alex final piece
genre is how a film is categorized according to elements of the film. some examples of film genres are comedy the intended effect is to make the audience laugh and there is no specific narrative structure because there are so many sub-genres the iconography of a comedy is outlandish characters props such as banana pales and water pistols are typically used in the slapstick sub-genre where as a spy movie such as the kingsmen movies they would be wearing tuxes and have things like spy gadgets like the knife shoe or their magic umbrella in horror you would expect blood and spooky scenes and jump scares the characters would wear scary costumes or wigs they would take place on halloween or in a haunted/ abandoned house.
some genres have typical character types such as in the horror genre Stereotypical Characters in horror films are.
hero, pretty much always a male character of strong, masculine build. Although he is the ‘hero’, there aren’t many horror films where the good triumph over evil. In these cases, he tends to be the brave character that goes after the murderer, often never returning. These characters tend to show little emotion throughout the film, perhaps to stay strong and supportive for the other characters that cope less well. In more recent horror films, the hero has begun to appear as a female. This makes the film more unpredictable, and challenges the older, more traditional conventions.
loved up couple male and female characters, usually all over each other when they are killed. They are typically away from the rest of the group when the first murder occurs, and therefore don’t know that there is a killer out there so preoccupied with each other that they don’t notice the killer, even when he is close to them. st this point, the audience are often shouting at the characters, and are frustrated at how oblivious they are. They have an impact on the audience, as they get frustrated at them, putting the audience on the edge of their seat, building up tension further.
character usually female they are typically known to not want to leave the building they are in, usually after witnessing the murder of one of her friends. The other characters try to move her, but she often breaks down into hysterics and refuses to move. This will usually either result in her staying behind and being killed, or all other characters being hunted down and her saved until last. One way or another, she is always killed. This character has quite an impact on the audience, and her hysterical tendencies reflect onto them and helps to build up more suspense.
non-believer can be of either sex, although often male. Portrayed as being cocky and at ease, convincing the other characters that they are over reacting and that nothing is going on Typically overconfident, which usually lead to them being the first to be killed, and their death will trigger a mass killing of the other characters. To begin with, the audience will listen to this voice of reason and be reassured and calmed slightly by them. However, when they are shortly after killed, the audience will panic and all sense of security has gone; nobody is safe.
evil character can take many forms; serial killer, demonic possession, ghost, monster (vampire, werewolf, zombie etc.) If they are human, they will often wear a mask, disguising them completely of appearance or emotion, and the audience can make no connection to them whatsoever. Wearing a mask also plays on the fear of the unknown. They will never react in a normal way to injuries; if they were to be stabbed, they usually manage to get back up again unharmed, hinting towards the idea of them being inhuman. Any other type of killer, such as a monster or demon also plays on the fear of the unknown, and as there is never any solid proof that they do not exist, they play on the audiences more primal fears and the thought that they could actually be all around at night. This character obviously has the biggest impact on the audience and strikes fear into them. They are what the suspension throughout the film and all other codes and conventions have been building up to.
just as there are lots of different character types genres also have different narrative structures. narrative structure is the way the story is told
some genres have a typical narrative structure such as in gangsta films i watched two (little caesar and scarface )with a 50 year difference they had the same structure the gangster started with nothing rises to power and then they fall by the end of the movie the gangster is either dead in prison or in a witness protection program all the things they had have been taken away
romantic comedy also have a common narrative structure the two people who end up together at the end are normally not the same who start off together because they may hate each other and forced in a situation where they need to be to thee and over the course of the film be they see that they ant the different and start to like each other and get together
or they want to be together but there's an obstacle in the like them liking in different towns or family feuds or another caritter getting in the way on of thems form a poor background and one wethey corporate background and ones a small shop worner
they have story lines they hate each other and want to be together or there's an obstacle in the way the end is mostly them being together those that don't are breaking the conventions of the genre
if someone went to see a romantic comedy and it end in them being together you would be annoyed or cheated on the bases that the narrative structure want normal but some people would rather it breaking the convention because otherwise the genre will get repetitive or stail.
intended effect is how you should feel when both during and at the end of a film such as a comedy should make you laugh and feel happy where as a horror will make you scared and similar to a thriller will give you an adrenaline rush however a chick flick will make you cry and pull on your hartstrings
audiences have expectations about the film style and content of films which relate to the grenra which its categorized in this enables us to know what genres we like as some people may only like comedy however hate horrors.
