Steps in Research
1. Choose the genre of movie you will make, and do some background research into it.
2. Watch at least five opening sequences from this genre.
3. Take notes, comparing:
a) What happens;
b) What kinds of characters there are;
c) What events take place;
d) How camera / mise-en-scene / editing / sound are used.
4. Come up with a list of ten things which you will do in your coursework to keep within the genre;
5. Come up with one way in which your coursework will deviate from the conventions of the genre.
Monday, 2 November 2009
Friday, 2 October 2009
TV Drama: Crime
Key Crime Dramas
Z- Cars (1962-78)
The Sweeney (1975-78)
The Bill (1984-present)
Miami Vice (1984-1990)
Heartbeat (1992-Present)
Life on Mars (2004-present)
The Wire (2002-2008) – best TV series ever?
Key Features
Modular episodes, including developed story world;
May focus on one main character (as Inspector Morse) or several (as The Wire);
Characters may be analysed by archetypes (see Propp);
Easy to argue that they use binary opposition (Levi-Strauss);
Mise-en-scene is a key indicator of genre;
Allows the audience to engage with ethical / moral questions.
Dalziel and Pascoe
BBC series, aired between 1996-2007;
Focuses on two detectives with traditional ‘good cop / bad cop’ dynamic (like Inspector Morse, or Sherlock Holmes before that);
Focuses on one area of police work (murder investigations);
Episodic structure – focuses on one case per episode, rather than relying on ongoing plotlines;
Mainly focused on male-dominated police staff.
Analyse the extract from Dalziel and Pascoe for representations of Gender.
Z- Cars (1962-78)
The Sweeney (1975-78)
The Bill (1984-present)
Miami Vice (1984-1990)
Heartbeat (1992-Present)
Life on Mars (2004-present)
The Wire (2002-2008) – best TV series ever?
Key Features
Modular episodes, including developed story world;
May focus on one main character (as Inspector Morse) or several (as The Wire);
Characters may be analysed by archetypes (see Propp);
Easy to argue that they use binary opposition (Levi-Strauss);
Mise-en-scene is a key indicator of genre;
Allows the audience to engage with ethical / moral questions.
Dalziel and Pascoe
BBC series, aired between 1996-2007;
Focuses on two detectives with traditional ‘good cop / bad cop’ dynamic (like Inspector Morse, or Sherlock Holmes before that);
Focuses on one area of police work (murder investigations);
Episodic structure – focuses on one case per episode, rather than relying on ongoing plotlines;
Mainly focused on male-dominated police staff.
Analyse the extract from Dalziel and Pascoe for representations of Gender.
Monday, 28 September 2009
Lesson 7: Character
Levi-Strauss and Binary Opposition
The most obvious differences between characters in any narrative is the difference between ‘good’ characters and ‘bad’ ones.
The theorist Claude Levi-Strauss described this difference as “binary opposition”.
One way to analyse characters in a drama is to think about the differences between these different types of characters.
Some questions...
These questions should help you to think about how the audience might respond to certain characters in any TV drama. Think carefully about what we are supposed to assume about each character you see.
1. How do we know which characters are ‘good’ and which are ‘bad’?
2. Is the audience being encouraged to sympathise with the ‘good’ characters and feel antagonistic towards the ‘bad’?
3. How is the process of identification underlined by mise-en-scene, camerawork, and editing?
4. Do the ‘good’ characters succeed and the ‘bad’ characters fail? What effect does this have on the audience?
Remember:
A preferred reading is any interpretation of a character which is straightforward - i.e. a character that is definately a 'baddie'.
A negotiated reading is any interpretation of a character that contains characteristics of both 'goodies' and 'baddies'.
Audience Response
- How might different audiences respond to different characters?
- Are the ‘good’ and ‘bad’ characters being presented didactically (which means there is no room for different interpretations - a preferred reading) – or could some audiences respond differently to them - a negotiated reading?
