An Analysis of Cinematography Creates Effect and Meaning in a Sequence from The Haunting (Robert Wise 1963)
Showing posts with label Year 12 Film Studies. Show all posts
Showing posts with label Year 12 Film Studies. Show all posts
Wednesday, 2 October 2013
Thursday, 8 November 2012
Practical Application of Learning (storyboard) Coursework
There are 3 distinct parts to your PAL coursework. These are:
1) Aims and context.
A clarification of the aims and context of the sequence to be completed on the appropriate cover sheet.
2) Film Sequence Storyboard
(40 Marks)
A photographed storyboard of between 10 and 25 different shots (some of which may be repeated) plus up to 5 found shots (shots which would be difficult to photograph or where locations need to be established). The 5 found shots must be acknowledged.
3) Reflective analysis - approximately 750 words
(10 Marks)
The reflective analysis should select key micro features of the sequence and demonstrate how they make meaning(s) and aim to provoke response(s) in audiences.
1) Aims and Context
You must include the following information on your aims and context cover sheet:
• Genre of film (or equivalent if it’s not in an obvious genre)
• Whether it’s a short film or extract (and if so, whether it’s opening, climactic sequences etc)
• Target audience
• Key stylistic elements of sequence (cinematography, editing)
2) The Storyboard
Your coursework task will be to put into practice what you have learnt about how the micro-features create effect and meaning in a film sequence. You must create a photographic storyboard for a sequence from a movie using all the micro-elements to create a specific and planned meaning.
Descriptors
The slug line defines interior (INT) or exterior (EXT).
It defines the location.
It defines the time of day (Day or night).
The action descriptor should simply say what is happening in the shot.
It should include what characters and what action are present.
ECU – Extreme close up
CU – Close up
MCU – Medium close up
MS – Medium shot
MLS – Medium long shot
LS – Long shot
ELS – Extreme long shot
H/A – High Angle Shot
L/A – Low Angle Shot
POV – Point of View Shot
OTS – Over the Shoulder shot
ZOOM – Inward or outward movement with lens.
TRACK or DOLLY – Inward or outward movement with camera.
CRANE – Vertical camera movement
The dialogue descriptor simply defines the opening and closing dialogue in the shot as well as who speaks it.
This may be a single line or part of a line. In longer speeches, only the opening word and final word should be indicated.
Both diegetic and non-diegetic sound must be described.
It should give an indication of atmosphere – ambient sound. Perhaps traffic in the distance to show an urban scene or water dripping nearby to indicate a cave setting.
It may give information about the music used in the scene
It may tell us about any specific sound effects needed.
Transition will usually simply state ‘cut’ but where required will indicate particular effects such as:
Fade to or dissolve
Match on Action
Graphic Match
Wipe
BEGIN MONTAGE or END MONTAGE.
The duration of each shot should be expressed in seconds. Try to consider realistic times for the actions you are illustrating.
Getting Started
Begin by considering the genre of film you wish to work in. You can choose any genre or combination of genres, sub-genres or hybrids but make sure that you make a definite decision as this will affect your effect and meaning and target audience.
Think about what sort of characters you will include in your sequence, what will they look like? How will they act? Will they be conventional or non-conventional?
Think about what will happen in broad terms in the sequence.
Begin by creating a list of things that will happen in the sequence. Each of these will translate to a shot so they should be only small moments from the sequence. Number these.
Once this is done, you will have a strong idea of your sequence and will be ready to start filling in the descriptor details. Use the example below to get a feel for how detailed you need to be.
Example
Storyboard Cabin in the Woods (MC)
Advice
Your storyboard should demonstrate how micro-features are used to create meaning.
Your storyboard should consist of indicative images – images that show the intended compositions and content.
The storyboard must also include descriptors which sit against the images and give more information abut the sequence.
Images should be 16:9 (rectangular).
Restrictions are accepted but images should show framing, composition and mise-en-scene.
Break actions into smaller actions – each with a shot accompanying it.
