1) The document analyzes the character of Gerald Lloyd and how he fits the archetype of the "troubled male lead" in film noir.
2) Gerald is portrayed as an anti-hero private detective who gets embroiled in a case he does not want to be part of.
3) The femme fatale Lola Odell seduces and manipulates Gerald, following film noir conventions of the dominant woman.
The document discusses how the media product represents various social groups through its characters. It describes the clothing, poses, and roles of several main and supporting characters to show how they represent groups such as women, men in vulnerable positions, and people who do not want their current jobs or situations. The document also discusses how mise-en-scene focuses on the strong female lead character and how genre conventions and techniques appeal to the target action movie audience.
The document discusses several common character archetypes and conventions in slasher movies:
- The Jock is often seen as the false hero who fails to save the group. The Stoner provides comic relief. The Token Minority and Promiscuous Girl are often the first killed. The Main Male and Final Girl are the most sympathetic and often the last surviving.
- Common locations include haunted houses, cabins, and woods. The Killer wears a mask and uses weapons to dominate victims. A group of friends is formed that gets killed one by one.
- German Expressionist films used symbolism and shadows to add atmosphere and deeper meanings that still influence horror films today.
The document summarizes how two social groups, young men, were represented in the film. One character, Rob Ellison, plays the victim and is portrayed as vulnerable and helpless as he is chased by the other character. The second character, Ciaran Cochlan, plays the murderer and is portrayed as deranged, psychotic, and a threat due to his size and disturbing facial expressions. Both characters are of a similar age and outfit to show they are of the same social group but on opposite ends of the spectrum.
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 discusses various stock character types that are commonly seen in slasher films. It describes the roles of the jock, wanderer, final girl, popular girl, and pervert. The jock tries to protect the group, the wanderer gets killed first by wandering off, the final girl is often a virgin who survives, the popular girl is attractive but gets killed early, and the pervert lusts after one of the girls. It also uses examples from films like Halloween, Scream, and The Cabin in the Woods to illustrate how these tropes frequently play out.
The document discusses how social groups are represented in the student film "Sole Retribution". It describes choosing a young, innocent female victim named Erin Wolfe to make her seem more vulnerable. The villain, dressed in dark clothing and a hoodie, is intended to appear intimidating and powerful over the victim. Stereotypes of thriller victims and villains informed the characters' traits and behaviors. Inspiration was drawn from characters in other films to design the victim and villain roles.
In this powerpoint is an example of the Propp theory towards the film industry and how believed there were 7 characters that were played in every film.
Film noir has a distinct style that represented the mood in America after World War II through its use of gloomy grays, blacks, and whites. Visually, film noir used expressionistic lighting, shadows, and skewed camera angles to convey a sense of isolation. One recognizable feature is the use of low-key lighting and shadows to create a sense of disorientation and emphasize the cold nature of characters. Gender roles were also distinctly portrayed, with femmes fatales representing a threat to traditional values and victims portrayed as upholding maternal instincts. The 1941 film I Wake Up Screaming showed how women were limited to careers based on looks and the power dynamics of the time through camera angles that made women appear submissive.
The document discusses how the media product represents various social groups through its characters. It describes the clothing, poses, and roles of several main and supporting characters to show how they represent groups such as women, men in vulnerable positions, and people who do not want their current jobs or situations. The document also discusses how mise-en-scene focuses on the strong female lead character and how genre conventions and techniques appeal to the target action movie audience.
The document discusses several common character archetypes and conventions in slasher movies:
- The Jock is often seen as the false hero who fails to save the group. The Stoner provides comic relief. The Token Minority and Promiscuous Girl are often the first killed. The Main Male and Final Girl are the most sympathetic and often the last surviving.
- Common locations include haunted houses, cabins, and woods. The Killer wears a mask and uses weapons to dominate victims. A group of friends is formed that gets killed one by one.
- German Expressionist films used symbolism and shadows to add atmosphere and deeper meanings that still influence horror films today.
The document summarizes how two social groups, young men, were represented in the film. One character, Rob Ellison, plays the victim and is portrayed as vulnerable and helpless as he is chased by the other character. The second character, Ciaran Cochlan, plays the murderer and is portrayed as deranged, psychotic, and a threat due to his size and disturbing facial expressions. Both characters are of a similar age and outfit to show they are of the same social group but on opposite ends of the spectrum.
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 discusses various stock character types that are commonly seen in slasher films. It describes the roles of the jock, wanderer, final girl, popular girl, and pervert. The jock tries to protect the group, the wanderer gets killed first by wandering off, the final girl is often a virgin who survives, the popular girl is attractive but gets killed early, and the pervert lusts after one of the girls. It also uses examples from films like Halloween, Scream, and The Cabin in the Woods to illustrate how these tropes frequently play out.
The document discusses how social groups are represented in the student film "Sole Retribution". It describes choosing a young, innocent female victim named Erin Wolfe to make her seem more vulnerable. The villain, dressed in dark clothing and a hoodie, is intended to appear intimidating and powerful over the victim. Stereotypes of thriller victims and villains informed the characters' traits and behaviors. Inspiration was drawn from characters in other films to design the victim and villain roles.
In this powerpoint is an example of the Propp theory towards the film industry and how believed there were 7 characters that were played in every film.
