniques complement the intended representations.
The document discusses how the media product represents various social groups and stereotypes through the characters in a 1940s film noir. The femme fatale character, a beautiful white woman, is represented as mysterious, violent and the murderer. The detective character, a young black man, is represented as drunk. Locations like the pathway and messy office show the detective's lifestyle. The femme fatale is in her 40s and dressed classily, while the younger detective wears a casual shirt. Racism against black detectives in 1940s society is also represented. The femme fatale violates expectations by being the violent character instead of the detective.
The document analyzes a scene from the film "Kill Bill" through the lens of film techniques and genre conventions. It summarizes how Tarantino uses close-ups, lighting, shot composition, sound, and character relationships to immerse the audience in the thriller genre. Close-ups of the characters build empathy and intrigue by revealing details while hiding others. Noir lighting, wounds, and the song "Bang Bang" establish the tone and genre. The power dynamics between "The Bride" and "Bill" develop tension and suspense through their interaction and shot framing.
The document provides a textual analysis of two trailers for soap opera television shows:
1) A trailer for the BBC soap opera Eastenders that teases the investigation into the murder of a character named Lucy Beale.
2) A trailer for the Channel 4 soap opera Hollyoaks that focuses on the downfall of the character Sienna Blake.
The analysis examines both the verbal (dialogue, voiceovers, sound effects, soundtrack) and non-verbal (setting, lighting, costumes, facial expressions, props, camera angles, shot types, camera movement) codes used in each trailer and evaluates their strengths and how they could be improved to further engage audiences.
The document discusses representations of social groups in thrillers. It notes that females were traditionally portrayed as victims, weak, and dependent on males but modern thrillers often show stronger, independent females who may be protagonists or antagonists. The document also discusses representations of males as usually strong, powerful, and intelligent protagonists or antagonists. It summarizes that the film's protagonist is a young male of 23 to relate to the target audience, though he shows weakness towards the end when confronted by the female antagonist, offering an unconventional portrayal.
The document discusses representation of different social groups in thrillers. It notes that females were traditionally represented as victims, weak, and dependent on males in early thrillers but are now often portrayed as stronger, independent, and sometimes the antagonist. It also discusses representation of males, who are usually the protagonist and antagonist, portrayed as strong, powerful, and intelligent problem-solvers. The document then discusses the representation in its own thriller, noting the unconventional female antagonist and weakening male protagonist. It also discusses representation of age and professionalism of the young male protagonist.
This document discusses how the media product represents different social groups through its main character Sally Blunt and villains. Sally is portrayed as a strong, independent female ex-FBI agent, challenging thriller conventions which typically feature male heroes. Her plain clothing and lack of dialogue create mystery. The villains wear dark clothes and masks to hide their identities and blend into the shadows, seen watching Sally in an unnerving manner. Sound, editing, cinematography and other techniques are used to build suspense and portray Sally and the villains in a way that follows thriller genre codes.
1) The document analyzes Propp's character archetypes and applies them to analyze two trailers - one for "Easterners" and one for "Coronation Street".
2) For the "Easterners" trailer, several female characters could represent the heroine role, while the villain is intentionally kept ambiguous to generate mystery.
3) In the "Coronation Street" trailer, many characters display villainous traits for dramatic effect, while others take on helper, donor, dispatcher, or false hero roles according to Propp's definitions.
This document discusses gender representation in the noir genre and how it was applied to the creator's media package, which included a neo-noir trailer ("Azrael"), poster, and magazine cover. In noir films, gender representations are typically reversed, with females portrayed as powerful, controlling, and manipulative while males are weak, dominated, and victims of lust. The creator's works conformed to these representations by depicting the female lead as a femme fatale who uses red lipstick, smoking, and dominance over the male character. However, some elements also subverted expectations, such as having a female detective character. Overall, the document examines how the creator both conformed to and challenged typical gender stereotypes within the
Warren Jeffreys will play The Silencer, an assassin protagonist who takes rough approaches to his missions but is more relatable than an "alpha male" tough guy. Warren is suitable because he has a mature, tall look with facial hair giving him a rough edge, and shares the character's blasé and satirical personality.
Hannah Lortie will voice Claire, The Silencer's briefings assistant who is like a female James Bond character. She is intelligent, calm and the voice of reason. Hannah shares these traits and has a down-to-earth voice suited for the role. She has experience acting from secondary and advanced level performing arts studies.
The video represents Lucy Rose in a strong, dominant manner through various camera techniques, editing, and mise-en-scène elements. She is frequently framed in close-ups at the center of shots to portray her as important and heroic. Her aggressive character is emphasized through direct address and violence portrayed in slow motion. Lucy is dressed masculinely on a large quad bike, participating in typically male activities to challenge gender norms and portray herself as down-to-earth and adventurous.