LS pushes audiences away and CU brings them into the action.
30 degree rule.
180 degree rule.
Assessment
Storyboard Sequence
Assessment
Reflective Analysis
Level 4: 8-10
• Excellent, perceptive analysis of how the sequence uses micro features to make meaning(s) for audiences.
Quality of (written) communication
• Excellently structured and accurate use of appropriate language to communicate clearly.
Your coursework task will be to put into practice what you have learnt about how the micro-features create effect and meaning in a film sequence. You must create a photographic storyboard for a sequence from a movie using all the micro-elements to create a specific and planned meaning.
Descriptors
The slug line defines interior (INT) or exterior (EXT).
It defines the location.
It defines the time of day (Day or night).
The action descriptor should simply say what is happening in the shot.
It should include what characters and what action are present.
ECU – Extreme close up
CU – Close up
MCU – Medium close up
MS – Medium shot
MLS – Medium long shot
LS – Long shot
ELS – Extreme long shot
H/A – High Angle Shot
L/A – Low Angle Shot
POV – Point of View Shot
OTS – Over the Shoulder shot
ZOOM – Inward or outward movement with lens.
TRACK or DOLLY – Inward or outward movement with camera.
CRANE – Vertical camera movement
The dialogue descriptor simply defines the opening and closing dialogue in the shot as well as who speaks it.
This may be a single line or part of a line. In longer speeches, only the opening word and final word should be indicated.
Both diegetic and non-diegetic sound must be described.
It should give an indication of atmosphere – ambient sound. Perhaps traffic in the distance to show an urban scene or water dripping nearby to indicate a cave setting.
It may give information about the music used in the scene
It may tell us about any specific sound effects needed.
Transition will usually simply state ‘cut’ but where required will indicate particular effects such as:
Fade to or dissolve
Match on Action
Graphic Match
Wipe
BEGIN MONTAGE or END MONTAGE.
The duration of each shot should be expressed in seconds. Try to consider realistic times for the actions you are illustrating.
Effect and Meaning
The purpose of the task is to use the micro-features of film to create a planned and specific effect and meaning. It is important therefore to create a sequence which has a strong effect. Make it an important sequence from the larger (imaginary) film. Make it dramatic and strong in meaning. Think about how you want your audience to feel and react. Do you want them to feel fear? Sadness? Emotion? Romance? Triumph? Excitement? Elation? Repulsion? Love? Hate? Anything else?
Begin by considering the genre of film you wish to work in. You can choose any genre or combination of genres, sub-genres or hybrids but make sure that you make a definite decision as this will affect your effect and meaning and target audience.
Think about what sort of characters you will include in your sequence, what will they look like? How will they act? Will they be conventional or non-conventional?
Think about what will happen in broad terms in the sequence.
Begin by creating a list of things that will happen in the sequence. Each of these will translate to a shot so they should be only small moments from the sequence. Number these.
Once this is done, you will have a strong idea of your sequence and will be ready to start filling in the descriptor details. Use the example below to get a feel for how detailed you need to be.
Example
Storyboard Cabin in the Woods (MC)
Advice
Your storyboard should demonstrate how micro-features are used to create meaning.
Your storyboard should consist of indicative images – images that show the intended compositions and content.
The storyboard must also include descriptors which sit against the images and give more information abut the sequence.
Images should be 16:9 (rectangular).
Restrictions are accepted but images should show framing, composition and mise-en-scene.
Break actions into smaller actions – each with a shot accompanying it.
LS pushes audiences away and CU brings them into the action.
30 degree rule.
180 degree rule.
Assessment
Storyboard Sequence
Level 4 32-40
• Excellent understanding of micro features demonstrated in sequence
• Excellent, creative use of appropriate micro features
• Excellent visualisation, demonstrating high degree of understanding
of appropriate conventions.
Quality of written communication
• Excellently structured and accurate use of appropriate language to
communicate clearly.