Film noir has a distinct style that represented the mood in America after World War II through its use of gloomy grays, blacks, and whites. Visually, film noir used expressionistic lighting, shadows, and skewed camera angles to convey a sense of isolation. One recognizable feature is the use of low-key lighting and shadows to create a sense of disorientation and emphasize the cold nature of characters. Gender roles were also distinctly portrayed, with femmes fatales representing a threat to traditional values and victims portrayed as upholding maternal instincts. The 1941 film I Wake Up Screaming showed how women were limited to careers based on looks and the power dynamics of the time through camera angles that made women appear submissive.
The document discusses various concepts related to narrative structure in films. It begins by defining key concepts like equilibrium, disequilibrium, and resolution. It then provides examples of how these concepts are shown through characters and their relationships changing in the film 27 Dresses. The document also discusses how films can use codes like actions, enigma, symbolic, semantic and cultural to tell stories and activate audiences. It analyzes how Propp's character archetypes like villain, dispatcher and hero are represented in the film Shrek 2. Finally, it briefly touches on concepts like diegesis, narrative range, and modular narratives involving techniques like forking paths.
Black Swan is a psychological thriller about Nina, a ballerina in a New York dance company. Nina is chosen to play the lead role of the Swan Queen but struggles with the dark sexuality required for the Black Swan role. Nina begins having hallucinations and losing her grip on reality as the pressures of the role intensify. The film explores Nina's psychological breakdown through her developing anorexia, bulimia, and schizophrenia. It also examines the themes of competition, sexuality, and control through Nina's rivalry with fellow dancer Lily and overbearing relationship with her mother.
How has race been constructed in Sapphire?Belinda Raji
This document analyzes how race is constructed in the 1959 British film "Sapphire". It discusses how Sapphire's blackness is revealed through stereotypes and essentialism rather than factual attributes. The film links black people with sexuality, exoticism, and lack of restraint through Sapphire's clothing and time spent at a club where she danced with black men. Music is also used to imply black people's natural rhythm and connection to the jungle. The film presents the view that if racial boundaries are crossed, such as Sapphire's relationship with a white man, punishment will ensue, as seen by her murder. Overall, the document examines how the film constructs blackness through stereotypical signs rather than visual evidence.
Larry LaSalle is initially presented as a heroic figure in the novel but his character develops in a more negative direction. He is admired by the community for his war service but is actually manipulative and predatory towards younger people like Nicole. A turning point occurs in Chapter 11 where Larry's betrayal of Nicole and Francis is revealed, establishing him as a villain. While Larry commits some heroic acts, the novel questions what truly makes someone a hero and suggests appearances can be deceiving.
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.
A road movie genre typically follows a protagonist embarking on a journey of self-discovery as they leave home and encounter various challenges along the way. Film noir crime dramas are often filmed in black and white and feature dark themes of betrayal, flashbacks, and an amateur detective investigating a crime in an urban setting. Coming-of-age films focus on a character's progression from youth to adulthood through exploring their personal growth and identity. Psychological thrillers depict the unraveling of the mind, presenting a battle between characters' perceptions of reality that is often only revealed at the end.
The document discusses several common character tropes that are often seen in slasher films. It describes the villain, who is usually disfigured or wears a mask, and is oddly powerful. It also discusses the group of friends, which often includes a jock, stoner/nerd, promiscuous girl, and final girl. Other tropes mentioned include the benefactor, who gifts the group items; common locations like cabins in the woods; and the final girl character who is typically the last survivor. The document also examines psychological theories about the oedipal complex and how some analyses see the final girl representing castration anxiety.
City of God (2002) is a Brazilian film directed by Fernando Mereilles that depicts life in the violent slums of Rio de Janeiro in the 1960s-1980s. The film uses handheld cameras and location shooting to capture the "real" experiences of living in poverty. One character, Rocket, manages to escape the gangster lifestyle by pursuing his talent in photography. The film examines themes of social climbing through power and intimidation in slums, where money often leads to both happiness and downfall. It provides a glimpse into alien worlds and life experiences that audiences can personally relate to, even if not directly part of their own lives.
This document discusses conventions and gender roles in film noir. It analyzes conventions like violence, fate/death, and black and white cinematography. It explores how film noir represented post-WWII society as bleak with no hope. It examines character archetypes like the "anti-hero" and "femme fatale." It analyzes how men were portrayed as damaged and vulnerable, easily seduced by cunning women. Women were seen as untrustworthy and exploiting men's vulnerabilities. Screenshots from films like "Double Indemnity" and "Laura" demonstrate these concepts through visuals like powerful women towering over vulnerable men.
Todorov's 5 stages of narrative structure are summarized as: 1) Equilibrium, 2) Disequilibrium, 3) Recognition of disequilibrium, 4) Attempt to repair damage, and 5) New equilibrium. Levi-Strauss believed that narratives describe the world through binary opposites such as hero/villain and good/evil. Propp identified 7 character types that commonly appear in stories, including the hero, villain, dispatcher, and donor. Various narrative theories analyze codes, structures, and techniques used in storytelling.
The document discusses how the filmmakers of "Sole Retribution" represented social groups in their thriller film. They cast a female friend as the victim character Erin Wolfe to make her seem vulnerable, inspired by innocent female victims from other films. For the villain, they cast a male friend and dressed him in dark clothing to appear intimidating and powerful over the female victim, taking inspiration from male villain characters who are violent and see themselves as superior to women. The filmmakers concluded that portraying the victim as female and the villain as male plays into common stereotypes for these roles in thriller films.