What genre means for producer's
When creating a film, producers need to make sure that they are going to appeal to their target audience. Without specifying a genre, a film would be arguably less popular and known about as people that thrive off watching particular genres wouldn't be attracted to a film, where as if i a film was marketed as a Sci-fi you would obviously see and interest from the people that typically enjoy 'sci-fi' movies.
Timelines
horror
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1890-1930
During the start of this period it was conventional to have a silent a short horror movie, with the first horror film (The Haunted Castle) being only 3 minutes long. Also there were no cuts and the camera did not move. As time progressed films became longer and non-diegetic background sound was added, however it still contained no speaking dialogue and used narration to explain what was happening. It was conventional to have black & white colouring and the only camera shots being mid shots or long/wide shots. Also conventional for the subgenre to be body horror.
1930-1950
At the start of the 1930's speaking dialogue was introduced. It was till conventional for the sub genre to be body horror during the 30's, but the first well-known natural horror was released of King Kong. It was highly conventional to produce films of the horror characters being either a vampire, werewolf or Frankenstein. During the 40's gothic horror begun to become conventional in the production of horror and camera angles/shots advanced to create more of a response in the audience. Films still remained in black & white.
1950-1970
During this period colour production was introduced to give a more effective impact on the mise-en-scene in the relation to horror. However, this was only avaliable for big budget productions so some ilms remained in black & white. The genre of horror was developing more in this period with a variety of subgenres of slasher, psychological, natural, body and gothic horror being avaliable to the audience. The mise-en-scene of the horror characters conventionally developed to create a more fearful reaction in the audience.
1970-1990
From this period all horror films were produced in colour. In this period in became conventionally to start using children in the horror plot e.g The Exorcist and Carrie, which enabled it to be targeted to an wider audience. During this period action horror was introduced with the most well-know being Aliens. More special effects were being added to the production to make it more visually interesting and effective. This CGI was efficently used in Poltergeist which is considered the best horror of this time period.
1990-2010
During this period the subgenre slasher was highly conventional. It also became highly conventional to use teenagers in these productions as this was their main target audience at the time. Mise-en-scene was advanced to create as much gore as possible to create a fearful reaction in the viewers. CGI was efficiently used in the making of psychological/ gothic horrors to produce fearful entertainment. During this period comedy horror became popular with a franchise of Scary Movie, spoofs of previous horror films.
2010-current
In this current period is is highly conventional to be using children in the main horror plot. It is also conventional to use the subgenre of psychological horror, with it being very common to use evil spirits as the main plot. CGI is highly advance to create a visually effective scene. The mise-en-scene effective in creating a fearful reaction with it being conventionally to use black and white make-up.
gangstar
Gangster films often represent an American dream, to be rich, successful, powerful and have respect from the majority of people. Gangster films are a sub genre of American crime films dealing with organized crime, often involving a Mafia. The movie The Black Hand (1906) is the earliest gangster film. This film consisted of two members from a gang threatening a butcher, but the butcher was unable to meet their demands, this led to which led to these 2 people kidnapping of his daughter and other tense dangerous confrontations. The film only lasted a duration of 11 minutes.
The first gangster film was the Black Hand which was actually a Mob Gangster film. These films often include a lot of crime on the streets and they also include a strong political connection. Control played a very strong role in these films as the people which were 'leaders' were the people which often had a lot of money and this led to them being able to have a huge amount of control over people. They would often give 'lower' members in the gang a place to live and a chance to earn money but only if the very strict rules were followed. If the rules were not obeyed, they would suffer severe consequences, whether it would be themselves or their loved ones, the 'leader' would decide.
The biggest gangster film between 1920-40 was 'Scarface. Mob gangster films were very popular around this time as it was the time of the great depression and the great recession. People used to go to watch films like this as it was an escape from their everyday problems. the main character in this film was Paul Muni who one of the more distinguished actors of his time because of the roles he played in 'Hollywood' films. This mob gangster film was about an an "ambitious and near insanely violent gangster climbs the ladder of success in the mob, but his weaknesses prove to be his downfall." the producers were the Caddo company.
