Genre and audience:
Indie genre- 'indie' means 'independent', therefore the conventions of this genre are films that aren't produced by blockbuster companies, music record labels that don't sign global superstars...
, audience,
Vance Joy fits in the category due to similarities with shots of directors like Wes Anderson and David Lynch, two film directors which have deeply influenced the indie-genre with popular films (also influences).
Narrative and iconography:
No linear, clear narrative, as it's meant to be an interpretative video e.g. "Cowboy running from himself"- sounds meaningful but the shot literally plays out the line. It's more like a fragmented montage e.g. symbolic objects like guns which could signify crime motifs
Representation:
There's a negative representation of women in the video. For instance, they are objectified through the initial image of a woman taking off her swimsuit, without showing her face, mirrored by following shots of women facing away from the camera. They are also portrayed as the victims and the damsels in distress through the repetitive "taken away to the dark side".
However, it could be argued there's also positive glimpses as the repetitive shots of women running away could represent freedom, and the low-angle shot which positions the woman in 1.15 as greater.
Postmodernism:
References to specific film directors like Wes Anderson and David Lynch, with similar shots and lightning and colour. For example, Anderson's iconic symmetrical shots like the opening of a case are copied in the video (1.57.: case for a holiday vacation), as well as his quick pans with 0.30.: the change of focus from the woman the other two people. Furthermore, the overall aesthetic through choice of colour-palette is mirrored throughout the music video. Lynch's dark undertones to his narrative seem to inspire the continued shots of the performer who becomes more visibly upset as the video goes on, with her makeup being smudged and her being shot in the neck. This part of the video links to Lynch's Blue Velvet as the same lightning and mood is created.
More postmodernist techniques are employed, such as intertextuality and parody+pastiche with references to horror films, (shots of women as damsels in distress). Also the pastiche is utilised, as this media text appears to have been done in the style of the previously mentioned indie directors. There's also reflexivity, as the media text is aware of itself, proved by the subtitles included as the woman sings, and the pan shot of the video being shot.
Overall, there's no grand single message, and it is up to the audience to reflect on the music video as the collage-style symbols included have to be deciphered due to the multi-layered nature of the text.
Wednesday, November 27, 2019
Case Study; Water Aid
Effective as it doesn't comply with the general conventions of charity ads (e.g. creating guilt and shame on the audience)- Gerbner's theory of cultivation
How does this charity advert use technical codes to provoke responses, emotions and connections with its target audience?
-DIRECT- the typical voiceover of a man (part of target audience) is replaced with a song sung by the actual person the money is going to- stronger connection with audience as it is a 70s/80s melody.
Link to target audience: western middle-class
the wealthy- bleak connotations of establishing shot (cramped plant pot and radio + drizzle) is juxtaposed with the warm shot of the water that dominates the frame, shining as there's sunlight on the background (water for good)- Binary depositions
-PERSONALISATION- "Claudia". Several close-ups of her, she's placed in the middle of the frame, turning her indirect mode of address into a more direct one. Shaky camera-shots- creates a more realistic and personal insight into her life, supported by the background ambiance (audio codes) with sound effects of grasshoppers.
-POSITIVE- overall warm lighting and colour, an affectionate tone continued with the clothing and the body expressions- upbeat
iconography- crops growing represents health and growth, similar to water- Semiotics
Song- message of hope, evoking a heartening tone. Sound bridge- connection between both worlds
It does stick to some techniques in charity ads with the statistic "650 million people still don't have access to clean drinking water", however as it is not accompanied with negative visual elements it stands out.
How is Africa represented in the advert?
The representations in the charity advert AVOIDS CLICHES like pessimistic close-ups of sad children, melancholic stringed music... Instead, the positiveness is carried out through the clothing as there's a quick shot of a child running in a school uniform, indicating they are healthy and being educated.
In the end they're smiling, and the shot is blurred out by the sunlight (motif), so the positive theme is continued smoothly throughout - Semiotics
Active audience- it's up to them to imagine how the lives of the children would be without their donations
How does this charity advert use technical codes to provoke responses, emotions and connections with its target audience?
-DIRECT- the typical voiceover of a man (part of target audience) is replaced with a song sung by the actual person the money is going to- stronger connection with audience as it is a 70s/80s melody.