This document analyzes the promotional materials for the film Black Swan, including the theatrical poster, trailer, and magazine cover. It finds several common elements across the materials: a black background, simple white typography, a focus on the female protagonist wearing makeup, and hints that her character is hiding something darker underneath the surface. The analysis suggests these elements link the film to the psychological thriller genre and fulfill audience expectations of familiar genre conventions.
Question 2 evaluation. By Jumana IsmailJumana Ismail
The document summarizes how different social groups are represented in the opening sequence of a media product. It represents the main character as working class based on her plain clothing. The antagonist is depicted as possibly upper class by her expensive coat. Both main characters are white to fit British horror conventions, though the antagonist has darker skin. The target age range is 16-25. Female characters only are included, with the protagonist and hero portrayed positively and the antagonist as powerful.
The document analyzes a music video by Katy Perry called "Roar". It summarizes the video in three parts:
1) It describes the opening scene showing Katy isolated from a man taking a selfie, looking scared in low lighting while he is happy in high lighting.
2) It discusses a later scene of Katy making a spear, taking on a dominant role by hunting. Her body language and lyrics show her growth into a fighter.
3) Near the end, Katy is shown sitting on a throne in colorful clothing, looking powerful surrounded by animals. She sits with her legs apart, subverting female stereotypes to appear more dominant and in control.
The document provides details on the mise-en-scène for the music video of "Stay With Me" by Sam Smith. It outlines how the macro representations of loneliness and longing for the female protagonist will be conveyed through micro details. These include isolating shots of the male protagonist to show his lack of social contact, and over-the-shoulder shots suggesting he still watches the female protagonist. Specific locations like the bedroom, shower, party and busy road will further emphasize his isolation and vulnerability as well as contrast his current lonely state with happier past moments with the female protagonist. Costumes, lighting, and props like lipstick will also be used to represent the characters' emotions and development throughout the relationship and its breakdown
The document provides an evaluation of a media product titled "Stolen" created by Danielle Gallagher. It summarizes how the product used and developed conventions of the psychological crime thriller genre. It analyzed elements like camera work, titles, lighting, costumes, and characters to represent stereotypes and attract its target middle-class audience of 15+ year old males and females. The evaluator believes the product could be distributed by film companies like New Line Cinema or Film4 and garner interest from those who enjoy thrillers with similar conventions like Misery. Feedback on an early cut praised the music, titles, and ability to engage and intrigue the audience about what would happen next.
The document discusses how the media product represents various social groups through its characters and filming techniques. It shows teenagers in a positive light rather than as stereotypical delinquents. The two main female protagonists, aged 15, are portrayed as vulnerable but one is more dependent on others. The antagonist chasing them is male, conforming to stereotypes of villains being male. Camera shots are used to suggest one girl is more dominant. The document discusses how it could represent ethnic groups in a way that challenges stereotypes.
The document is a storyboard for a flashback sequence in a film. It provides descriptions of shots that will be used to visualize the protagonist Hayle having a restless night and experiencing disturbing visions. The storyboard outlines shots that will show Hayle trying to sleep, hearing noises outside, and then seeing shadowy figures emerge and approach her bed, conveying her rising fear and paralysis. The shots become increasingly close and intense, emphasizing the threatening nature of the figures and Hayle's terror and inability to escape.
The document discusses representation of social groups in a media product. It focuses on portraying characters of different genders, ages, and social classes through mise-en-scene and props. For the femme fatale character, the goal was to portray an empowered upper-class woman through lighting and costume, including red lipstick and a black dress with fur. For the detective character, the aim was to show a worn-down but corrupt middle-class man through his unkempt appearance and drinking of whiskey in his run-down office. Overall, the opening sequence relies on stereotypes like the femme fatale manipulating the detective with her seductive looks and behavior.
The document provides an analysis of a short horror film opening. It discusses various technical and stylistic elements used that conform to conventions of the psychological horror genre. These include the setting, plot, characters, sound, editing, mise-en-scene, camera work, titles, and color palette. It also analyzes how the film represents particular social groups through its gendered characters and their roles. Finally, it considers potential distribution partners for an independent film like theirs, such as television slots and film festivals, and viral marketing strategies to connect with audiences.
The document discusses creating representations of loneliness and longing for the male protagonist character through his isolation in shots and watching the female antagonist character. Specific cinematography techniques are mentioned, like over the shoulder shots of the male character watching the female from a distance. Locations like the bedroom, shower, and party are discussed in terms of depicting the characters' relationship before and after its breakdown. Props like lipstick and costumes for each character are addressed in creating meanings around moving on and sadness. Lighting techniques complement the intended representations.