The document represents particular social groups in the following ways:
1) The main male character is presented as a scruffy, dodgy-looking man to portray a stereotypical "man in a white van" who preys on children.
2) The main female character is dressed appropriately and portrayed as a studious "good girl" to make the horrible acts in the sequence more shocking.
3) The other young girls are presented as vulnerable through revealing clothing, uniforms, and gender signifiers like pink decor to contrast the dominant male character and imply they are being taken advantage of.
Francis visits the town where he grew up and recalls discussing Nicole with an army comrade. In a flashback, he remembers joining the army at a young age of 15. He has nightmares about his traumatic war experiences, describing them in graphic detail. His landlady feels sorry for his injuries from the war. Memories of Nicole remain fresh in Francis' mind as he visits where she used to live.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document provides an overview of a semiotic analysis of the comic book character Wonder Woman. It begins with an introduction to semiotics and the steps that will be taken in the analysis. These include identifying signs, binaries, cultural codes, and intertextual references in the text. The document then analyzes a specific image of Wonder Woman, breaking down visual signs like her costume, weapons, and posture. It discusses cultural codes embedded in Wonder Woman's iconography like representations of American patriotism and gender norms. The analysis addresses binaries between her identities and roles, and how the character communicates changing cultural messages over time related to feminism, war, and gender expectations.
The document provides an in-depth analysis of the 1954 film Rear Window and how it serves as a reflection of American society and relationships in the 1950s. It examines how the film uses the protagonist L.B. Jefferies' apartment windows as a frame through which he observes and compares himself to his neighbors, similar to how Americans watched television programs. The document also analyzes why Jefferies is hesitant about marriage by comparing his relationship with Lisa to the relationships of neighboring couples. It ultimately argues that while seeming imperfections can exist, people can still be perfect for each other if they understand and accept their differences.
City of God (2002) directed by Fernando Meirelles tells the story of the slums of Rio de Janeiro from the 1960s to the early 1980s through the perspective of Buscapé, a young man who witnesses violence and emerges as a photographer. The film follows Buscapé and his friends as children and teenagers trying to survive in the favela dominated by warring drug gangs. It depicts the struggle between the Tender Trio who want to live honest lives and the rise of Li'l Zé who builds a drug empire through increasingly violent means. By the end, Buscapé is the only one of his friends who escapes the cycle of violence and carves out a new life.
The document provides definitions and examples of key film analysis terms:
1) It defines denotation and connotation, and provides examples for the words "snake", "flag", and "gun".
2) It analyzes three movie posters, noting details like color schemes, imagery, and text that provide insight into the narratives and characters.
3) It summarizes two music clips, describing what type of scenes each might accompany based on elements like instrumentation, tempo, and structure.
4) It analyzes how a movie trailer for "The Shining" misleads viewers about the film's true nature through editing techniques.
5) It does the same for a hypothetical trailer for "
The document summarizes key themes in the novel Heroes including heroism, appearance and reality, and forgiveness. Regarding heroism, the nature of true heroism is unclear as no character finds comfort in their heroism. War heroes are portrayed as inspirational figures through propaganda but are in reality victims unable to return to normal life. On appearance and reality, the townspeople see a sanitized version of war but the survivors bring back the harsh reality and cannot function normally. Characters like Francis and Larry hide their true selves behind masks.
In Skyfall, Moneypenny is hesitant in her first mission and hits Bond instead of the target, suggesting she is an incompetent agent. She later decides to retire from field work and become Mallory's secretary. Severine is presented as vulnerable and an object of sexual gratification for Bond and Silva. While M is the head of MI6, she makes mistakes that cost lives and is asked to retire, with a man replacing her. The women seem to be positioned as decorative foils for Bond's masculinity rather than empowered representations.
The document discusses how the author's thriller represents certain social groups through its characters and plot. The main characters, a married couple named Jack and Lilly, conform to stereotypical gender roles - Jack is portrayed as dominant and secretive, hiding his real job as a hitman, while Lilly is innocent and naive, unaware of her husband's double life. These decisions were meant to give the audience what they wanted based on surveys. The thriller also suggests that older people are more likely victims, and that the villain will be a younger man portrayed in a dangerous light.
Vladimir Propp identified eight character types that commonly appear in fairy tales: the hero, helper, villain, false hero, donor, dispatcher, princess, and princess's father. He also proposed that fairy tales follow a sequence of 31 narrative functions, such as absentation, interdiction, violation, and punishment. However, when applying Propp's theories to horror movie trailers, not all the character types or functions were present. While some characters like the hero and villain could be identified, the sequences did not always follow Propp's proposed order and some functions were missing. Propp's work provides useful concepts for analyzing narratives but may not fully translate to other genres like horror films.
The document discusses various concepts related to narrative structure in films. It begins by defining key concepts like equilibrium, disequilibrium, and resolution. It then provides examples of how these concepts are shown through characters and their relationships changing in the film 27 Dresses. The document also discusses how films can use codes like actions, enigma, symbolic, semantic and cultural to tell stories and activate audiences. It analyzes how Propp's character archetypes like villain, dispatcher and hero are represented in the film Shrek 2. Finally, it briefly touches on concepts like diegesis, narrative range, and modular narratives involving techniques like forking paths.