Link to target audience: western middle-class
the wealthy- bleak connotations of establishing shot (cramped plant pot and radio + drizzle) is juxtaposed with the warm shot of the water that dominates the frame, shining as there's sunlight on the background (water for good)- Binary depositions
-PERSONALISATION- "Claudia". Several close-ups of her, she's placed in the middle of the frame, turning her indirect mode of address into a more direct one. Shaky camera-shots- creates a more realistic and personal insight into her life, supported by the background ambiance (audio codes) with sound effects of grasshoppers.
-POSITIVE- overall warm lighting and colour, an affectionate tone continued with the clothing and the body expressions- upbeat
iconography- crops growing represents health and growth, similar to water- Semiotics
Song- message of hope, evoking a heartening tone. Sound bridge- connection between both worlds
It does stick to some techniques in charity ads with the statistic "650 million people still don't have access to clean drinking water", however as it is not accompanied with negative visual elements it stands out.
How is Africa represented in the advert?
The representations in the charity advert AVOIDS CLICHES like pessimistic close-ups of sad children, melancholic stringed music... Instead, the positiveness is carried out through the clothing as there's a quick shot of a child running in a school uniform, indicating they are healthy and being educated.
In the end they're smiling, and the shot is blurred out by the sunlight (motif), so the positive theme is continued smoothly throughout - Semiotics
Active audience- it's up to them to imagine how the lives of the children would be without their donations
Case Study; Kiss of the Vampire
Using the technical codes, explain how the film poster creates meaning about the following elements for its audience:
Genre conventions (horror and vampire sub-genre)
Representations of gender
Cultural contexts (e.g. social change, equality, 1960s pop culture)
Make sure you analyse the poster as it would appear to its 1960s audience and research the era carefully.
The poster for Kiss the Vampire is a product from the era, that acknowledges the 2nd wave feminism being developed through the main image. The woman at the middle of the frame is the only active one, mimicking a heroine due to her posture, (fighting off the bats). She's a direct juxtaposition from the woman at the left, representing the 'desired woman' of the early 1960s, submissive due to her body language and facial expressions. However they have a similarity, their clothing is the same, a dress, a symbol of tradition still ruling over the conventions of gender roles.
This poster may not be challenging the circumstances of equality in the 1960s society, but rather be evoking the fear of the loss of power by the males. This is conveyed through the binary oppositions of the brave woman and the weak male, indicated by the posture (kneeling) and the ripped shirt. It could be the poster's illustrator's way of representing theirs and the main audience's fear: social change.
The audience would be interested in the genre of horror, specifically the sub-genre of vampires and the supernatural. The poster effectively targets them due to the iconography of bats, a castle, blood... that is generally associated with vampires as they're linked to the darkness. The mis-en-scene in the background contains a bleak colour palette, with mostly greys and blacks along with some red. Furthermore there's more straightforward links like the lexis of "vampire", which immediately establishes the eerie mood the film will probably have. The formal clothing of the vampire, a black cape with buttoned shirt is very telling of the time, as in the 1960 vampires were conveyed that way, as wealthy supernaturally unreachable beings, not necessarily attractive (i.e. the "scary vampire" is scared himself). This is a representation which has evolved along with pop culture, with vampires being automatically linked to beauty and charm e.g. Twilight, The Vampire Diaries... Nevertheless, the myth has always been linked to sex, romance and desire, proved by the poster's predominance of red, colour imagery that symbolises those conventions.
Genre conventions (horror and vampire sub-genre)
Representations of gender
Cultural contexts (e.g. social change, equality, 1960s pop culture)
Make sure you analyse the poster as it would appear to its 1960s audience and research the era carefully.
The poster for Kiss the Vampire is a product from the era, that acknowledges the 2nd wave feminism being developed through the main image. The woman at the middle of the frame is the only active one, mimicking a heroine due to her posture, (fighting off the bats). She's a direct juxtaposition from the woman at the left, representing the 'desired woman' of the early 1960s, submissive due to her body language and facial expressions. However they have a similarity, their clothing is the same, a dress, a symbol of tradition still ruling over the conventions of gender roles.