The document discusses how the media product represents various social groups and stereotypes through the characters in a 1940s film noir. The femme fatale character, a beautiful white woman, is represented as mysterious, violent and the murderer. The detective character, a young black man, is represented as drunk. Locations like the pathway and messy office show the detective's lifestyle. The femme fatale is in her 40s and dressed classily, while the younger detective wears a casual shirt. Racism against black detectives in 1940s society is also represented. The femme fatale violates expectations by being the violent character instead of the detective.
The document analyzes a scene from the film "Kill Bill" through the lens of film techniques and genre conventions. It summarizes how Tarantino uses close-ups, lighting, shot composition, sound, and character relationships to immerse the audience in the thriller genre. Close-ups of the characters build empathy and intrigue by revealing details while hiding others. Noir lighting, wounds, and the song "Bang Bang" establish the tone and genre. The power dynamics between "The Bride" and "Bill" develop tension and suspense through their interaction and shot framing.
The document provides a textual analysis of two trailers for soap opera television shows:
1) A trailer for the BBC soap opera Eastenders that teases the investigation into the murder of a character named Lucy Beale.
2) A trailer for the Channel 4 soap opera Hollyoaks that focuses on the downfall of the character Sienna Blake.
The analysis examines both the verbal (dialogue, voiceovers, sound effects, soundtrack) and non-verbal (setting, lighting, costumes, facial expressions, props, camera angles, shot types, camera movement) codes used in each trailer and evaluates their strengths and how they could be improved to further engage audiences.
The document discusses representations of social groups in thrillers. It notes that females were traditionally portrayed as victims, weak, and dependent on males but modern thrillers often show stronger, independent females who may be protagonists or antagonists. The document also discusses representations of males as usually strong, powerful, and intelligent protagonists or antagonists. It summarizes that the film's protagonist is a young male of 23 to relate to the target audience, though he shows weakness towards the end when confronted by the female antagonist, offering an unconventional portrayal.
The document discusses representation of different social groups in thrillers. It notes that females were traditionally represented as victims, weak, and dependent on males in early thrillers but are now often portrayed as stronger, independent, and sometimes the antagonist. It also discusses representation of males, who are usually the protagonist and antagonist, portrayed as strong, powerful, and intelligent problem-solvers. The document then discusses the representation in its own thriller, noting the unconventional female antagonist and weakening male protagonist. It also discusses representation of age and professionalism of the young male protagonist.
The student's media product challenges conventions of 1950s thrillers in its portrayal of the female character Eve. Eve defies expectations by attempting to educate herself with a book and wearing a shorter, tighter skirt. Her movements show she is cautious but seeks to escape the dominance of the male character Frank. Frank represents power through his suit and aggressive movements. Props like Eve's pearls and Frank's lighter and gun conform to thriller conventions but their meanings are made ambiguous. The lighting and inclusion of diegetic sound make the setting feel relatable rather than dark like typical thrillers. Camera angles initially show Frank's power but later suggest Eve may challenge it, representing her deviation from familiar female archetypes.
The document discusses how the media product challenges conventions of real media products through its location, characters, and costumes.
Specifically, it summarizes:
1) The location of an upper-class 1950s British schoolroom was chosen to fit the noir thriller genre but challenges conventions by depicting the female character gaining independence when the male is distracted.
2) The character Eve challenges conventions by betraying the male character against expectations and dressing in a seductive, convention-challenging style to represent her defiance.
3) The male character Frank's name was chosen to fit the 1950s thriller genre theme.
The document discusses the characters included in a film and how they are represented. It includes:
- The main character Lucy Brown, a young white middle class woman, and two stalkers portrayed as male. Two detectives are only heard through voiceover, representing an older age group.
- Lucy Brown is initially shown relaxed but builds tension as the audience knows she is being followed. Camera angles make her look vulnerable against the stalkers. She finds a knife, showing strength.
- The detectives take the case seriously through their dialogue. One regrets not helping Lucy more after she was murdered.
- Lucy Brown's characterization challenges stereotypes by seeking help, but also reinforces the stereotype of women needing saving against
How does your media product represent particular social groups joelle riley
The document discusses how the media product Jasper represents various social groups through its characters. It had a female protagonist, Jasper, to challenge thriller conventions and engage female audiences. Jasper has high status as the protagonist and her mental health struggles are depicted through various camera techniques and sounds. The male therapist Benjamin was included to appeal to male audiences and because males traditionally hold more power in thrillers. Benjamin's high status is shown through his professional clothing and role controlling the meeting with Jasper.