There are new words now that excuse everybody. Give me the good old days of heroes and villains, the people you can bravo or hiss. There was a truth to them that all the slick credulity of today cannot touch.
- Bette Davis, in The Lonely Life, 1962
The most obvious differences between characters in any narrative is the difference between ‘good’ characters and ‘bad’ ones.
The theorist Claude Levi-Strauss described this difference as “binary opposition”.
One way to analyse characters in a drama is to think about the differences between these different types of characters.
Some questions...
These questions should help you to think about how the audience might respond to certain characters in any TV drama. Think carefully about what we are supposed to assume about each character you see.
1. How do we know which characters are ‘good’ and which are ‘bad’?
2. Is the audience being encouraged to sympathise with the ‘good’ characters and feel antagonistic towards the ‘bad’?
3. How is the process of identification underlined by mise-en-scene, camerawork, and editing?
4. Do the ‘good’ characters succeed and the ‘bad’ characters fail? What effect does this have on the audience?
Remember:
A preferred reading is any interpretation of a character which is straightforward - i.e. a character that is definately a 'baddie'.
A negotiated reading is any interpretation of a character that contains characteristics of both 'goodies' and 'baddies'.
Audience Response
- How might different audiences respond to different characters?
- Are the ‘good’ and ‘bad’ characters being presented didactically (which means there is no room for different interpretations - a preferred reading) – or could some audiences respond differently to them - a negotiated reading?
There are new words now that excuse everybody. Give me the good old days of heroes and villains, the people you can bravo or hiss. There was a truth to them that all the slick credulity of today cannot touch.
- Bette Davis, in The Lonely Life, 1962
Wednesday, 23 September 2009
Lesson 6: Genre Theory
What is Genre?
Genre just means type.
All films and TV programmes can be split into different genres. As with representations, genres draw on pre-existing patterns as ‘shorthand’ for the viewer. For example, Westerns being set in a desert town, with six-guns and ten-gallon hats).
But sorting film and TV into genres is, as we’ve seen, problematic. There are no set standards for each genre; and there are as many genres as there are ways of describing them.
Genre is usually used in broad terms. For example, Action movies, Westerns, or Soaps.
There are also sub-genres within each genre. For example, in the genre of ‘Action’, we also find ‘Adventure’ movies (like Indiana Jones) as well as ‘martial arts’ action movies (like the Rush Hour movies – though these could arguably come under the genre of ‘comedy’ and the sub-genre of ‘action-comedy’…)
The Main Genres
Action / Adventure
Comedy
Crime / Gangster
Drama
Family
Historical / Epics
Horror
Musicals
Science Fiction
War
Westerns
What defines a film's genre?
Characters
Mise-en-scene
Narrative
Music
Editing
But remember: Genre is not 'set' - it is fluid, as it is defined by the audience.
Genre just means type.
All films and TV programmes can be split into different genres. As with representations, genres draw on pre-existing patterns as ‘shorthand’ for the viewer. For example, Westerns being set in a desert town, with six-guns and ten-gallon hats).
But sorting film and TV into genres is, as we’ve seen, problematic. There are no set standards for each genre; and there are as many genres as there are ways of describing them.
Genre is usually used in broad terms. For example, Action movies, Westerns, or Soaps.
There are also sub-genres within each genre. For example, in the genre of ‘Action’, we also find ‘Adventure’ movies (like Indiana Jones) as well as ‘martial arts’ action movies (like the Rush Hour movies – though these could arguably come under the genre of ‘comedy’ and the sub-genre of ‘action-comedy’…)
The Main Genres
Action / Adventure
Comedy
Crime / Gangster
Drama
Family
Historical / Epics
Horror
Musicals
Science Fiction
War
Westerns
What defines a film's genre?
Characters
Mise-en-scene
Narrative
Music
Editing
But remember: Genre is not 'set' - it is fluid, as it is defined by the audience.
Lesson 5: Representation Theory
What does 'representation' mean?
The easiest way to understand the concept of representation is to remember that watching a TV programme is not the same as watching something happen in real life.