3) Reflective Analysis
Brief
Reflective analysis: approximately 750 words. (10 marks)
The reflective analysis should select key micro features of the sequence and demonstrate how they make meaning(s) and aim to provoke response(s) in audiences.
• Excellent understanding of micro features demonstrated in sequence
• Excellent, creative use of appropriate micro features
• Excellent visualisation, demonstrating high degree of understanding
of appropriate conventions.
Quality of written communication
• Excellently structured and accurate use of appropriate language to
communicate clearly.
3) Reflective Analysis
Brief
Reflective analysis: approximately 750 words. (10 marks)
The reflective analysis should select key micro features of the sequence and demonstrate how they make meaning(s) and aim to provoke response(s) in audiences.
Essay Structure
It is important to plan your essay well. Use the following structure to plan what points you will make and how many words you will attribute to each of them before you start writing.
1. Introduce your sequence explaining its macro features - what genre it is and what happens in it (in broad terms). Describe the overall effects and meaning.
2. Go through the sequence chronologically (in normal time order). Begin explaining how you have used the micro-features to create specific aspects of the effect and meaning.
3. Break your points into paragraphs and focus on the larger points in detail rather than trying to cover every single aspect of your sequence.
4. Conclude your account by very briefly summing up your main points.
Assessment
Reflective Analysis
Level 4: 8-10
• Excellent, perceptive analysis of how the sequence uses micro features to make meaning(s) for audiences.
Quality of (written) communication
• Excellently structured and accurate use of appropriate language to communicate clearly.
Monday, 22 October 2012
Micro-Analysis Essay Advice
Film
Studies: AS Level Coursework Essay
Advice
Brief: Write an analysis of how two
micro-features create effect and meaning in a 3-5 minute extract from a movie
of your choice.
Word
count: 1500 – In order to stand any
chance of writing the appropriate amount of detail you MUST meet the word
count. 1500 words. No less.
General
Advice
Structure: Make
sure that you follow a plan. There
is a sample plan on the other side of this handout. Use it.
Analysis: You are not re-telling the story or simply saying what
happens. You must ANALYSE the
micro-elements to really ‘get under the skin’ of the movie.
Depth and detail:
Always try to go deeper in your
analysis. Look beyond the surface
layer.
Proof reading: Spelling and grammar mistakes lose you A LOT of marks. There is no need to make them. Use a spell check and proof read your
essay.
Images –It is an essential part of the
assessment to include images from the film. These should back up or illustrate major points from your
essay.
Meanings: You MUST explain what meaning is created in DETAIL.
What emotions and feelings are created by the
sequence?
Think about as many different words which
describe the meaning as possible -
Drama, tension, fear, horror, revulsion, suspense, tension, anger, sadness,
love, lust, terror, wonder, awe, excitement, envy, pity, loathing.
Genre – How
is the genre shown in the sequence? Are there any genre conventions you can
talk about?
Character – What
information are we told about the characters? Are they strong, weak? Happy?
Sad? Angry? Calm? Powerful? Powerless?
Narrative – Do
the micro-elements tell us anything about the story? Any clues as to what may
happen or insights into what has happened already?
Mark Scheme
The exam board issues a set of criteria which the highest
achieving essays will meet. You
should all be aiming for the very highest level and as such would benefit from
examining the mark scheme very carefully.
Make sure that your essay meets the following standards:
Level 4: 24-30 Marks
•
Candidates will be distinguished by an
excellent knowledge and confident understanding of the micro features of the
film they are concentrating on.
• This will be reflected both in their ability to refer in
detail and with accuracy to their chosen film and in their analysis of how
micro features produce meaning(s).
• Personal response will be characterised by a high level of
analysis of the production of meaning(s) through the interaction of film and
spectator.
• The
interaction between film and spectator will be perceived as complex, subtle and
resistant to simplistic assumptions.
Quality of written communication
• Excellently structured and accurate use of appropriate
language to communicate clearly.
Basic Essay Plan
INTRODUCTION: Introduce what film you
are analysing and which micro-elements you are focusing on. Briefly explain the main storyline,
genre and any relevant background info. No more than 150 words.