The representations of gender in horror films essayBeccihammond
In horror films, representations of gender are often more complex than in other media. Women may be portrayed as both extremely weak and as strong "final girls" who survive until the end. While women are sometimes sexualized, horror films also allow women to be active protagonists who save the day. The final girl is often presented as more masculine or virginal compared to other female characters. Horror films provide some female role models and allow for more varied portrayals of gender than other forms of media.
The representations of gender in horror films essayBeccihammond
In horror films, representations of gender are more varied than in other media. Women can be portrayed as both extremely weak or strong, taking on active roles rather than just passive ones. The "final girl" trope allows the main female protagonist to survive until the end of the film, taking on a more masculine role as the hero who defeats the monster. However, presentations of women in horror films still vary significantly within the genre and even within individual films, showing both weak and strong characteristics. While they receive more varied portrayals than other media, representations of gender in horror films remain complex and uneven.
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It potentially reinforces some stereotypes around mixed race people and location.
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It risks portraying mixed race characters negatively or as criminals at times. Location may appeal more to white than black audiences.
The document discusses how the media product represents various social groups through its characters. It includes 4 characters of different ethnicities with more females than males. It aims to appeal to a similar aged and ethnically diverse audience as the actors. Some stereotypes portrayed include teenagers rebelling through underage drinking. While most characters conform to stereotypes, one male portrays responsibility challenging age stereotypes. It aims to challenge gender stereotypes by having a female lead but still depicts women as vulnerable at times. The main character is mixed race, challenging expectations for the lead to be white. It risks portraying mixed race characters negatively or as criminals at times. Location may appeal more to white than black audiences.
The document discusses how the characters are represented in the media product through various techniques. The main character, Holly, represents a working class teenage girl as indicated by her age, attire, and location at a tube station. Camera shots are used to portray Holly as vulnerable through close-ups of her facial expressions and body, and high angles of her tied up. The villain Kayla is represented as mysterious, sadistic, and obsessive through point-of-view shots, close-ups of stroking Holly's hair, and a pan of knives. Editing also builds mystery, tension, and suggests Kayla's jealousy is progressing. Music fits the scenes and reveals characters as evil, jealous, or creating tension.
How does your media product represent particular social groups?tiffanyymchan
The document discusses how the media product represents various social groups through its characters. It portrays the female character Katie as initially confident but later vulnerable, challenging stereotypes. The young male character's youth makes him more sinister and untrustworthy. White teenage females are presented consistently with thriller conventions. Black males are usually shown as sinister villains. Women are typically victimized while males are more powerful and dominant. Camera angles, shots, and scenes are used to convey these representations of age, ethnicity, gender, and power dynamics between characters.
The film opening challenges stereotypes about social groups in several ways:
1) The protagonist, who has a mohawk hairstyle typically associated with violence, is portrayed as a victimized character rather than the antagonist.
2) The male protagonist is emasculated by being kidnapped and in need of rescue by the female character, challenging the typical portrayal of males as strong heroes.
3) The female character saves the male, challenging the stereotype of women as weak and dependent on men. However, she is also sexually objectified in a way that could be seen as misogynistic.
4) Younger characters are portrayed struggling in modern Britain and facing immorality and crime
The document discusses how the media product represents certain social groups through the character introduced in the opening sequence. It represents:
- Ethnicity/race by having a white female character to portray vulnerability and need for rescue, following stereotypes.
- Gender by having a young, attractive female as the main character who is both the "damsel in distress" but also challenging norms by being the lead.
- Age by having a teenage character who challenges stereotypes of being irresponsible by having responsibility and maturity, aiming to provide a positive representation.
The character representations aim to appeal to target audiences by following some stereotypes but also challenging others to make the character and film more interesting and thought-provoking
Representational Response For Underhand: Genderatkia011
This document discusses representations of gender in neo-noir films and media. It notes that in most genres, women are portrayed as weak and domestic, while men are powerful. However, in neo-noir, women are often depicted as "femme fatales" who manipulate men and use their sexuality to get what they want, while men are shown as mysterious and lust-driven. The document then analyzes how the film trailer, poster, and cover for a student project represent and conform to these neo-noir gender stereotypes through costumes, lighting, framing, and other elements.
The document discusses how gender, age, and sexuality are represented in the media product. The main character follows stereotypes as the dominant male lead, while the female secretary is shot from above, lowering her status. However, she subverts expectations by not showing interest in the male. While initially stereotypical as strong, the male later runs away instead of facing danger. The older character is atypical as the villain rather than offering advice. He is able-bodied, subverting stereotypes of disability in old age. The male lead is a stereotypical straight, white, masculine man.