All media products re-present the real world to us; they show us one version of reality, not reality itself.
So, the theory of representation in Media Studies means thinking about how a particular person or group of people are being presented to the audience.
Audience Identification
In a film, the director wants the audience to be on the side of the protagonist and hope that the antagonist will fail.
This means that the audience has to identify with the protagonist – they have to have a reason to be ‘on his/her side’.
But directors only have a couple of hours to make you identify with the protagonist – so, they have to use a kind of ‘shorthand’. This is known as typing – instead of each character being a complex individual, who would take many hours to understand, we are presented with a ‘typical’ character who we recognise quickly and feel we understand.
Character Typing
There are three different kinds of character typing:
1. An archetype is a familiar character who has emerged from hundreds of years of fairytales and storytelling.
2. A stereotype is a character usually used in advertising and marking in order to sell a particular product to a certain group of people. They can also be used ‘negatively’ in the Media – such as ‘asylum seekers,’ or ‘hoodies’.
3. A generic type is a character familiar through use in a particular genre (type) of movie.
Why is Representation Theory useful?
The way certain groups of people are represented in the media can have a huge social impact. For example, would people’s attitudes to asylum seekers change if they were presented differently in the media?
When media producers want you to assume certain things about a character, they play on existing representations of people in the media. This can reinforce existing representations.
At other times, media producers can change the way certain groups are presented, and thus change the way we see that particular group. Changing these representations can also create depth in a character.
The easiest way to understand the concept of representation is to remember that watching a TV programme is not the same as watching something happen in real life.
All media products re-present the real world to us; they show us one version of reality, not reality itself.
So, the theory of representation in Media Studies means thinking about how a particular person or group of people are being presented to the audience.
Audience Identification
In a film, the director wants the audience to be on the side of the protagonist and hope that the antagonist will fail.
This means that the audience has to identify with the protagonist – they have to have a reason to be ‘on his/her side’.
But directors only have a couple of hours to make you identify with the protagonist – so, they have to use a kind of ‘shorthand’. This is known as typing – instead of each character being a complex individual, who would take many hours to understand, we are presented with a ‘typical’ character who we recognise quickly and feel we understand.
Character Typing
There are three different kinds of character typing:
1. An archetype is a familiar character who has emerged from hundreds of years of fairytales and storytelling.
2. A stereotype is a character usually used in advertising and marking in order to sell a particular product to a certain group of people. They can also be used ‘negatively’ in the Media – such as ‘asylum seekers,’ or ‘hoodies’.
3. A generic type is a character familiar through use in a particular genre (type) of movie.
Why is Representation Theory useful?
The way certain groups of people are represented in the media can have a huge social impact. For example, would people’s attitudes to asylum seekers change if they were presented differently in the media?
When media producers want you to assume certain things about a character, they play on existing representations of people in the media. This can reinforce existing representations.
At other times, media producers can change the way certain groups are presented, and thus change the way we see that particular group. Changing these representations can also create depth in a character.
Lesson 4: Sound
Here are the notes from today's lesson on sound in Moving Image. It should mean that you've now got notes on all four of the key areas of analysis (we'll tackle SFX at a later date). Any questions, blog them.
Diegetic and Non-Diegetic Sound
Diegetic sound is any sound which the characters can hear (even though the actors may not be able to).
For example: a radio playing in a car; a gunshot; and explosion; the footsteps of another character.
Non-diegetic sound is any sound which the characters cannot hear.
For example: a soundtrack; a voiceover.
Sound and Music
Sound is used to describe any noises other than music and speech in the footage.
Music is any music which appears in the footage (obviously enough).
Both sound and music can be added at the editing stage (i.e. after filming) or may be included in filming. Both can be diegetic and non-diegetic.
Ambience
Some noises and music can be described as being ambient. This means that they are there to provide atmosphere, but aren’t really a soundtrack, nor do they match any action. Think of the kind of ‘screechy’ noises you so often get in horror movies, or the weird wailing noises in a lot of supernatural thrillers. Movies involving aliens use them a lot, too.