Black Swan is a psychological thriller about Nina, a ballerina in a New York dance company. Nina is chosen to play the lead role of the Swan Queen but struggles with the dark sexuality required for the Black Swan role. Nina begins having hallucinations and losing her grip on reality as the pressures of the role intensify. The film explores Nina's psychological breakdown through her developing anorexia, bulimia, and schizophrenia. It also examines the themes of competition, sexuality, and control through Nina's rivalry with fellow dancer Lily and overbearing relationship with her mother.
How has race been constructed in Sapphire?Belinda Raji
This document analyzes how race is constructed in the 1959 British film "Sapphire". It discusses how Sapphire's blackness is revealed through stereotypes and essentialism rather than factual attributes. The film links black people with sexuality, exoticism, and lack of restraint through Sapphire's clothing and time spent at a club where she danced with black men. Music is also used to imply black people's natural rhythm and connection to the jungle. The film presents the view that if racial boundaries are crossed, such as Sapphire's relationship with a white man, punishment will ensue, as seen by her murder. Overall, the document examines how the film constructs blackness through stereotypical signs rather than visual evidence.
Larry LaSalle is initially presented as a heroic figure in the novel but his character develops in a more negative direction. He is admired by the community for his war service but is actually manipulative and predatory towards younger people like Nicole. A turning point occurs in Chapter 11 where Larry's betrayal of Nicole and Francis is revealed, establishing him as a villain. While Larry commits some heroic acts, the novel questions what truly makes someone a hero and suggests appearances can be deceiving.
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.
A road movie genre typically follows a protagonist embarking on a journey of self-discovery as they leave home and encounter various challenges along the way. Film noir crime dramas are often filmed in black and white and feature dark themes of betrayal, flashbacks, and an amateur detective investigating a crime in an urban setting. Coming-of-age films focus on a character's progression from youth to adulthood through exploring their personal growth and identity. Psychological thrillers depict the unraveling of the mind, presenting a battle between characters' perceptions of reality that is often only revealed at the end.
The document discusses several common character tropes that are often seen in slasher films. It describes the villain, who is usually disfigured or wears a mask, and is oddly powerful. It also discusses the group of friends, which often includes a jock, stoner/nerd, promiscuous girl, and final girl. Other tropes mentioned include the benefactor, who gifts the group items; common locations like cabins in the woods; and the final girl character who is typically the last survivor. The document also examines psychological theories about the oedipal complex and how some analyses see the final girl representing castration anxiety.
City of God (2002) is a Brazilian film directed by Fernando Mereilles that depicts life in the violent slums of Rio de Janeiro in the 1960s-1980s. The film uses handheld cameras and location shooting to capture the "real" experiences of living in poverty. One character, Rocket, manages to escape the gangster lifestyle by pursuing his talent in photography. The film examines themes of social climbing through power and intimidation in slums, where money often leads to both happiness and downfall. It provides a glimpse into alien worlds and life experiences that audiences can personally relate to, even if not directly part of their own lives.
This document discusses conventions and gender roles in film noir. It analyzes conventions like violence, fate/death, and black and white cinematography. It explores how film noir represented post-WWII society as bleak with no hope. It examines character archetypes like the "anti-hero" and "femme fatale." It analyzes how men were portrayed as damaged and vulnerable, easily seduced by cunning women. Women were seen as untrustworthy and exploiting men's vulnerabilities. Screenshots from films like "Double Indemnity" and "Laura" demonstrate these concepts through visuals like powerful women towering over vulnerable men.
Todorov's 5 stages of narrative structure are summarized as: 1) Equilibrium, 2) Disequilibrium, 3) Recognition of disequilibrium, 4) Attempt to repair damage, and 5) New equilibrium. Levi-Strauss believed that narratives describe the world through binary opposites such as hero/villain and good/evil. Propp identified 7 character types that commonly appear in stories, including the hero, villain, dispatcher, and donor. Various narrative theories analyze codes, structures, and techniques used in storytelling.
The document discusses how the filmmakers of "Sole Retribution" represented social groups in their thriller film. They cast a female friend as the victim character Erin Wolfe to make her seem vulnerable, inspired by innocent female victims from other films. For the villain, they cast a male friend and dressed him in dark clothing to appear intimidating and powerful over the female victim, taking inspiration from male villain characters who are violent and see themselves as superior to women. The filmmakers concluded that portraying the victim as female and the villain as male plays into common stereotypes for these roles in thriller films.
The document represents particular social groups in the following ways:
1) The main male character is presented as a scruffy, dodgy-looking man to portray a stereotypical "man in a white van" who preys on children.
2) The main female character is dressed appropriately and portrayed as a studious "good girl" to make the horrible acts in the sequence more shocking.
3) The other young girls are presented as vulnerable through revealing clothing, uniforms, and gender signifiers like pink decor to contrast the dominant male character and imply they are being taken advantage of.
Francis visits the town where he grew up and recalls discussing Nicole with an army comrade. In a flashback, he remembers joining the army at a young age of 15. He has nightmares about his traumatic war experiences, describing them in graphic detail. His landlady feels sorry for his injuries from the war. Memories of Nicole remain fresh in Francis' mind as he visits where she used to live.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document provides an overview of a semiotic analysis of the comic book character Wonder Woman. It begins with an introduction to semiotics and the steps that will be taken in the analysis. These include identifying signs, binaries, cultural codes, and intertextual references in the text. The document then analyzes a specific image of Wonder Woman, breaking down visual signs like her costume, weapons, and posture. It discusses cultural codes embedded in Wonder Woman's iconography like representations of American patriotism and gender norms. The analysis addresses binaries between her identities and roles, and how the character communicates changing cultural messages over time related to feminism, war, and gender expectations.