2.how does your media product represent particular socialYG Entertainment
The document discusses representations of social groups, particularly gender, in horror movies and the author's own media product. It notes that males are typically portrayed heroically or villainously while females are usually victims or "final girls." It then analyzes the representations in its opening sequence, finding that one female character conforms to tropes as a vulnerable victim while the other subverts expectations as the aggressive villain. While intending to challenge norms, the narrative remains centered on resolving conflict between the male and female exes. It concludes by acknowledging other excluded social groups.
The document discusses how the filmmakers represent the main character, a young female office worker, through various filmmaking techniques. She is represented as vulnerable, weak, and isolated through shots that show her alone in open fields and close-ups that highlight her struggle against the zombie. Her gender both challenges and reinforces stereotypes by showing her as initially weak but then dominant when fighting the zombie. The use of costume, setting, camera shots, music, and editing are all discussed as ways the character's social groups and traits are represented on screen.
media group Evaluation question on powerpoint KellyMorales20
The document discusses how the filmmakers represent the main character, a young female office worker, through various filmmaking techniques. She is represented as vulnerable, weak, and isolated through shots that show her alone in open fields and close-ups that highlight her struggle against the zombie. Her gender both challenges and reinforces stereotypes by showing her as initially weak but then dominant when fighting the zombie. The use of costume, setting, camera shots, music, and editing are all discussed as ways the character's social groups and traits are represented on screen.
Similar to Representation of gender in Two Minds (20)
The document compares and contrasts the trailers for the classic film noir The Big Sleep (1946) and the neo-noir film Chinatown (1974). It finds that the Chinatown trailer reveals more of the narrative and a major plot twist, while the more cryptic Big Sleep trailer leaves the viewer with many questions. Both trailers utilize voiceovers and non-diegetic music, but Chinatown features more dialogue and varied shots including handheld camerawork. While the femme fatale in The Big Sleep adheres more to the dominant noir archetype, Chinatown subverts expectations by portraying its femme fatale as weak.
This document discusses and analyzes posters for the film Sin City: A Dame to Kill For. It notes that the posters focus mainly on female characters, particularly Jessica Alba, in a way that appeals more to a male demographic. The posters also draw in fans of the original Sin City film by keeping the same font. Overall the document examines elements like main images, cinematography, mise-en-scene, and how posters target audiences.
How we improved our magazine cover based on audience feedback Jamie Robinson
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The author conducted qualitative research in the form of a Padlet to gather feedback on their magazine cover from their target audience. Based on the responses, they identified several areas for improvement, including adding a border, centering the dividing line, and improving the barcode and adding the issue number and date. The feedback highlighted issues the production team had not noticed. Making these changes based on the audience feedback significantly improved the quality and professionalism of the final magazine cover design.
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2. How DidWe Represent the Female
GenderAcross our Multi-Media
Package?
• There is only one female character who appears in the
marketing campaign forTwo Minds.This character is our
femme fatale,Vanessa Warren. Ms.Warren, portrayed by
Catrina Edwards, appears in the trailer and the poster,
however not on the magazine cover.
• During the planning phase, Rory, Matt and I spent a long
time thinking how we would representVanessa, not only in
the trailer but the ancillary tasks also. He could either go
down the classic noir femme fatale route, in whichVanessa
would be entirely dominant and depend on her sexuality to
dominate male characters. Alternatively, we could take a
more niche approach and use Mrs. Mulwray (Chinatown –
1974) as a mold, in which our femme fatale would appear
controlling and dominant at times, however would appear
weak and vulnerable at other points in the narrative.
• We opted to go down the second path, as it was more inline
with the themes of suspense and mystery, which are crucial
to the narrative ofTwo Minds.
3. Representation of Female Characters in theTrailer
• In the trailer forTwo Minds, the main element of VanessaWarren’s character
that we wanted to convey to the audience was mystery.Therefore, the
representations we made were done to achieve this goal.
• Firstly, we wanted to represent our femme fatale as dominant.This was
important because a strong femme fatale is iconic of the noir genre, which
would make the genre of the trailer easily recognisable.
• We went about representingVanessa as dominant through shot types, which
includes framing and colours.Also, her dialogue highlights the dominant side
ofVanessa Warren. One shot highlights this very well…
4.
5. • This shot was composed and shot with the express intention of representing
Ms. Warren as a dominant character.This shot conveys this in a number of
ways:
• The facial expression and body language of Detective Wells highlights the
dominance of our female character. He is looking down at his feet, which is
typical of someone who is nervous or worried.This contrasts withVanessa,
who is framed to the right ofWells, and is staring straight at him.This is
typically a sign or confidence and dominance, which are characteristics we
intended to convey to the audience.
