4th Oct 2024

Genre Theory

In exploring genre theory, I have discovered the use for it is significant. It's literal French definition means type, as it gives directors, writers and an audience predefined codes and conventions to look for in a text. As Tom Ryall states in his adaptation of the genre theory, moving away from these conventions would be to break a contract with the audience and an audience member is actively seeking these conventions to feel secure in a media product.

From my research and as I can understand of Ryall's genre theory, there are four main aspects to genre:

-Iconography: Iconic symbols and visual images used within a text often they might hold some significance through intertextuality, commonly understood representation or predefined explanation within the text.

-Narrative: The way in which the story is structured, while many writers and directory use Todorov's narrative theory some genres may need unique narrative structuring.

-Representations : This involves looking at characters and stereotypes within a text which may be significant to a genre's common narrative stereotypes which must be used as to not break the contract between audience text and producer (As seen in on the triangle on the right.)

-Ideology: The beliefs, ideas and general themes presented within the narrative.

On the other hand of genre theory, in Steve Neale's genre theory, he argues that genre is mainly defined by a set of codes and conventions, but he argues that these codes are not fixed and evolve over time and he believes genres must balance elements of familiarity with innovation to attract an audience. He also thinks that genre conventions are and can be changed on cultural and historical contexts and genre is shaped by what audiences expect and seek to find and gain from a text, which personally reminds me of Fandom and how ultimately the Audience is the most significant player in a media texts production.

Watching this video reminded, me of sub-genres and hybrid genres. I like the idea of hybrid genre as it allows a creative expression when creating a media text by a producer instead of being confined by the expectations of only a single genre, but hybrid genres also make me curious about why genres are even needed if they can be mixed and matched at any moments noticed.

I think that for this the historical context of genre is important to understand and how genre has historically been more important than it is now as in the past directors and writers needed genre to allow an audience to have what they want in a production and not have, as Ryall says, not have the contract broken between the Audience, text and producer, especially in early cinema when these genres were new and not much had to be done for unique ideas or themes, however I think audiences have gotten bored of so much repetition in media so instead writers and directors have to be creative in the new material they put out so their work is unique and not similar to what else is being given to audiences otherwise it will be pointless. That is why ultimately, hybrid genres I think are useful to give twists to narrative and allow more creativity without breaking too many expectations of genre otherwise like Ryall says it may make a text somewhat unbearable for an audience if they have no expectations of the genre.

Applying Genre Theory

To apply genre theory in my own products, it is important to meet audience expectations. I can do this by using familiar genre conventions, e.g. dramatic lighting if it were a horror, and this ensures that my product will resonate with the target audience while also gratifying their needs, especially in what they are searching for in the product. Also, genre can be used as a marketing tool. By having a clearly defined genre, it is easier to market and audiences will be drawn towards what they recognize and will not be surprised when a film's poster is sci-fi but the actual genre is more of a romance, so having a clear set genre in production helps post production to market the product appropriately and to an audience who want the text.

18th Oct 2024

FujiFilm Cameras

Fuji Film Cameras:

Today, in our groups we went more in depth on the Fuji Film cameras which we will be using for our products later in the course. Paired with lenses we learnt how these different tools can help us for our different requirements and how some tools might come in useful in some situations, such as a script to set white balance.

White balance:

Not knowing about it beforehand, we learnt about white balance and its importance to set when a product is in between different lighting types as it helps to reduce the need to use colour correction later on which is much more labouring. On the fujifilm camera we were using this required us to go into the settings, as seen above..

and once on the settings choose the custom option, to which the screen on the image above appears, where you match/ fill 70% of your frame with white at the filming location of the time. However, this does not always have to be only white as by using a different colour on the white balance menu we can create cool image effects with the camera.

Camera controls:

While using the cameras, we also learnt about different lenses and how their different abilities are better for certain use cases. To understand this we also discovered the three main aspects of filming with cameras ISO, Shutter Speed and Aperture:

ISO- This controls the camera's sensors sensitivity to light, for example in a low light area you would want a higher iso to artificially brighten up the scene whereas if you were outside you would only want to use a lower iso as the natural sunlight does most of the work, with iso we have to keep in mind often the higher we put it, the grainier it may make the image.