The document provides an in-depth analysis of the 1954 film Rear Window and how it serves as a reflection of American society and relationships in the 1950s. It examines how the film uses the protagonist L.B. Jefferies' apartment windows as a frame through which he observes and compares himself to his neighbors, similar to how Americans watched television programs. The document also analyzes why Jefferies is hesitant about marriage by comparing his relationship with Lisa to the relationships of neighboring couples. It ultimately argues that while seeming imperfections can exist, people can still be perfect for each other if they understand and accept their differences.
City of God (2002) directed by Fernando Meirelles tells the story of the slums of Rio de Janeiro from the 1960s to the early 1980s through the perspective of Buscapé, a young man who witnesses violence and emerges as a photographer. The film follows Buscapé and his friends as children and teenagers trying to survive in the favela dominated by warring drug gangs. It depicts the struggle between the Tender Trio who want to live honest lives and the rise of Li'l Zé who builds a drug empire through increasingly violent means. By the end, Buscapé is the only one of his friends who escapes the cycle of violence and carves out a new life.
The document provides definitions and examples of key film analysis terms:
1) It defines denotation and connotation, and provides examples for the words "snake", "flag", and "gun".
2) It analyzes three movie posters, noting details like color schemes, imagery, and text that provide insight into the narratives and characters.
3) It summarizes two music clips, describing what type of scenes each might accompany based on elements like instrumentation, tempo, and structure.
4) It analyzes how a movie trailer for "The Shining" misleads viewers about the film's true nature through editing techniques.
5) It does the same for a hypothetical trailer for "
The document summarizes key themes in the novel Heroes including heroism, appearance and reality, and forgiveness. Regarding heroism, the nature of true heroism is unclear as no character finds comfort in their heroism. War heroes are portrayed as inspirational figures through propaganda but are in reality victims unable to return to normal life. On appearance and reality, the townspeople see a sanitized version of war but the survivors bring back the harsh reality and cannot function normally. Characters like Francis and Larry hide their true selves behind masks.
In Skyfall, Moneypenny is hesitant in her first mission and hits Bond instead of the target, suggesting she is an incompetent agent. She later decides to retire from field work and become Mallory's secretary. Severine is presented as vulnerable and an object of sexual gratification for Bond and Silva. While M is the head of MI6, she makes mistakes that cost lives and is asked to retire, with a man replacing her. The women seem to be positioned as decorative foils for Bond's masculinity rather than empowered representations.
The document discusses how the author's thriller represents certain social groups through its characters and plot. The main characters, a married couple named Jack and Lilly, conform to stereotypical gender roles - Jack is portrayed as dominant and secretive, hiding his real job as a hitman, while Lilly is innocent and naive, unaware of her husband's double life. These decisions were meant to give the audience what they wanted based on surveys. The thriller also suggests that older people are more likely victims, and that the villain will be a younger man portrayed in a dangerous light.
Vladimir Propp identified eight character types that commonly appear in fairy tales: the hero, helper, villain, false hero, donor, dispatcher, princess, and princess's father. He also proposed that fairy tales follow a sequence of 31 narrative functions, such as absentation, interdiction, violation, and punishment. However, when applying Propp's theories to horror movie trailers, not all the character types or functions were present. While some characters like the hero and villain could be identified, the sequences did not always follow Propp's proposed order and some functions were missing. Propp's work provides useful concepts for analyzing narratives but may not fully translate to other genres like horror films.
This document discusses how the main characters in the film Angel Café are portrayed and how they represent or challenge social stereotypes. The primary target audience is females aged 16-24 because the opening scene features a female character of that age named Darcie. Darcie challenges stereotypes of femme fatales through her casual theft and resilience. The other character, Adrien, initially seems to conform to stereotypes of older white males as villains through his dominance over Darcie, but it is unclear if he is purely a villain. Both characters subvert expectations of heroes and villains in thrillers.
Once Upon a Time in America is a 1984 crime epic directed by Sergio Leone. It follows the lives of Jewish youths in 1920s New York who rise to prominence in the mob. The film establishes several thriller conventions through its characters and locations. It introduces the protagonist Noodles as an antihero who commits crimes while remaining the focus of the story. It also features Eve as the archetypal femme fatale, whose lavish lifestyle foreshadows her doomed fate. Key sets like the elevator shaft and Eve's bedroom utilize lighting, camera angles, and symbolism to create an atmosphere of mystery, danger, and the inability to escape impending threats. These elements establish the film as fitting within the noir thriller genre
Vladimir Propp identified 7 character types that commonly appear in folk tales and films: The Hero, Villain, Donor, Dispatcher, Helper, False Hero, and Princess. The document provides examples of how these character types appear in thriller films such as The Silence of the Lambs, Batman, Inception, and Shutter Island. For each character type, short descriptions are given and examples are shown of actors playing those roles in famous films.
The document discusses the representation of women in horror films according to several theories. It summarizes that women are often portrayed in stereotypical and sexualized ways according to the male gaze theory. Early horror film posters from the 1950s-1960s depict vulnerable women in sexualized positions. Theories like those of Mulvey, Tunstall and Clover analyzed how women are usually defined by their relationships to men and portrayed as victims, whereas men are dominant. However, some recent films and shows have featured stronger female characters challenging traditional gender roles. Overall, most horror films still adhere to objectifying women according to common conventions of the genre.