PARAGRAPH 1: State which sequence you
are analysing. Briefly explain what happens in the sequence. Explain what overall
meaning is created in the sequence.
PARAGRAPH 2: Begin at the start of the sequence and start explaining how the
micro-elements create meaning.
Analyse both elements at the same time. Use a new paragraph for each major point.
PARAGRAPH 3 +: Continue through the sequence making your
points.
CONCLUSION: Sum up your main points
and state the main meaning created in the sequence. Do not evaluate how well the director has done his job.
Friday, 11 May 2012
Revision Posters
Below are some helpful revision resources you may want to download and print off.
Yr12 FS Examiner's Reports Poster
Narrative in Film - Revision Sheet
Yr12 FS Examiner's Reports Poster
Narrative in Film - Revision Sheet
Thursday, 26 April 2012
The Descent - Analysis
The Descent as a British Film.
The Descent and the horror genre.
Narrative structure of The Descent.
Representation in The Descent.
Key Sequences.
The Descent as a British Film.
The film's key cast and crew were all British as was its financing. It was written & directed by Neil Marshall (a British director, editor and screenwriter), it was filmed entirely in the UK (even though it was set in North America), the cast & crew is predominately British, the main production company is Celador Films which is a UK company, and the Producer was Christian Colson (another Brit).
The film's key cast and crew were all British as was its financing. It was written & directed by Neil Marshall (a British director, editor and screenwriter), it was filmed entirely in the UK (even though it was set in North America), the cast & crew is predominately British, the main production company is Celador Films which is a UK company, and the Producer was Christian Colson (another Brit).
Despite this, the film does not use the typical British iconography or overall 'style'. It does in fact look much more similar to Hollywood-produced fare. There are some characteristics of British film apparent despite the surface sheen however. The story and script are more character-based than typical American Horror movies. There is also a sub-plot involving an affair one of the characters (Juno) had with one of the other's (Sarah) husband. This could be argued is a characteristic of British film. Most significantly however, the ending of the film is very downbeat and pessimistic. Sarah hallucinates her escape from the cave and the audience believe this to be true and that she is safe (though her friends are all dead) but then there is the sudden cut back to the cave and the audience sees that Sarah is in fact still trapped underground. As she hallucinates her dead daughter appearing in front of her, we hear the sounds of approaching crawlers and the camera pulls back revealing just how deep underground she really is. This firmly states to the audience that Sarah's chances of survival are virtually non-existent.
It is particularly relevant that the American theatrical release of this film cut this ending out and the film ended with Sarah escaping the cave system.
The Descent and the horror genre.
The film is quite clearly part of the horror genre due to its use of horror conventions:
The Crawlers:
The use of blood and gore:
Scary music:
The film is quite clearly part of the horror genre due to its use of horror conventions:
The use of blood and gore:
Scary music:
Narrative structure of The Descent.
The Descent uses the 3 act structure typical of the vast majority of American films. It has a clear set-up, conflict and resolution. What makes it different however is the fact that for the first half of the film the main 'villains' or antagonists (the vicious and carnivorous crawlers) do not appear and are only very subtly hinted at. The main drama and tension is derived from the girls' attempts to escape from the cave.
Act 1: Set-up: The film introduces the group of girls and we meet each of them and learn a little about their characters. They enter the caves.
Act 2: The girls become stuck after a cave-in and try to find a way out by travelling through the caves. they overcome various obstacles before being attacked by the creatures at the mid-point.
Act 3: Juno and Sarah are the only ones left alive and they begin to fight back. Just as the big face-off against the creatures seems about to happen however, Sarah stabs Juno with her pick and leaves her for dead. She then hallucinates her escape.
Todorov's theory of a classic Hollywood narrative also applies to this film.