Shutter speed- This controls the amount of time the camera's shutter will remain open, the faster it is the less motion blur in the image.

Aperture- This is in the lens and determines how wide or small the lens is when letting light through and when it is wide open, or a lower f such as f/2.8, the shot will have a shallow depth of field only letting an object in the foreground be in frame. Whereas, a higher aperture, such as f/18, is better for a land-scape image as everything is in focus.

Lenses:

Lenses are measured in focal length, this is the distance between the optical centre and the sensor plate this measurement is in milli meters and determines the angle of view and magnification of a photo. Different lenses have different use cases, but it is better practice to have the knowledge of which to use and when in production rather than later on in post-production so that no excessive measures such as zooming in post which would loose image quality.

1-24 mm

This is a wide angle lens used to take up much of the surroundings, so is used for landscapes and wide-shots.

18-35mm

This lens is more versatile as it can be used for general portraits, both landscape and portrait, as well as street photography, so has better daily use application.

300+ mm

The large zoom on 70-300mm means it is well equipped for outdoor wildlife photography and sports, as it can retain high quality at larger distances.

1st Nov 2024

Film Openings

Jackie Brown (1997)

Genre is indicated through the slow moving tracking shot of Jackie Brown, which hints at a crime, thriller genre without the use of action due to it being a genre convention. The use of the song "Across 110th Street", introduces the idea of struggle and survival common in crime stories. Jackie's relaxed demeanor hints to a mystery of her complex background.

Titles are displayed slowly, introducing the actors and production team while keeping Jackie as the main focus with her being the dominant object, the slow pace of the titles also match the pace of Jackie's journey which emphasizes her significance.

Connotations of imagery are shown through Jackie's calm, unflinching look which conveys strength and secrecy, which implies she has depth and resilience. her steady movement on the walkway suggests that she's on a clear path which may be beyond her control. With Jackie being alone for most of the shots in the airport setting, it implies isolation of her character.

Guardians Of The Galaxy (2014)

The opening scene portrays a sci-fi genre with adventure as an alien planet in ruins is shown. Star-Lord enters wearing a futuristic helmet and uses advanced futuristic scanning equipment which are conventions which would be typical to see in the science fiction genre.

The combination of the upbeat song "Come and Get Your Love" with his unique dance moves engages viewers through a mix of humour and mystery. Combined with the iconographic use of his Sony Walkman creates curiosity on why he is using "old" technology with such futuristic tech which is a binary opposite that creates an enigma keeping the audience intrigued.

Gone Girl (2014)

The eerie yet slow-paced shots mixed with the ominous music create a tense and uncomfortable atmosphere. The focus on Nick's ambiguous feelings toward Amy introduces a unique unease, foreshadowing themes of deception and complex relationships. The title shown is plain white text which does not take away from the visuals showing it is insignificant compared to the scene, as well the minimalist style adds to the building tension.

The quiet urban setting is a perfect setting to host a binary opposite as the emptiness could connote a sinister undertone. Also, the cinematography consisting of soft lighting and muted colours lends a sense of realism to the intro while also suggesting something is "off"/wrong.

Further, the lack of VFX keeps the introduction grounded while also enforcing the genre of psychological thriller, with and enigma around the characters relationship keeping the audience questioning from the start.

Se7en (1995)

The opening sequence using dark gritty visuals along side disturbing imagery signals that it is a crime thriller with some psychological and horror elements. The fast cuts between mise-en-scene such as notebooks, razors and crime scene photos establish a morbid and investigative tone.

Titles are displayed in a manipulated , handwritten font which flashes, this elaborates disorder and chaos.

There Will Be Blood (2007)

The genre hints towards a western due to the setting of an arid, rural desert in an area which could be thought to be Southern America, however some other features typical of the western are present so enigmas are set for the audience to discover the genre.

The lack of music makes the intro feel anticipatory / dull, leaving the audience questioning what is happening and is something going to happen?