The document discusses the author's thriller film and its representation of social groups. The film aims to attract a target audience of middle-class couples in their 20s who can relate to the main characters. It is rated 15+ due to scenes of violence and crude language depicting a hitman's murders. The author represents the male character as dominant and secretive and the female character as innocent and naive, following stereotypical views. These decisions were meant to give the audience what they wanted based on surveys to increase the film's popularity.
The document discusses the representation of social groups in the author's thriller film. It aims to portray a young middle-class couple to relate to its target 15-25 year old audience. Scenes of violence include a hitman murdering victims and involve violent language. The man is depicted as dominant and secretive, sticking to stereotypes, while the woman is innocent and naive. These decisions aimed to give the audience what stereotypical portrayals they preferred based on surveys. Older generations are more likely victims while younger men are more likely villains. The film portrays women stereotypically through the wife's roles and naivety. Actors were chosen partly due to availability to fit the main character roles. A
The document discusses the author's thriller film and its representation of social groups. The film aims to attract a target audience of middle-class couples in their 20s who can relate to the main characters. It is rated 15+ due to scenes of violence and crude language depicting a hitman's murders. The author represents the male character as dominant and secretive and the female character as innocent and naive, following stereotypical views. These decisions were meant to give the audience what they wanted based on surveys to increase the film's popularity.
The document discusses the representation of women in horror films according to several theories. It summarizes that women are often portrayed in stereotypical and sexualized ways according to the male gaze theory. Horror film posters from the 1950s-1960s depict vulnerable women in sexualized positions. The final girl theory proposes that the last surviving female character subverts stereotypes by being strong and masculine. While representations have progressed somewhat, many horror films continue to sexualize and objectify women according to established theories.
The document discusses the German Expressionist film movement of the 1920s. It reflects the isolation Germany experienced during WWI through abstract psychological landscapes and distorted scenes representing characters' states of mind. Many German filmmakers then emigrated to Hollywood and subtly adapted these techniques into 'B' films, influencing the new era of 'Film Noir' through shadows and lighting. Film Noir crime dramas were stylish Hollywood films from the 1940s-1950s influenced by German Expressionism's visual style using shadows and low key lighting to highlight situations and emotions.
The document discusses the characterization of several characters in a horror film:
- Olivia Watson, the female victim, is portrayed as a "dumb blonde" stereotype to appeal to mainstream audiences. She relates to many teenage girls through her partying lifestyle and close relationship with her mother.
- The killer's identity and motivations are intentionally obscured to build mystery and relate to popular horror conventions. Clues about his abusive childhood are provided to explain his violent behavior.
- The two detectives are differentiated by age, appearance, and demeanor to establish a hierarchy and professionalism within the police force investigating the case.
Vladimir Propp established 31 character types and events that commonly occur in fairy tales. He identified 7 broad character types including the Hero, the Helper who aids the Hero, the Villain who opposes the Hero, the False Hero who claims to be the real hero, the Donor who gifts the Hero something magical, the Dispatcher who sends the Hero on a mission, and the Princess who is often the Hero's reward. Examples that demonstrate these character types are provided for the stories of The Lion King and Cinderella.
The document summarizes how the film opening represents various social groups through its use of stereotypes common in 1940s-50s film noir. The male protagonist conforms to expectations of the genre, while the female character is depicted as either an object of desire or threat. Location and class status also adhere to typical gender norms of the time period. Editing techniques, lighting, shots, and props all invoke stereotypes of the noir style to set the scene and tone. While some elements like the typewriter sound over the music introduce atypical touches, the overall representation aims to mirror conventions of classical Hollywood films.
Thrillers often feature a character in danger or pursuit who is typically seen from the protagonist's point of view. Scenes may also show the villain's perspective to establish their motives. Action scenes keep the audience in suspense. Common themes include societal problems like kidnapping and murder. Heroes are usually police or FBI aiming to solve the case, while villains are dominant males not to be trusted. Settings are often dull urban cities shot in a way to create vulnerability or eerie atmospheres for suspense. Seminal thriller films include Pulp Fiction, The Dark Knight, and Psycho. Alfred Hitchcock was a renowned thriller director nominated for best director multiple times, influencing the genre through manipulation of audience fears.
In most thriller films, gender is commonly represented through stereotypes such as the heroic male who saves the weak female prize. The Bourne Identity follows this pattern with the female lead initially portrayed as weak but becoming hardened through the story. Shutter Island subverts expectations by representing the female character as both weak-minded yet also driving the male detective to insanity. The Hunger Games reverses stereotypes by portraying Katniss as the heroic bow-wielding female who must often save the weak male Peeta, though some scenes still depict conventional stereotypes of femininity and romance.
The film Pan's Labyrinth, directed by Guillermo del Toro, tells the story of Ofelia who finds herself in a magical fantasy world to escape the real world of fascist Spain during WWII. Ofelia is given tasks by mystical creatures like a faun that she must complete to prove her identity as a princess. The film contrasts her fantasy world with the real world dominated by her cruel stepfather Captain Vidal who hunts resistance fighters. It explores themes of power and innocence through the two intersecting worlds and characters like Vidal and the Pale Man that mirror each other.