• Also, the dialogue that runs over this shot is of Warren orderingWells to
‘confess’.The fact this is an order highlights her dominance in the scene and
the fact she is hasWells under her control and ultimately demonstrates that
she is a powerful female character.
6. • We also wanted to representVanessaWarren as a
dark and mysterious character.This was mainly
done through careful shot selection and rigorous
planning.One shot in particular demonstrates the
darkness and mystery behind Ms.Warren.
• The shot on the right highlights the dark and evil
nature ofVanessa as the background is completely
black.The effect we aimed to achieve here is that
Warren had emerged from the darkness, or that she
is lurking in the shadows.This is also the
representation we aimed to portray on theTwo
Minds poster, which I will go into more detail on
later in the PowerPoint.
• This representation is supported by the fact the
narrative centers around the factVanessa was
serving prison time for murder, which is made clear
in the press conference at the beginning of the
trailer.
7. • Another way we attempted to present Ms.
Warren as a mysterious character is the fact
the audience only hears her speak once in
the trailer, and not until 58 seconds in. Even
at the beginning it is her lawyer speaking
on her behalf, however she is framed to the
side of the shot and remains silent.This
idea was inspired by Polanski's ‘Chinatown’
, in which Mrs. Mulwray says, ‘I don’t get
dirty Mr. Gittes, my lawyers do’.
• Representing Ms.Warren as a mysterious
character was crucial in our trailer because
it is a key aspect of the narrative and
ultimately the mystery posed by her
character are never resolved.
• However, this shot (left) opens up a
completely alternative range of
representations of our female character.
8. • The shot highlights that she relies on male characters for support.The shot
also picks up on the stereotype that lawyers are often men and that women
rely on their legal advise.This was done to portray the other side of the
enigma that is Ms.Warren’s character. I will now focus on the other side of
the character and how this was represented.
9. • We have presented Ms.Warren as a
vulnerable and powerless character, which
contrasts from other representations of her.
We presented her in this light through a few
shots as part of a montage, which are only on
screen for a couple of seconds, however the
iconography used makes it clear to the
audience thatVanessa is vulnerable and
powerless.
• For example, the shot on the right of a hand
which has been handcuffed.The handcuffs
symbolize powerlessness and vulnerability.
Therefore, this representation was made
through the use of iconography in certain
shots.We also chose to frame the shot like
this because it adds to the mystery theme
which is so vital in the narrative.The audience
cannot see a face, so this shot is left to their
subjective interpretation.
11. • The fact that our femme fatale is not the main image, is framed to the side
and takes up less space on the cover than the protagonist simply highlights
the fact the audience follow Detective Wells.This is not really a matter of
representation, although if it was deeply analyzed it could suggest she is
less important than her male counterpart, however this is not an
interpretation we planned or intended to make.
• Also, on the poster, unlike many noir and neo-noir posters, we have not
sexualized our femme fatale.Therefore, Mulvey’s Male Gaze theory is not
applicable to theTwo Minds poster.The reason for this is that our femme
fatale exploits male characters through her intelligence and fantastic grasp
of the English language, rather than through her sexuality. We have not
used the poster to represent our female lead as a sexual object or a subject
of voyeurism.
• We intended to step away from some typical conventions of the neo-noir
genre, including the idea that the role of the femme fatale in the narrative
should be built on her sexuality.This is why we have avoided this
representation ofVanessaWarren.
12. How DidWe Represent the Male Gender
Across our Multi-Media Package?
• There are three male characters who appear throughout our multi-media package.They
are: DetectiveWells,Archibald Gates (lawyer) and the Boss.
• We focused more on the representation of Detective Wells as he is the main character in
the narrative and it is his journey the audience follows.We wanted to presentWells as a
character who is on a downwards spiral as the narrative progresses.This ties into mental
health and how we represented Wells and his mental state.
• We wanted to represent, Archibald Gates as a well-educated, calm and authoritative man.
We mainly achieved this through dialogue.AsWells only features once in the trailer and
does not appear on the poster or magazine cover, it was important to make a strong
representation in the limited time he has on screen.
• The Boss is the other male character and he appears on the poster and in the trailer.We
represented him as a character with power also someone who is very serious and has a
short fuse.
• We also made a representation of the male gender using our Sight and Sound magazine
cover, which features our male director, ‘CalvinGilbert’.We wanted to present our director
as authoritative, intelligent and creative.
13. Representation of DetectiveWells
• As previously mentioned, we wanted to represent Wells as a characters
who’s life and mental health were deteriorating.This representation was
made as it reflects the narrative and also makesWells appear weaker,
thus more vulnerable to the manipulative side ofVanessaWarren.