The pleonastic sound such as the man's pickaxe make the scene feel tedious and annoying which help to confuse an audience into when something might happen.

A gun, specifically a six shooter, is present which is typical of the western but it could also be an enigma for danger. The campfire present could suggest survival but this early, nothing is clear.

The Matrix (1999)

We can tell from the introduction that this genre is science fiction as shown by visual codes such as the man jumping across buildings which is very unrealistic, however it is also creates enigmas for the audience about the plot as nothing is yet known about the narrative so there is a suspense.

The green overlay signifies a sense of un-ease not yet known by the audience but left to be discovered.

The chase sequence shown is exciting and fast paced, however at this point we don't really know why this woman is being chased or what is going on so much room is left for the audience to discover the narrative while also keeping entertained.

15th Nov 2024

Auteur Theory

What is Auteur theory?

Auteur theory describes how an individual, normally the director of a media text, has an artistic style which is intertextual over their many works, like a fingerprint which is their mark and how they are the "author" of the text by being the primary creative force.

Auteur in practice. - Wes Anderson

Auteur can be seen in practice through director Wes Anderson. Some of his most famous works are Fantastic Mr. Fox and The Grand Budapest Hotel and withing these films he often presents his own unique style, containing vintage flair, a bold colour scheme, symmetry, tableau-style compositions and a preference in using longer takes. However, do these common themes make it auteur for Wes Anderson? Taking a look at Fantastic Mr. Fox, there were ~140 people in total working on the film, which include 8 producers and with Wes not even writing it, only adapting it to a screen play from Roald Dahl's book can he have a style? Yes, Auteur does apply, despite many believing Auteur should only be the director's controlling everything , it is more dependent on them having a high level control over as many aspects of a film as possible to apply their creativity to. As seen below, Wes's style is bold colours with largely contrasting dynamics with much use of symmetry, and he tries to create as much meaning out of each frame as possible which is where his tableau-style comes in.

Auteur in practice. - Christopher Nolan

Christopher Nolan who has produced outstanding works, such as Interstellar, The Dark Knight Rises and more recently Oppenheimer, has an auteuristic style which uses elliptical editing, documentary style lighting and handheld camera work. He also works in natural environments as opposed to studio settings . He is most notably known for using geometry uniquely in his works to create a visualisation of characters mental states which allows for depth in his work. Unlike some other directors, Nolan partakes in the script writing for his films which fits into the category of being a true auteur as he takes control over the whole production and not just filming.

From this video, I learnt how directors integrate personally themes into their work depending on their ideologies and this contributes to Auteur, but also how productions are ultimately a collaborative effort. However, directors such as Christopher Nolan can be considered "True Auteurs" due to comprehensive control over all stages of production which really anchors a piece as recogniseable to that director.

8th Nov 2024

Key Opening Analysis 1

Children of Men - Alfonso Cuaron - 2006

Analysis

This "Children of Men" opening sequence depicts a futuristic setting of London in a dystopian fashion where no more children are being born. The opening uses limited cuts, which emphasises realism and brings the audience into the chaos of this world. The hand-held camera movement makes the scene feel like a documentary which adds to the realism and also brings more intensity by making it feel like something is going to happen, it also connotes imperfection unlike if a dolly or tripod was used, with handheld it can be shaky which promotes the state of the world. Naturalistic lighting is used which presents to gritty and dirty environment of the dystopian future, and the muted colour palette further reinforces the idea of the world being in decay.

Diegetic sound is initially used while the protagonist is in the café from the broadcast of the tv about the death of "Baby Diego" which is our first enigma towards the narrative of the world being infertile. And as the man leaves the café the reality drowns out the sound of the broadcast connoting it has no real meaning to him, like it's just more noise in the air, also near the end when there is an explosion we hear the diegetic tinnitus sounds which puts us in the perspective of the protagonist and how he is experiencing the explosion which heightens the sense of disorientation. Non-diegetic sound is not used in the scene which further adds to the realism the director is trying to present of the situation, however, sounds are heightened such as the road vehicles which rumble quite loud, presenting themselves and the city as a scary place.