One of the biggest films in this year gap was Bonnie and Clyde (1967), also one of the greatest, well-known gangster films of all time.Bonnie and Clyde was a different kind of gangster film as it didn't include the typical american gangster stereotype (as described in 'Mob gangster films' and 'The beginning' of my prezi). it consisted of an extremely violent couple and their gang, robbing banks. It is unusual to see a woman in a gangster film as these films are dominated by males and dominance, which women weren't associated with back then, so this film bought a different aspect to gangster films, and as you can tell by the awards they received, it worked. The 'Bonnie and Clyde' film had an estimated budget of 2,500,000 and they made a huge worldwide profit of 67,500,000. This film was produced by the Warner Bros/seven arts who have made a lot of films starting from 1937.
A popular gangster film in this time was 'Pulp Fiction' (1994) where the lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits come together in four different events to engage a act of violence and revenge. 'Pulp Fiction' won an astonishing 59 awards and 1 Oscar, as well as being nominated for 46 other awards. Although this film was very successful, it had experienced and amazing actors involved such as John Travolta, Samuel L. Jackson and Bruce Willis. Quentin Tarentino directed this film as well as other gangster films such as 'Reservoir Dogs' which was also a success. 'Pulp Fiction' had an estimated 8 million budget and they made just under 100 million profit.
Judging by the gangster films I have chosen, my research shows a recurring theme of power, dominance, violence and loyalty to fellow gang members. A lot of these films are similar even if they are produced 50 years apart, this is to keep the genre distinctive so when people see gangster films, they will recognize it as a gangster film. My research indicates that gangster films are very thrilling and violent which enhances the action. I feel gangster films are ultimately aimed at males as they are traditionally associated with bravery and being strong and powerful.
Narrative Theorists
Roland Barthes – Cultural, Semantic, Symbolic, Hermeneutic, Proairetic Codes (5 Narrative Codes): “The cultural, or referential code in Star Trek (2009) draws on audience pre-existing understanding of science ‘fact’ while symbolism is created from the tension and character development of Spock and Kirk, placed in opposition to each other. Applying the semantic code there are additional connotations to both characters’ dress code; Spock is clean shaven, immaculately dressed with correct posture and gate while Kirk slumps in his chair, is scruffy on Earth (the bouncer calls him ‘farm boy’) and is not so well turned out. When battle commences the proairetic or action code adds suspense and excitement to the narrative while the hermeneutic code in opposition, limits the audience understanding to create enigma making audiences want to know more”.
Andrew Goodwin – Useful for Analysing Music Videos if relevant for MS2 or MS3 internal assessment – 5 key features: “Using Andrew Goodwin’s theory of music videos (from ‘Dancing in the Distraction Factory’), in Lady Gaga’s ‘Telephone’ music video (with Beyoncé) the hybridized genre conventions of glam rock and pop are immediately established. As in Mylie Cyrus’s ‘Wrecking Ball’ video, Gaga is fetishized for voyeuristic pleasure and notions of ‘the look’. There is a direct relationship between the music and narrative development while Gaga is frequently seen in close up wearing quirky clothes (audience identification and the myth she is ‘singing to us’). Finally intertextuality is crucial with references to films Kill Bill and Thelma and Louise”.
Jean-François Lyotard– Postmodern Theory Against Meta-Narratives, Pro Micro Narratives and Fragmentation: “Mapped onto film Lyotard is suggesting that meta-narratives would include science, religion, history, war/conflict, national identity, love/romance, other worlds – the stuff of mainstream Hollywood films and that these narratives have been replaced by more non linear, localised mini narratives that explore individual experience and are more self referential e.g. The Double (January 2014, Richard Ayoade’s second film)”.