• To do this, we needed to present a phase of equilibrium (Todorov).This
meant that Wells had to be represented as a typical, hard-working man,
who is very similar to many male members of the audience.This was
done at the beginning of the trailer, when Wells walks into his house,
turns on theTV and is tracked into the kitchen.The idea behind this was
that our audience could relate to his routine as it is probably similar to
one they perform everyday.This sets the foundation of Wells’ character
type and his journey throughout the narrative.
• Once this representation of the Detective had been made clear to the
audience, we then had to begin to presentWells as a character in
decline, both mentally and emotionally.
14. • The main way that we representedWells as a character with deteriorating
mental health and someone who was becoming more vulnerable as the
narrative progressed was through shot composition and shot types.
Montage editing was particularly useful to represent our male lead in this
way because it allows for a number of fast shots, which all connote that
Wells is weak.
• As you can see on this slide, there is a shot of Wells drinking behind the
wheel, which is a common sign that someone is struggling mentally or
emotionally at a particular moment.We also used a snorri cam with the
contrasting red and blue lights shining on Wells face, which I believe gives
the effect that Wells is intoxicated, also the facial expression of our actor
helps convey this representation to the audience.There is another shot in
whichWells is sat on the floor with his head in his hands and illuminated
by a red light.Wells body language and the fact he is sat on the floor,
could be interpreted as Wells running into financial troubles and now
being forced to live on the street, which certainly adds the representation
that his life is on a downwards spiral.
• The fact all of these shots appear as part of a montage, means the
audience can use all the shots they have been shown over around a 1o
second period, and draw a conclusion that Wells is a more vulnerable and
a weaker character than he was at the beginning of the trailer.This means
our representation was strong and effective, because the audience has
interpreted it as we intended.
15. • Detective Wells was also represented as a
powerful and dominant character.This
contrasts the deteriorating mental state he
enters mid way through the narrative.
• One way we did this was via a fight scene, in
which Detective Wells manages to fend off
and arrest a criminal.This is a clear sign of his
physical power, which connotes dominance
and authority.
• The last shot in the trailer is ofWells
approaching an abandoned barn, with the
voiceover, ‘it’s time to set this straight’.The
combination of the foreboding voiceover and
the factWells is wielding a weapon represents
our protagonist as an intimidating character,
who more so fits the stereotypical role of a
male character in a noir film.Therefore, this
representation of Wells would be criticized as
narcissistic by Laura Mulvey, because a male
audience will gain pleasure from seeing
another man in powerful positions.
16. • On theTwo Minds poster, we chose to focus on the
more dominant and powerful representation of
Detective Wells. We chose to represent him in this
light because it is more common in film poster. In my
research I saw very few noir or neo-noir posters, on
which the male lead was presented as feeble or weak
to the audience.
• We represented the male gender as powerful on the
poster by framingWells in center frame, this
highlights his importance in the narrative.The same
principle applies to the fact he is the largest element
of the poster.
• Also, the image was shot with our actor holding a gun
in his right hand. A person with a gun is
stereotypically powerful, ruthless and dominant.
These were all things we wanted the audience to pick
up on when they saw the gun. Also, a gun
‘masculinizes’ a character, thus they are represented
as dominant.
• We also believed that it was important to get across
to the audience the fact Detective Wells is a detective
and not simply a common criminal. Mise-en-scene
helped us achieve this representation as we dressed
our actor in a shirt and tie, which is typical of a
detective or other government employed agent. We
appropriated (Jenkins) this idea from James Bond
posters, where 007 is almost always seen in a suit.
18. • Our Sight and Sound magazine cover consists of our male director in a close-up who is
framed centrally and is the only image on the cover.We chose to have a male director, not
to contribute towards the moral panic surrounding the role of women in Hollywood at the
moment, but simply because we believed that a man with a beard would make the cover
more interesting and give the image more texture. I highlight this as it made be argued that
we are representing men as better directors than women, however this is not the case and
certainly was not intended. In fact if you look at the cover lines at the bottom of our poster,
you will see the magazine also focuses on ‘Maria Bekir’, a famous actress, who plays the
lead role in ‘Voices’.As well as an interview with Sandra Jackson, who is a world famous
director.Whilst we made both of these ladies up, it highlights that we are representing
females in the movie industry on the same level as males performing the same roles, be it
acting or directing.
• We have however represented our director as a creative and intelligent man.We believed
that the director (Andrew Wills) running his fingers through his beard, makes him appear
thoughtful, artistic and intelligent.
19. The Role of RepresentationTheory inTwo Minds
• When making representations of any character on any media platform I
found that using different theories surrounding the concept of
representation aided my groups representations and generally
strengthened our marketing campaign.Through my research, as well as
studying for my A2 Media exam, I have a solid understanding or the theories
behind representation, many of which can be applied to theTwo Minds
marketing campaign.