The Descent uses the 3 act structure typical of the vast majority of American films. It has a clear set-up, conflict and resolution. What makes it different however is the fact that for the first half of the film the main 'villains' or antagonists (the vicious and carnivorous crawlers) do not appear and are only very subtly hinted at. The main drama and tension is derived from the girls' attempts to escape from the cave.
Act 1: Set-up: The film introduces the group of girls and we meet each of them and learn a little about their characters. They enter the caves.Act 2: The girls become stuck after a cave-in and try to find a way out by travelling through the caves. they overcome various obstacles before being attacked by the creatures at the mid-point.
Act 3: Juno and Sarah are the only ones left alive and they begin to fight back. Just as the big face-off against the creatures seems about to happen however, Sarah stabs Juno with her pick and leaves her for dead. She then hallucinates her escape.
Todorov's theory of a classic Hollywood narrative also applies to this film.
Representation in The Descent.Gender is obviously a very significant area of representation in this film. It is unusual for a film to focus solely on a group of female characters and especially so for a horror film.
Key Sequences.
Tuesday, 3 April 2012
Comparisons Between The Goonies and Stand By Me
The exam question will ask you to critically compare the two American films you have studied for this topic - The Goonies and Stand By Me.
The areas you must be able to discuss with thorough detail are:
Themes and Issues
Messages and Values
Representation of Gender/Age
Significance of Setting and Place
Wider Social Context
These areas are discussed in detail in the following student powerpoint presentations:
Goonies and Stand By Me Comparison - Themes and Issues
Goonies and Stand By Me Comparison - Messages and Values
Goonies and Stand By Me Comparison - Rep of age
Goonies and Stand By Me Comparison - Rep of Gender
Goonies and Stand By Me Comparison - Setting and Place
Goonies and Stand By Me Comparison - Wider Context
The areas you must be able to discuss with thorough detail are:
Themes and Issues
Messages and Values
Representation of Gender/Age
Significance of Setting and Place
Wider Social Context
These areas are discussed in detail in the following student powerpoint presentations:
Goonies and Stand By Me Comparison - Themes and Issues
Goonies and Stand By Me Comparison - Messages and Values
Goonies and Stand By Me Comparison - Rep of age
Goonies and Stand By Me Comparison - Rep of Gender
Goonies and Stand By Me Comparison - Setting and Place
Goonies and Stand By Me Comparison - Wider Context
Tuesday, 6 March 2012
Year 12 Film Studies - Section C: US Film Comparison
"Section C: US Cinema Comparative Study (40 marks)
One question from a choice of two.
Candidates are required to compare and contrast two films either from the same genre or dealing with a specific theme.
Both questions will have an emphasis on the relationship between aspects of the films' narrative in relation to generic characteristics.
The first question will be based primarily on narrative study.
The second will be based on contextual study.
Issues of representation will be common to both questions.
The films to be studied for this unit are:
The War of the Worlds (Byron Haskin 1953)
and
The War of the Worlds (Steven Spielberg 2005)
Both films are adaptations of the novel by H.G Welles.
You must look at the following areas in relation to both of your focus films. You will be looking for elements which are similar and different in these areas.
Representation
Social context
Messages and Values
Themes and Ideas
Narrative/Genre
CLOSE ANALYSIS - The War of the Worlds (Byron Haskin
To develop a critical understanding of the text.
To analyse the messages and values in the film.
To examine representation in the film.
To explore how significant setting and place is to the film’s themes.
To gain an understanding of the social context of the film.
Characters
Representation
In order to analyse a representation you must ask yourself the following:
How does all of this affect the film's themes and messages and values? Does the film uphold these ideas or challenge them?
AIMS
To develop a critical understanding of the text.
To analyse the messages and values in the film.
To examine representation in the film.
To explore how significant setting and place is to the film’s themes.
To gain an understanding of the social context of the film.
Messages and Values
Messages and values can often be identified most clearly in the endings of films. Put simply, messages and values are what the film is saying is 'good' or 'right'. What things (ideas, concepts, morals) are being celebrated and what are being denigrated?