.jpg/220px-Vladimir_Propp_(1928_year).jpg)
vladimir Propp – 8 Character Roles: “Propp’s character roles mainly only apply to mainstream texts/films e.g. Disney films and Blockbusters but can on occasion, also be useful for understanding running stories e.g. the NOTW Phone Hacking scandal. Propp’s 8 character roles are the hero (can also be the initial victim), the villain, false hero (perceived as good but turns out evil), the Princess (a reward for the hero and much sought after), Her Father (gives, sometimes metaphorically the princess to the hero), the donor (gives the hero a magical gift to help him with his quest e.g. Mrs. Brown in Titanic), the dispatcher (sends the hero on his way) and the helper (helps the hero in his quest) e.g. Samwise in Lord of the Rings.
claude Levi-Strauss - Binary Oppositions: “In terms of dress code, the hero and the villain in Skyfall are in binary opposition to each other to anchor audience identification”.
hero, pretty much always a male character of strong, masculine build. Although he is the ‘hero’, there aren’t many horror films where the good triumph over evil. In these cases, he tends to be the brave character that goes after the murderer, often never returning. These characters tend to show little emotion throughout the film, perhaps to stay strong and supportive for the other characters that cope less well. In more recent horror films, the hero has begun to appear as a female. This makes the film more unpredictable, and challenges the older, more traditional conventions.
loved up couple male and female characters, usually all over each other when they are killed. They are typically away from the rest of the group when the first murder occurs, and therefore don’t know that there is a killer out there so preoccupied with each other that they don’t notice the killer, even when he is close to them. st this point, the audience are often shouting at the characters, and are frustrated at how oblivious they are. They have an impact on the audience, as they get frustrated at them, putting the audience on the edge of their seat, building up tension further.
character usually female they are typically known to not want to leave the building they are in, usually after witnessing the murder of one of her friends. The other characters try to move her, but she often breaks down into hysterics and refuses to move. This will usually either result in her staying behind and being killed, or all other characters being hunted down and her saved until last. One way or another, she is always killed. This character has quite an impact on the audience, and her hysterical tendencies reflect onto them and helps to build up more suspense.
evil character can take many forms; serial killer, demonic possession, ghost, monster (vampire, werewolf, zombie etc.) If they are human, they will often wear a mask, disguising them completely of appearance or emotion, and the audience can make no connection to them whatsoever. Wearing a mask also plays on the fear of the unknown. They will never react in a normal way to injuries; if they were to be stabbed, they usually manage to get back up again unharmed, hinting towards the idea of them being inhuman. Any other type of killer, such as a monster or demon also plays on the fear of the unknown, and as there is never any solid proof that they do not exist, they play on the audiences more primal fears and the thought that they could actually be all around at night. This character obviously has the biggest impact on the audience and strikes fear into them. They are what the suspension throughout the film and all other codes and conventions have been building up to.
just as there are lots of different character types genres also have different narrative structures. narrative structure is the way the story is told
some genres have a typical narrative structure such as in gangsta films i watched two (little caesar and scarface )with a 50 year difference they had the same structure the gangster started with nothing rises to power and then they fall by the end of the movie the gangster is either dead in prison or in a witness protection program all the things they had have been taken away
romantic comedy also have a common narrative structure the two people who end up together at the end are normally not the same who start off together because they may hate each other and forced in a situation where they need to be to thee and over the course of the film be they see that they ant the different and start to like each other and get together
or they want to be together but there's an obstacle in the like them liking in different towns or family feuds or another caritter getting in the way on of thems form a poor background and one wethey corporate background and ones a small shop worner
they have story lines they hate each other and want to be together or there's an obstacle in the way the end is mostly them being together those that don't are breaking the conventions of the genre
if someone went to see a romantic comedy and it end in them being together you would be annoyed or cheated on the bases that the narrative structure want normal but some people would rather it breaking the convention because otherwise the genre will get repetitive or stail.
intended effect is how you should feel when both during and at the end of a film such as a comedy should make you laugh and feel happy where as a horror will make you scared and similar to a thriller will give you an adrenaline rush however a chick flick will make you cry and pull on your hartstrings
Iconography is an important aspect of genre. We expect to see certain objects on screen when we see a particular genre, for example, in a Western dusty lonely road, saloon bars, cowboy hats and horses, jails, sheriffs badges, guns. however, in a horror film they would typically be shot at night and on halloween they would seem off from the get go and have outlandish characters such as the identical twins.
What genre means for the audience
audience select films based on genre often it because they like that specific grenre also retailers will categorize films by genre certain genres are consider fit for certain ages and genders and so that's how they choose what to seeWhat genre means for the audience
audiences have expectations about the film style and content of films which relate to the grenra which its categorized in this enables us to know what genres we like as some people may only like comedy however hate horrors.