Question 2: ‘How does your media product represent particular social groups?’doloko7
The document discusses how the media product represents social groups through its characters. It notes that the female protagonist Joan is portrayed as powerful and in control over the male hostage, contrasting common media portrayals of women as victims. It also aims to represent diversity through the inclusion of characters from different ethnicities and nationalities, such as Joan who is Jamaican and an ally named Dimitri who is Russian. The document argues this more positive representation of gender and inclusion of diversity will be well received by audiences.
Q4: How did you use new media technologies in the construction and research,...AbbieLoosemore
The document discusses the tools and techniques used to create a music video. Wordpress and Prezi were used to document research and present ideas. A Sony video camera, tripod, and hot light were used to film scenes. Adobe Premiere Pro was used to edit the video and add effects like mirroring and color correction. Photoshop was used to design album artwork, starting with scanned images that were layered and had colors adjusted to match the video's theme and style.
The music video will represent the sins of gluttony, greed, and lust from Lana Del Rey's song "Gods and Monsters" through three women. Gluttony will be shown through a woman pouring black paint on herself from a milk carton in slow motion. Greed will feature a woman being showered in gold glitter and dollar bills. Lust will depict a woman surrounded by men in masks, alluding to sexual relations with multiple partners through stylized editing. The video aims to appeal to young adult females aged 16 to 25 who identify with indie styles. It will have a dreamy, surreal quality inspired by art house films and Stealing Sheep music videos.
The document proposes ideas for a music video to promote Lana Del Rey's song "Gods and Monsters". It will focus on the biblical sins of gluttony, greed, and lust through symbolic imagery. Three women will represent each sin - gluttony through pouring black paint, greed through gold and money, and lust through being surrounded by masked men. The target audience is identified as alternative young women aged 16-25 who can relate to the themes. Inspiration will be drawn from art house and surrealist styles with symbolic, non-narrative visuals and montages. Potential filming locations are also proposed.
The document discusses initial ideas for a music video by Lana Del Rey for the song "Gods and Monsters". It will focus on the sins of gluttony, greed, and lust through symbolic imagery. Gluttony will be represented by a woman pouring black paint from a milk carton. Greed will feature a woman showered in gold glitter and dollar bills. Lust will show a woman surrounded by masked men in suits with a red rose alluding to multiple partners. The target audience is identified as young adult females who identify with indie styles and trends. Inspiration is taken from art house and expressionist styles with symbolic, surrealist imagery and montage elements. Potential filming locations are also proposed.
The document discusses plans for a music video for the song "God's and Monsters" by Lana Del Rey. It will focus on the sins of gluttony, greed, and lust through imagery representing indulgence, wealth, and sexuality. Three women will symbolize each sin through actions like pouring black paint or being surrounded by masked men. The target audience is identified as young adult females who identify with indie culture. Inspiration comes from art house and surrealist styles seen in other music videos. Locations being considered include pools, libraries, and meadows that reflect the desired aesthetic and themes.
Little White Lies is a British independent film magazine published monthly in London since 2005. Each issue features a cover illustration of an independent or art house film. The magazine focuses on reviews of both current and classic independent and niche films, aiming its content at an audience with a keen interest in film who understand cinema conventions and genres. The submitted document proposes that the magazine would be a good fit to feature the film noir "Malice in Manhattan" due to its focus on independent and niche films similar to the submitted film.
The document discusses the technologies used and lessons learned during the production of a film noir opening sequence. A Panasonic HD video camera was used for filming and a tripod was important for smooth camera movements and eliminating shakiness. Final Cut Pro software allowed editing footage into black and white, adding filters and titles. Sound effects from online sources and a film noir soundtrack enhanced the atmosphere. Lighting posed challenges but created the desired noir style. Overall the production process taught the importance of planning, equipment, and software for professional quality results.
1. Gerald Lloyd
One of the main conventions of Film Noir is a troubled
male lead., the ‘Hard-Boiled Detective’. He is portrayed
as more of an anti-hero rather than a hero and is
usually tricked into something that he doesn’t want to
do. He is shown as troubled and conflicted and is left to
get himself out of trouble, and he always loses. Our
character Gerald Lloyd fits into this category as we have This still shows moral ambiguity and is part of a pan shot
portrayed him as the Noir style male detective caught that shows him looking at his own shadowing, again,
up in something he doesn’t t want to be involved with. suggesting moral ambiguity and conflict. Gerald could
He is also dressed in the typical attire of a fedora hat, compare with the character of ‘Phillip Marlow’ in ‘The Big
which immediately represents the Noir era. Sleep’ (Hawks 1946). Their attire is the same, fedora hat,
shirt and tie but Phillip is only paid $25 a day and is in
search of truth, many critics have described him as a
‘modern day knight’, willing to do anything for the greater
good. Yet in the end we have to question how successful
he is as a knight and as a private detective because in
order to discover truth , he has to make sacrifices. Gerald
is similar in this sense as his narration is ambiguous and
lead us to believe he has murdered someone, “and she
knows it was me”, yet this being the opening scene,
Gerald is merely telling us his thoughts, not an actual
account of previous events he “pretended to know
nothing” about.
This shot represents Gerald as troubled and lost in
thought. Film Noir uses elements of German expressionism
such as side lighting to enhance the profile from one side.