Themes
Messages and Values
Key Scene 1 - The Ending
How do the characters look? Costume? Make up? Facial expression?
How do they sound? Voice? Aural motifs/ soundtrack? Diegetic sound design.
How do other people treat them?
Narrative – what happens to them? What do they do? What is their function in the narrative?
Setting and Place
Social Context
How does all of this affect the film's themes and messages and values? Does the film uphold these ideas or challenge them?
CLOSE ANALYSIS - The War of the Worlds (Steven Spielberg 2005)
To develop a critical understanding of the text.
To analyse the messages and values in the film.
To examine representation in the film.
To explore how significant setting and place is to the film’s themes.
To gain an understanding of the social context of the film.
Characters
Themes
Messages and values can often be identified most clearly in the endings of films. Put simply, messages and values are what the film is saying is 'good' or 'right'. What things (ideas, concepts, morals) are being celebrated and what are being denigrated?
Key Scene 1 - The Ending
Representation
Setting and Place
Social Context
Key Scene 2 -
COMPARISONS BETWEEN THE TEXTS
The exam question will ask you to critically compare the two American films you have studied for this topic - The War of the Worlds.
The areas you must be able to discuss with thorough detail are:
Themes and Issues
Messages and Values
Representation of Gender/Age
Significance of Setting and Place
Wider Social Context
Narrative/Genre
The exam question will ask you to critically compare the two American films you have studied for this topic - The War of the Worlds.
The areas you must be able to discuss with thorough detail are:
Themes and Issues
Messages and Values
Representation of Gender/Age
Significance of Setting and Place
Wider Social Context
Narrative/Genre
ADVICE FROM THE EXAM BOARD
PAST QUESTIONS
With particular reference to the endings of your chosen American films, compare their messages and values.
How useful have your wider contextual studies been in understanding similarities and differences in the American films you have studied for this topic?
What is significant about setting and/or place in your chosen American films?
In the American films you have studied for this topic, how far do the representations of either women or men reflect the time when they were made?
Tuesday, 28 February 2012
Year 12 Film Studies - Exam Advice
In order to achieve the best possible results in your exam you must obviously know your subject, revise and ensure you have a thorough understanding of all possible topics.
This is not all however - you can make a huge difference to your overall grade by learning and using good exam technique, knowing the common pitfalls that students fall into and avoiding them.
Common Mistakes (All exam sections)
Below is a list of common mistakes that students make or areas where they fall down. Use it as a check list to ensure that you don't make the same mistakes.Not enough reference to examples.
Not including (or mis-spelling) title, director, year.
Time organisation.
Not using specific terminology.
Presentation (illegible writing).
Not keeping focus on the question.
Not having wide or deep enough knowledge to draw from.
Not going into enough detail.
Not bringing in your own case study knowledge.
Not choosing/answering the right question.
Not structuring the response.
No close analysis used.
Not enough debate in the response.
Unsophisticated use of stimulus material.
SECTION A (Audiences and Producers) -
STEP BY STEP EXAM PLAN
1. Read both questions carefully
2. Evaluate how much you know about each question
3. Decide which question you want to answer
4. Which point of view do you take on the question?
5. Read the resource pack
6. Annotate resource pack with brief notes or thoughts
7. Weigh up 2 sides of the argument mentally
8. Make very brief notes on structure using bullet points.
9. Begin essay with an introduction in which you answer the question in brief.
10. Argument 1 - try to make 3 points and back them up with evidence from your learning or from the resource pack.
11. Argument 2 - try to make 3 points and back them up with evidence from your learning or from the resource pack.
12. Conclude with the question and answer it finally.
SECTION B (British Film and Genre) -
STEP BY STEP EXAM PLAN
1. Read both questions carefully
2. Evaluate how much you know about each question
3. Decide which question you want to answer
4. Write a list of conventions/characteristics/points to include very briefly.
5. Create very brief plan/structure.
6. Begin essay with introduction in which you refer to the question.
7. Film 1
8. Film 2
9. Film 3
10. Conclude with reference to the question again.
Sunday, 5 February 2012
Year 12 Film Studies: Audiences and Producers - Film Finance and Production
The Package
Investment
Costs
UK Film Council
The Stages of Production
Investment
Costs
UK Film Council
The Stages of Production
Monday, 23 January 2012
British Film and Genre - Horror
British Film and Genre - Horror
Section B: British Film Topics (40 marks)
™You will have to answer one question from a choice of two.