The sequence is set in a worn, dystopian futuristic London which has familiar conventions of London with the red post boxes and iconographic architecture, however the rubbish littered streets and the worn looking people reflects the collapse of society while also anchoring the genre. The characters in the café and on the streets are dressed in utilitarian apparel which hints towards how society is largely focused on survival rather than aesthetics, symbolizing the true significance of the dystopian world.

The sequence is paced quite slow to begin with mimicking a daily routine, however we can identify the use of Todorov's narrative theory as there is a disruption in this equilibrium when the explosion happens, putting the audience right into the action and chaos.

The director also chooses to use a large depth of field which means that both the protagonist and environment are visible. This makes the audience uneasy about the binary opposites of the setting to a world/time that they are familiar with.

The begging shows a white text on black background which is not often used as it can create eye strain due to the high contrast and most other productions often use subtle backgrounds because it feels neural, professional and polished. However, in the case of Children of Men, the style the directors are aiming for benefits from the white text on black background as it presents a cold and harsh aesthetic which may not suit other film genres.

Shown is a medium shot, it allows for the expressions of the group to be visible so that the audience can understand the emotional toll that "Baby Diego's" death is having on everyone. Reception theory can be applied as the audience may take a "preferred reading" as they sympathise with the people over the loss of this figure who seems more significant than we understand.

From the shown shot, we can also depict a contrast between the protagonist and the rest of the crown, as we see his displacement towards the death, this presents a disruption in the "equilibrium" of a grieving world, setting up for the narrative to follow.

Furthermore, the elderly woman clutching onto her dog can symbolise desire for comfort in the doomed world and how people seek comfort wherever possible. As well, the clothing can leans away from male-gaze especially in the female characters clothing which is very typical in modern media, this indicates people are dressing for survival, rather than individuality which aligns with the genre conventions of a dystopian society.

The outdoor London setting uses a combination of familiarity, as the audience is likely intended to be British as well as European, with difference which in this shot in particular is the tuk-tuk, this creates a sense of dread in the audience, particularly a very patriotic audience, as the tuk-tuk can be affiliated, intertextually, with a lower-class country which is shocking to the viewer as something they know and are comfortable with is being altered which emotionally involves them into the narrative.

The appearance of three union jacks in this one shot alone elaborate on the fact that this is the United Kingdom, as the producers actively attempt to get the viewer emotionally involved/attached to the scene.

In this shot, we can also see the London shard in the skyline which was added in with CGI due to the production of Children of Men being a few years before construction on the London shard even started, 2009, however the directors foresaw this as they wanted to futuristic skyline to be as accurate as possible so added in the building.

6th Dec 2024

Key Opening Analysis 2

It Follows - David Robert Mitchell - 2015

Analysis

In the It Follows opening shot, the use of a wide-angle lens allows establishment of a quiet suburban neighbourhood during sunrise which promotes a false sense of normalcy. The long, un-interrupted 360* tracking shot used on the suburban road gives the audience a vouyeristic perspective. This reinforces a feeling of unease in that something is watching/staling the girl. The use of deep focus keeps the background clear, which allows the audience to scan the set for potential threats, even though none are visible. Also, the camera often stays at a distance, rarely using close-ups which can connote isolation within the space.

The young woman is dressed in lingerie and heels which contrasts the normality of the domestic surroundings which helps us to understand that there is distress and unexplained urgency in her movements. The woman's body language, clutching herself, darting glances and hurried movements communicate fear without the use of dialogue. The change of location from the calm, suburban street to the isolate beach reinforces the idea that nowhere is truly safe.

The sequence begins with the use of some diegetic sounds, birds chirping and distant cars, which heightens the audience's immersion and realistic nature of the sequence, of which's normalcy is disrupted by unnatural silence before we hear the woman's frantic breathing which correlates with Levi-Strauss's binary opposites since the juxtaposition of calm, suburban setting, and chaos, the woman's fear, creates tension and drives the narrative of the scene..

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