• An advanced definition of representation is that it is the process by which
media texts re-present reality through a process of selection and ordering
within generic, technological and institutional conventions.
• ‘Selection and ordering’ was something I took on board and something I
highlighted to my production group.The result is that in characters such as
the boss, we have selected to place the most emphasis on the harsher side
of his personality in the trailer, as it is important in driving the narrative
forwards.
20. Pluralism - Szymanski
• Szymanski’s theory of pluralism was very useful to me and my group as it informed
us that we could represent individual characters in a number of different ways.This
was crucial as using multiple representations of an individual character was key in
driving the narrative ofTwo Minds forwards.
• The theory of pluralism states that every group has more than one representation
and that these representations are simply reflections of reality. Szymanski argued
that the medias popularity derives from interaction among societies constituent
groups, to which the audience belongs.The media are internally democratic, they
accurately reflect their audiences interests and views.
• The fact a group can have more than one representation benefitted my production
group as it means that there are many different options to explore regarding the
way certain individuals or groups are represented.Therefore, we are able to
represent our characters and locations in a number of ways, which makes the
trailer more interesting and enticing to the audience.
21. • An example of how our group, as a result of my research, used the
concept of pluralism is the way Detective Wells in represented in
both the poster and the trailer.We have taken two opposite
representations of a male character, and used them both to
represent Wells.
• One representation ofWells is a strong, dominant and powerful
man who used fighting and violence to achieve his goals.This
representation can be seen on the poster, where Wells is framed
centrally in a mid-shot holding a pistol.This side ofWells is also
presented at points in the trailer, for example whenWells is
wielding a baseball bat in two of the shots, or the fight scene in
which he fends off and arrests a criminal with ease. I suppose this
is a more stereotypical representation of a male character as
Wells has been put through ‘masculinization’, meaning his more
dominant and powerful traits have been emphasized and
increased.
• Conversely,Wells has also been represented as a weak and more
vulnerable character who is simply a puppet to a more dominant
female.This is very evident in the trailer when, as part of a
montage sequence, a snorri cam is used to highlight the factWells
is intoxicated and also through a shot ofWells sitting on the floor
with his head in his hands.
• If I was not aware of the theory of pluralism, we would not have
represented our characters in a plethora of different ways as it is
atypical of neo-noir. However, with Szymanski’s theory as support
for the use of multiple representations, I was much more
confident with using various representations.
22. Chandler – RepresentationTheory
• Another theory that came to mind, especially when planning how we would represent
VanessaWarren, was that Chandler argued every representation is motivated and
historically contingent.Chandler is essentially arguing that all texts and characters are
constructed representations based on reality.
• This is highlighted by the fact the role of the femme fatale has changed from the classic
noirs of the 1940’s to the more modern femme fatales in todays society in the neo-noir
genre.
• This was something I was keen to reflect, especially as the night before Matt, Rory and I sat
down to discuss how we would represent our femme fatale, OprahWinfrey gave her
powerful speech at the 2018 Golden Globes. I believed this speech reflected a shift in the
views of society towards women in Hollywood, at the very least Oprah drew enormous
attention to the issue.
• I was therefore keen to present a femme fatale who reflects a liberal modern society and is
not simply characterized by her sexuality.This representation may have been a reflection of
society in the 1940s and 50s, however in todays society a femme fatale defined by her
sexuality would be considered outdated.
23. • I therefore pushed the idea of a femme fatale not
characterized by her sexuality but her intelligence and
dominant use of language. Although this is not a typical
representation of a femme fatale, my group agreed and
we went about planning how this would be done.
• One shot is crucial in highlighting how Ms.Warren is
dominant due to her language and not her sexuality. In
this shot she leans intoWells’ ear and orders him to
‘confess’.
• Also the factVanessa is not sexualized on the poster
highlights the niche representation we opted to push
forwards.
• Overall, I believe it was quite a risk using Chandler’s
theory and going against typical noir conventions to
represent our femme fatale in the way we did. However,
I believe it makesTwo Minds unique and as Stephen
Neale says, ‘difference is crucial to the economy of
genre’.
24. Conclusion
• Overall, I identified early on in the
production ofTwo Minds that it
must be made clear that our
magazine cover, trailer and poster
are all linked and clearly part of
the same marketing campaign.
• We did this through including the
same characters, representing
similar themes across each text
and ensuring the colours red and
blue were prominent throughout
the multi-media package.
• Representation was crucial in
ensuring this because the same
traits of a character need to be
portrayed across each media text
so that the audience becomes
familiar with or interested in the
character and are therefore more
likely to watchTwo Minds.