This shows that the character is experiencing moral
ambiguity and therefore represents him as someone who
has committed a crime, or done something he isn’t proud
of. Being in the 21st century, film noir and representation
has changed, and by choosing to set our film in 1938, we
are focusing on the particular social groups that were
present back then, but still apply to the present day.
Private detectives at that time were particularly wealthy
and we show this with the props such as the leather
Phillip Marlow ‘The Big
briefcase, the money, and the crystal glass. The lighting
Sleep’ (Hawks, 1946)
adds to the representation of this particular social group as
it is dark and casts shadows, which show he is experiencing
moral conflict. He is brooding and troubled and therefore
represents the pressure of the job and how being a private
detective, especially in a film noir, one is lured into a crime
by a woman. He is dressed in a shirt, tie and braces, which
also show he is quite wealthy and they also reflect the era.
2. This shot compares with the representation of Walter Neff in ‘Double
Indemnity’ (Wilder, 1944)and J.J Gittes in ‘Chinatown’ (Polanski, 1974).
Gerald Lloyd looks guilty, like the other characters. His expression remains
calm, which adds to the social group of the ‘Hard-boiled detective’ as he
doesn’t show any feelings, or remorse. The lighting adds to this as only one
side of his face is lit, which suggests a hidden identity and that the character
has a ‘dark side’. This shot represents the film noir convention of an anti- hero
and clearly holds elements of other Noir male leads.
You can see by his facial expression that he is mesmerised by the
woman who has just walked in, Lola Odell. This shows that she has
the ability to capture his attention and distract him from what he is
doing. Male characters in Film Noir are seduced by a femme fatale,
who is shown as a dominant figure. This reaction is showing that she
has power over him and when around her he is weaker, another flaw
Lola Odell
in his character. This representation again, compares with Walter Neff
and his relationship with the femme fatale, Phyllis Dietrichson.
Lola Odell is similar to Phyllis
Dietrichson in ‘Double Indemnity’. She
tries to seduce Walter in order to get
her own way and there is one particular
scene where she points a gun at him.
This scene in our film is similar to the
former, expect the femme fatale is
represented with more power and
dominance with the gun than Phyllis.
Film Noir gives a very central role to the
femme fatale and shows her as
dominant and in charge. We wanted to
show the gun as a symbol for
‘unnatural’ phallic power, a cigarette
box being another example. Women are
empowered by their sexuality and we
wanted to show this particular view of
women as a social group through this
Walter Neff ‘Double Indemnity’ (Wilder,
doorway shot. We also show Lola as a
1944)
dominant female character as we are
lead to believe that she shoots Gerald,
therefore breaking convention as
usually women in film noir pay for their
privileges with death or by giving in to
the patriarchal system. We also wanted
to show her as attractive and flirtatious, Phyllis Dietrichson ‘Double
and we did this by panning up her body. Indemnity’ (Wilder, 1944)
This represents her as a provocative
woman and we are using the
convention of objectification of woman.
J.J Gittes ‘Chinatown’ (Polanski, 1974)
3. The act of killing the lead male protagonist is becoming a recurrent
resolution/exposition in modern thrillers as well as film noir. ‘The Maltese
Falcon’ (Huston, 1941) opens with the femme fatale shooting Miles Archer,
the lead protagonists partner. This surprise point-blanc killing was
something we wanted to replicate in our film noir, with particular emphasis
on the killer being a woman. Lola Odell fits into the social group of women
in the 1920’s as well as the 1930’s, and women today. She is independent,
not afraid to speak her mind, and by using her sexuality, she gets what she
wants, this is a similar trait to the femme fatale Gilda in the 1946 Charles
Vidor Noir, ‘Gilda’. She manages to make the act of taking off a glove sexy
and we wanted to replicate this idea of making simple things flirtatious,
such as walking into a room.
Kathie Moffattin ‘Out of the Past’ (Tourneur
1947). The character of Kathie is similar to Lola
By only showing her lips we are placing the character of Lola with
as she shoots a man who has betrayed her.
the group of women who flaunt their sexuality and figure in order
Lola Odell is involved with Gerald, and the
to manipulate men. Lola is the classic femme fatale, she rejects activities he becomes a part of make her feel
the role of the devoted housewife and mother, the roles that
like he has betrayed her “and she knows it was
society have placed upon women. She stands for the independent
me” she therefore shoots him, a lot like the
women in the 1920’s who progressed into the 1930’s.
situation Kathie is in with Jeff.
F.S.Fitzgerald’s novel ‘The Great Gatsby’ also portrays strong
female characters that have dominance over men.
Cora Smith in ‘The Postman Always Rings Twice’
(Garnett 1946).Lola also fits into the same social
group as Cora Smith, but Lola is a stronger character
Our final shot shows Lola’s shadow holding a gun. This stance
than Cora. Cora murders a man she does not love in
connotes dominance and power, leaving the viewer with the
order to be with someone else, a crime of passion.
sense that Lola is the antagonist here as she has shot Gerald.
She is a woman trapped in a male dominant , and
This shot places her in the social group of independent, strong
meet s her fate in a car accident. The man she
women who are the masters of manipulation, a classic
wanted to be with instead of her husband was
convention of a femme fatale in a film noir.by keeping her
driving the car, which shows how women are
identity hidden by only showing silhouettes we are enhancing
controlled by men and no matter how hard they try,
the mystery surrounding her as a character and as a woman.
they are overpowered by the patriarchal system.