You will be required to refer in detail to THREE key films.
™The first of the two questions will have a focus on narrative and thematic issues.
™The second will include a more broadly-based consideration of areas of representation, such as gender, ethnicity or age.
Key Texts
The Descent (Neil Marshall 2005)
Shaun of the Dead (Edgar Wright 2004)
The Wicker Man (Robin Hardy 1973)
British Culture and Iconography
Characteristics of British Film
Conventions of the Horror genre
Narrative Aspects in Film
Representation in Film
Close Analysis of Key Films
Exam Practice and Past Questions.
British Culture and Iconography
What is British culture? What is 'British-ness'?
Is it waiting in line? Cups of tea? Scones? Village fetes? Council housing and urban decay? Bad teeth? The NHS? Pubs? Football?
The list could go on and on but obviously being British has a slightly different meaning to each and every person. There are some things however which are very frequently used to summarise Britain or are associated with it.
This is particularly true of IMAGES. When an image is repeatedly used in conjunction with a place, issue, group of people or 'thing' it is called iconography.What iconography is associated with Britain?
Perhaps the following could be considered...Double decker buses, red telephone boxes, beefeaters, the Tower of London, Buckingham Palace, the Queen, the Union Jack, Big Ben, bad teeth, bowler hats, briefcase and umbrella, London Underground... How many more can you think of?
Characteristics of British Film
This section is under construction
Conventions of the Horror genre
Conventions are a set of specific characteristics which are associated with a particular genre.
What conventions are most commonly associated with the horror genre?
Characters: Evil or monstrous characters, killers, zombies, vampires, werewolves, murderers, psychopaths, mutants, young people, attractive people, young women, victims.
Iconography: Screaming faces, blood, wounds, weapons, kill scenes, beaten and bloody survivor characters.
Props: Knives, scythes, guns, axes, hammers, weapons in general.
Costume: Elaborate costume for villain, masks, special effects make-up.
Settings/ Locations: Isolated settings, deserted farmhouses, gothic castles, abandoned mental hospitals.
Storyline/ Narratives: Good vs evil, survival, unprovoked attacks by killers, purity and corruption.
What conventions are most commonly associated with the horror genre?
Characters: Evil or monstrous characters, killers, zombies, vampires, werewolves, murderers, psychopaths, mutants, young people, attractive people, young women, victims.
Iconography: Screaming faces, blood, wounds, weapons, kill scenes, beaten and bloody survivor characters.
Props: Knives, scythes, guns, axes, hammers, weapons in general.
Costume: Elaborate costume for villain, masks, special effects make-up.
Settings/ Locations: Isolated settings, deserted farmhouses, gothic castles, abandoned mental hospitals.
Storyline/ Narratives: Good vs evil, survival, unprovoked attacks by killers, purity and corruption.
Narrative Aspects in Film
Todorov's theory of the classic Hollywood Narrative:
Equilibrium
Disequilibirum
New Equilibrium
Syd Field's 3 Act paradigm:
Act 1: Set-up
Act 2: Conflict
Act 3: Resolution
Equilibrium
Disequilibirum
New Equilibrium
Syd Field's 3 Act paradigm:
Act 1: Set-up
Act 2: Conflict
Act 3: Resolution
Representation in Film
What is representation?
A term used to describe how certain people/places/events/issues are presented to us by the media.
It is a constructed 're-presentation' of reality.
It is a way in which the media reflects and presents attitudes attitudes, behaviour and beliefs.
Representations vary over time.
What is dominant ideology?