What genre means for producer's
When creating a film, producers need to make sure that they are going to appeal to their target audience. Without specifying a genre, a film would be arguably less popular and known about as people that thrive off watching particular genres wouldn't be attracted to a film, where as if i a film was marketed as a Sci-fi you would obviously see and interest from the people that typically enjoy 'sci-fi' movies.
Timelines
horror
1890-1930
During the start of this period it was conventional to have a silent a short horror movie, with the first horror film (The Haunted Castle) being only 3 minutes long. Also there were no cuts and the camera did not move. As time progressed films became longer and non-diegetic background sound was added, however it still contained no speaking dialogue and used narration to explain what was happening. It was conventional to have black & white colouring and the only camera shots being mid shots or long/wide shots. Also conventional for the subgenre to be body horror.
1930-1950
At the start of the 1930's speaking dialogue was introduced. It was till conventional for the sub genre to be body horror during the 30's, but the first well-known natural horror was released of King Kong. It was highly conventional to produce films of the horror characters being either a vampire, werewolf or Frankenstein. During the 40's gothic horror begun to become conventional in the production of horror and camera angles/shots advanced to create more of a response in the audience. Films still remained in black & white.
1950-1970
During this period colour production was introduced to give a more effective impact on the mise-en-scene in the relation to horror. However, this was only avaliable for big budget productions so some ilms remained in black & white. The genre of horror was developing more in this period with a variety of subgenres of slasher, psychological, natural, body and gothic horror being avaliable to the audience. The mise-en-scene of the horror characters conventionally developed to create a more fearful reaction in the audience.
1970-1990
From this period all horror films were produced in colour. In this period in became conventionally to start using children in the horror plot e.g The Exorcist and Carrie, which enabled it to be targeted to an wider audience. During this period action horror was introduced with the most well-know being Aliens. More special effects were being added to the production to make it more visually interesting and effective. This CGI was efficently used in Poltergeist which is considered the best horror of this time period.
1990-2010
During this period the subgenre slasher was highly conventional. It also became highly conventional to use teenagers in these productions as this was their main target audience at the time. Mise-en-scene was advanced to create as much gore as possible to create a fearful reaction in the viewers. CGI was efficiently used in the making of psychological/ gothic horrors to produce fearful entertainment. During this period comedy horror became popular with a franchise of Scary Movie, spoofs of previous horror films.
2010-current
In this current period is is highly conventional to be using children in the main horror plot. It is also conventional to use the subgenre of psychological horror, with it being very common to use evil spirits as the main plot. CGI is highly advance to create a visually effective scene. The mise-en-scene effective in creating a fearful reaction with it being conventionally to use black and white make-up.
gangstar
Gangster films often represent an American dream, to be rich, successful, powerful and have respect from the majority of people. Gangster films are a sub genre of American crime films dealing with organized crime, often involving a Mafia. The movie The Black Hand (1906) is the earliest gangster film. This film consisted of two members from a gang threatening a butcher, but the butcher was unable to meet their demands, this led to which led to these 2 people kidnapping of his daughter and other tense dangerous confrontations. The film only lasted a duration of 11 minutes.
The first gangster film was the Black Hand which was actually a Mob Gangster film. These films often include a lot of crime on the streets and they also include a strong political connection. Control played a very strong role in these films as the people which were 'leaders' were the people which often had a lot of money and this led to them being able to have a huge amount of control over people. They would often give 'lower' members in the gang a place to live and a chance to earn money but only if the very strict rules were followed. If the rules were not obeyed, they would suffer severe consequences, whether it would be themselves or their loved ones, the 'leader' would decide.
A popular gangster film in this time was 'Pulp Fiction' (1994) where the lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits come together in four different events to engage a act of violence and revenge. 'Pulp Fiction' won an astonishing 59 awards and 1 Oscar, as well as being nominated for 46 other awards. Although this film was very successful, it had experienced and amazing actors involved such as John Travolta, Samuel L. Jackson and Bruce Willis. Quentin Tarentino directed this film as well as other gangster films such as 'Reservoir Dogs' which was also a success. 'Pulp Fiction' had an estimated 8 million budget and they made just under 100 million profit.Judging by the gangster films I have chosen, my research shows a recurring theme of power, dominance, violence and loyalty to fellow gang members. A lot of these films are similar even if they are produced 50 years apart, this is to keep the genre distinctive so when people see gangster films, they will recognize it as a gangster film. My research indicates that gangster films are very thrilling and violent which enhances the action. I feel gangster films are ultimately aimed at males as they are traditionally associated with bravery and being strong and powerful.