Diegetic and Non-Diegetic Sound
Diegetic sound is any sound which the characters can hear (even though the actors may not be able to).
For example: a radio playing in a car; a gunshot; and explosion; the footsteps of another character.
Non-diegetic sound is any sound which the characters cannot hear.
For example: a soundtrack; a voiceover.
Sound and Music
Sound is used to describe any noises other than music and speech in the footage.
Music is any music which appears in the footage (obviously enough).
Both sound and music can be added at the editing stage (i.e. after filming) or may be included in filming. Both can be diegetic and non-diegetic.
Ambience
Some noises and music can be described as being ambient. This means that they are there to provide atmosphere, but aren’t really a soundtrack, nor do they match any action. Think of the kind of ‘screechy’ noises you so often get in horror movies, or the weird wailing noises in a lot of supernatural thrillers. Movies involving aliens use them a lot, too.
Thursday, 17 September 2009
Lesson 3: Editing
Editing
In film, editing is the process of manipulating or changing footage after it has been filmed, but before it has been released.
Covert Editing is editing the audience is not aware of. This includes things like sequencing (putting shots in the correct order) and editing out mistakes, miscues, etc.
Overt Editing is editing the audience is aware of. This includes use of slow motion, bullet time, montage, etc.
Editing Terms
Montage – a collection of clips run together. These are usually used to show either the passing or time, or to give an impression of things happening simultaneously.
Time Remapping – Slowing down, or speeding up, footage (in any combination).
Colour Manipulation – Changing the colours of a section of footage. For example, making them look ‘washed-out’, or particularly vibrant.
Transition – the change between two shots. Often, this is just a cut, but directors sometimes use wipes or fades. Different transitions produce different effects.
Layering – The process of playing two sections of film simultaneously, over the top of one another.
Split-Screen – The process of playing two sections of film simultaneously, by dividing the screen into sections.
Rushes – The first rough edit of a movie. Usually this is just the correct order, without any extra effects.
Post-Production – anything which happens after filming has wrapped.
Titles - The main title(s) of the film/TV programme; could include Credits - the names of the people involved in the film/TV programme.
Intertitles - Short titles between the main titles in a trailer (e.g. "The End Begins" in the Terminator: Salvation trailer we looked at).
Remember: Sound and SFX are also put in at the editing stage of the filming process, and they are considered a part of editing for the purposes of analysis.
...and of course, there's that great montage from Team America...
In film, editing is the process of manipulating or changing footage after it has been filmed, but before it has been released.
Covert Editing is editing the audience is not aware of. This includes things like sequencing (putting shots in the correct order) and editing out mistakes, miscues, etc.
Overt Editing is editing the audience is aware of. This includes use of slow motion, bullet time, montage, etc.
Editing Terms
Montage – a collection of clips run together. These are usually used to show either the passing or time, or to give an impression of things happening simultaneously.
Time Remapping – Slowing down, or speeding up, footage (in any combination).
Colour Manipulation – Changing the colours of a section of footage. For example, making them look ‘washed-out’, or particularly vibrant.
Transition – the change between two shots. Often, this is just a cut, but directors sometimes use wipes or fades. Different transitions produce different effects.
Layering – The process of playing two sections of film simultaneously, over the top of one another.
Split-Screen – The process of playing two sections of film simultaneously, by dividing the screen into sections.
Rushes – The first rough edit of a movie. Usually this is just the correct order, without any extra effects.
Post-Production – anything which happens after filming has wrapped.
Titles - The main title(s) of the film/TV programme; could include Credits - the names of the people involved in the film/TV programme.
Intertitles - Short titles between the main titles in a trailer (e.g. "The End Begins" in the Terminator: Salvation trailer we looked at).
Remember: Sound and SFX are also put in at the editing stage of the filming process, and they are considered a part of editing for the purposes of analysis.
...and of course, there's that great montage from Team America...
Subscribe to:
Posts (Atom)