Dominant ideology, when applied to an analysis of representation in the media, is a set of common values and beliefs shared by most people in a given society, framing how the majority think about that group of people. This is quite often in line with a stereotype or an often repeated idea or characterisation of a certain group of people.
A term used to describe how certain people/places/events/issues are presented to us by the media.
It is a constructed 're-presentation' of reality.
It is a way in which the media reflects and presents attitudes attitudes, behaviour and beliefs.
Representations vary over time.
What is dominant ideology?
Dominant ideology, when applied to an analysis of representation in the media, is a set of common values and beliefs shared by most people in a given society, framing how the majority think about that group of people. This is quite often in line with a stereotype or an often repeated idea or characterisation of a certain group of people.
EXAMPLE
The dominant ideology of gender in the media is that women are more sensitive, less physically able, less aggressive, more caring, better with children than men. In contrast to this men are stronger, more aggressive, more prone to violence and usually the decision-maker.
These views are not an accurate presentation of reality but they are frequently seen and perpetuated in films and other media products nonetheless.
How to analyse representation:
You will need to ask yourself a series of questions:
What is the overall representation of the person/group of people in general terms?
Is it strong or weak? Positive or negative? Does it conform to or challenge the dominant ideology attached to that group of people?
What makes you think this?
What other adjectives might you attribute to this person or group of people?
How is the character portrayed?
What do they look like?
Facial expression? Clothes? Jewellery? Stance and body language?
What do they sound like?
Tone of voice? Sound of voice? Soundtrack and music associated with them?
How do other characters see them?
What are the reactions of other characters to this person or people? Accepting? Positive? Angry? Lustful? Fearful?
Overview of Key Films
The Descent
Strongest area of representation: Gender - Women depicted as strong, capable, aggressive, courageous, almost masculine. Men practically completely absent.
British film characteristics: Pessimistic resolution, character drama, contained location, small scale, low budget, British creative team, British actors, British iconography - absent.
Horror conventions: Presence of monsters, violence, jump scares, build up and release of tension, gore, blood and violent deaths. Horror iconography - blood streaked faces, close-ups on monsters.
Narrative structure: Follows the classic Hollywood narrative with the additional twist on the end where the escape is merely a hallucination. 3 Act structure followed with series of building climaxes.
Key sequence: The Crawlers attack.
Shaun of the Dead
Strongest area of representation: Age - Late twenty's adults - directionless, immature, not fulfilling potential, late middle aged adults - boring, naive, clueless, teenagers - disrespectful, intimidating, threatening.
British film characteristics: Pessimistic resolution, British iconography - buses, corner shops, suburban London streets, pubs, pints, cricket bat, British humour and bad language, British creative team, British actors.
Horror conventions: Presence of zombies, horror iconography, blood, gore, violent deaths, group of people whittled down.
Narrative structure: Follows the classic Hollywood narrative and Syd Field's 3 act structure.
Key sequence: Opening sequence.
The Wicker Man
Strongest area of representation: Religion - Christianity and Paganism.
British film characteristics: Pessimistic resolution, British creative team, British actors, British iconography used - police uniform, British landscape, low-budget, small sense of scale - takes place in a contained location.
Horror conventions: atypical of conventional horror movies but conventions present are: deliberate sense of unease and fear created, horrific events (the climactic sacrifice), sense of paranoia.
Narrative structure: Does not entirely follow the classic Hollywood narrative. Unusually long set-up and exposition. The film builds towards a final climactic scene rather than a series of smaller climaxes as in Field's 3 act structure.
Key sequence: The final scene - Howie's sacrifice.
Exam Practice and Past Questions
Click here for a sample essay plan for question on gender representation.
1. Explore how the films you have studied for this topic use genre conventions.
2. In what ways can the films you have studied for this topic be said to be 'British'?
3. How are narrative devices used to increase the impact of horror or comedy in the films you have studied for this topic?
4. How is gender represented in the horror films you have studied for this topic?
5. How is age represented in the films you have studied for this topic?
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