Narrative Theorists
Roland Barthes – Cultural, Semantic, Symbolic, Hermeneutic, Proairetic Codes (5 Narrative Codes): “The cultural, or referential code in Star Trek (2009) draws on audience pre-existing understanding of science ‘fact’ while symbolism is created from the tension and character development of Spock and Kirk, placed in opposition to each other. Applying the semantic code there are additional connotations to both characters’ dress code; Spock is clean shaven, immaculately dressed with correct posture and gate while Kirk slumps in his chair, is scruffy on Earth (the bouncer calls him ‘farm boy’) and is not so well turned out. When battle commences the proairetic or action code adds suspense and excitement to the narrative while the hermeneutic code in opposition, limits the audience understanding to create enigma making audiences want to know more”.
Andrew Goodwin – Useful for Analysing Music Videos if relevant for MS2 or MS3 internal assessment – 5 key features: “Using Andrew Goodwin’s theory of music videos (from ‘Dancing in the Distraction Factory’), in Lady Gaga’s ‘Telephone’ music video (with Beyoncé) the hybridized genre conventions of glam rock and pop are immediately established. As in Mylie Cyrus’s ‘Wrecking Ball’ video, Gaga is fetishized for voyeuristic pleasure and notions of ‘the look’. There is a direct relationship between the music and narrative development while Gaga is frequently seen in close up wearing quirky clothes (audience identification and the myth she is ‘singing to us’). Finally intertextuality is crucial with references to films Kill Bill and Thelma and Louise”.
Jean-François Lyotard– Postmodern Theory Against Meta-Narratives, Pro Micro Narratives and Fragmentation: “Mapped onto film Lyotard is suggesting that meta-narratives would include science, religion, history, war/conflict, national identity, love/romance, other worlds – the stuff of mainstream Hollywood films and that these narratives have been replaced by more non linear, localised mini narratives that explore individual experience and are more self referential e.g. The Double (January 2014, Richard Ayoade’s second film)”.
vladimir Propp – 8 Character Roles: “Propp’s character roles mainly only apply to mainstream texts/films e.g. Disney films and Blockbusters but can on occasion, also be useful for understanding running stories e.g. the NOTW Phone Hacking scandal. Propp’s 8 character roles are the hero (can also be the initial victim), the villain, false hero (perceived as good but turns out evil), the Princess (a reward for the hero and much sought after), Her Father (gives, sometimes metaphorically the princess to the hero), the donor (gives the hero a magical gift to help him with his quest e.g. Mrs. Brown in Titanic), the dispatcher (sends the hero on his way) and the helper (helps the hero in his quest) e.g. Samwise in Lord of the Rings.
claude Levi-Strauss - Binary Oppositions: “In terms of dress code, the hero and the villain in Skyfall are in binary opposition to each other to anchor audience identification”.
tzvetan Todorov – Four-Act Structure: “In American Beauty, the opening sequence creates an equilibrium or normality for the audience. Lester Burnham’s dramatic decision to leave his job ensures disruption (this disruption is continued throughout the narrative) while resolution is established when Burnham feels ‘at one’ with the world (he works out, smokes cannabis and seems care free) but is ultimately shot and killed by Colonel Frank Fitts. A new equilibrium suggests nothing will ever be the same again (a new beginning) although this is only implied in narrative closure”.
Genre Theorists
David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”.
Daniel Chandler– Genre is Too Restricting: “Films like Gravity have a limited appeal due to notions of predictability (notions of self sacrifice) even through Cuaron attempted more verisimilitude than other ‘space films’ like Mission to Mars and Apollo 13. A type of genre straightjacket is evident.
Henry Jenkins – Genre constantly ‘Breaks Rules’ e.g. evolving hybridization: “Hybridization is now commonplace to maximize audience appeal but also to offer a unique selling point by appearing to break the rules e.g. Submarine is both social realist in format but using comedy conventions typical for a rites of passage film”.
John Fiske – Genre as ‘Convenience’ for Producers and Audiences: “With X-Men Origins: Wolverine, a familiar action adventure formula is developed (hybridized with Science Fiction and the Superhero genre) which serves to ensure 20th Century Fox target a market who have expectations in terms of conventions”.
Jason Mittel – Industry Uses Genre Commercially: “Genre is a way of exploiting an audience who enjoy certain types of representations e.g. tabloid newspapers and the obsession with celebrity gossip which is also used as a form of synergy with programmes like “I’m a Celebrity – Get me out of Here!”
Genre Theorists
David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”.
Daniel Chandler– Genre is Too Restricting: “Films like Gravity have a limited appeal due to notions of predictability (notions of self sacrifice) even through Cuaron attempted more verisimilitude than other ‘space films’ like Mission to Mars and Apollo 13. A type of genre straightjacket is evident.
Henry Jenkins – Genre constantly ‘Breaks Rules’ e.g. evolving hybridization: “Hybridization is now commonplace to maximize audience appeal but also to offer a unique selling point by appearing to break the rules e.g. Submarine is both social realist in format but using comedy conventions typical for a rites of passage film”.
John Fiske – Genre as ‘Convenience’ for Producers and Audiences: “With X-Men Origins: Wolverine, a familiar action adventure formula is developed (hybridized with Science Fiction and the Superhero genre) which serves to ensure 20th Century Fox target a market who have expectations in terms of conventions”.
Jason Mittel – Industry Uses Genre Commercially: “Genre is a way of exploiting an audience who enjoy certain types of representations e.g. tabloid newspapers and the obsession with celebrity gossip which is also used as a form of synergy with programmes like “I’m a Celebrity – Get me out of Here!”
Steve Neale – Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Other conventions are the same however, despite this key difference and serve to maintain interest in an apparently evolving genre”.
In 1987, Jordan Belfort (Leonardo DiCaprio) takes an entry-level job at a Wall Street brokerage firm. By the early 1990s, while still in his 20s, Belfort creates his own firm called Stratton Oakmont. Together with his trusted 2nd In command Donnie Azoff (Jonah Hill) and a gang of brokers, Belfort makes a huge fortune by defrauding wealthy investors out of millions. However, while Belfort and his friends indulge into sex, drugs and thrills, the FBI keeps a close eye on him and eventually catch up with them.
In 1987, Jordan Belfort (Leonardo DiCaprio) takes an entry-level job at a Wall Street brokerage firm. By the early 1990s, while still in his 20s, Belfort creates his own firm called Stratton Oakmont. Together with his trusted 2nd In command Donnie Azoff (Jonah Hill) and a gang of brokers, Belfort makes a huge fortune by defrauding wealthy investors out of millions. However, while Belfort and his friends indulge into sex, drugs and thrills, the FBI keeps a close eye on him and eventually catch up with them.
The first scene starts off with a medium shot of Jordan Belfort walking down stairs. within the first 25 seconds of the opening scene the audience is exposed to the lifestyle of Jordan. the institution has showed off the mansion that Jordan Belfort owns. As Jordan walks the camera also follows him wherever he goes. Due to this the audience only get a brief taster of his mansion. However during the couple of seconds where the mansion is shown. You can see that it is big in size and well lit, furthermore you can see the marble floor, which indicates the wealth of the character. the audience will notice that he has a limo waiting outside just for him which also signifies his wealth and status.
The scene then proceeds to the limo departing from the mansion which again reminds the audience of Jordan’s status and wealth. Then to give the audience more of an image of who Jordan is they introduce his place of work. Upon his previous look, it is extended upon drastically as the audience will see him snorting cocaine and throwing away $100 notes as if it has no value. After all of that, the character then walks out of his office and extends his arms and takes the podium as if he is a champion. This symbolises the hierarchy within the workplace.
Throughout the opening scene there are around 15 cuts, however the camera follows Jordan where ever he goes which helps brings the focus to Jordan Belfort . There does not seem to be much editing. Most movies of this calibre have simply cuts or fade away transitions and there for this movie breaks sertan conventions.
The average shot length is 5 seconds . This indicates there are some scenes which are fast paced and slow. This may be because the director wanted to create suspense and tension as well as action.
The lighting within the movie was naturalistic. This assures the target audience of the genre this film is. There was definitely indoor lighting when the opening scene began, however when he leaves the mansion the lighting is natural.
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