This poster may not be challenging the circumstances of equality in the 1960s society, but rather be evoking the fear of the loss of power by the males. This is conveyed through the binary oppositions of the brave woman and the weak male, indicated by the posture (kneeling) and the ripped shirt. It could be the poster's illustrator's way of representing theirs and the main audience's fear: social change.
The audience would be interested in the genre of horror, specifically the sub-genre of vampires and the supernatural. The poster effectively targets them due to the iconography of bats, a castle, blood... that is generally associated with vampires as they're linked to the darkness. The mis-en-scene in the background contains a bleak colour palette, with mostly greys and blacks along with some red. Furthermore there's more straightforward links like the lexis of "vampire", which immediately establishes the eerie mood the film will probably have. The formal clothing of the vampire, a black cape with buttoned shirt is very telling of the time, as in the 1960 vampires were conveyed that way, as wealthy supernaturally unreachable beings, not necessarily attractive (i.e. the "scary vampire" is scared himself). This is a representation which has evolved along with pop culture, with vampires being automatically linked to beauty and charm e.g. Twilight, The Vampire Diaries... Nevertheless, the myth has always been linked to sex, romance and desire, proved by the poster's predominance of red, colour imagery that symbolises those conventions.
Case Study; The Bridge
Character Archetypes;
Investigator-
Saga, she complies with the main traits of a crime drama protagonist: good at her job (methodical, committed) yet bad at relationships (apathetic? unfiltered?)
Sidekick- In the episode, the Danish woman, Hanne, follows the archetype of the sidekick. For instance, when Saga is about to show the victim's wife a picture of the crime scene she has to stop her.
Boss-above investigator, so imposing, but high regard for the investigator
Villain- criminals, suspects, etc
Crime TV tends to use enigma codes (mysteries to be solved by the investigator/ audience). Explain what enigmas are used in the episode and if any are resolved. What questions does the audience have at the end of the episode?
The main enigma is the actual case and finding who is responsible for the murder of Helle Anker. Various characters are presented as suspects such as the victim's son, a Danish vlogger, etc. This enigma isn't resolved at the end of the episode and such open ending means the audience is left to question. Therefore Barthes' action and enigma codes are actively engaged with; there are further questions raised e.g. will Saga's Danish partner survive? Why does the Danish policeman want to partner with Saga? etc.
Another enigma code is presented through the array of newly- introduced characters as we don't know their backstory or their possible influence in the story.
Another enigma code is presented through the array of newly- introduced characters as we don't know their backstory or their possible influence in the story.
What is Nordic Noir? Summarise its key elements and texts.
A sub-genre of crime fiction, often written from a police POV (character-led) and set in Scandinavian/ Nordic countries. Characterised by a dark mood, as well as complex morality (social issues and Scandi identity)
- Bleak landscapes, dimly-lit aesthetic, slow melancholic pace (Scandinavian climate)
- "realistic, simple and precise... and stripped of unnecessary words"— Direct writing style, without metaphors; often morose detectives/ worn down and far from heroic
- Often a murder mystery linked with several storylines and themes analysing modern society
- Hidden profound social issues themes, national anxieties- shows the hidden underbelly of society which contrasts with the outside image of Sweden/ Denmark as perfect, prosperous and wealthy
Neale's genre theory plays a major role in displaying the conventions of Nordic Noir to the audience so that the elements convey the expectations of the genre to the viewers in order to appeal, they also set the genre so that when conventions are subverted it is clear in what way they are doing so.
The Bridge follows the usual conventions of Nordic Noir within the crime genre, as for instance, the establishing shot not only simply follows the dark aspect of the sub-genre with the dim lighting, but also, according to Barthes' semiotics, hints at the Denmark-Sweden relations through the bridge that connects them. Furthermore, the opening murder scene follows the conventions of stylised murder that characterise the dark sub-genre of Nordic Noir.
Women in the crime genre are often represented as victims, and in the drama, women tend to be represented as overly emotional and family-orientated.
How does this episode of The Bridge follow or subvert the stereotypical representation of women?
This episode of The Bridge subverts the stereotypical representation of women. Significantly, the protagonist is a female investigator, demonstrating women in power, enhanced by her straightforward personality, far from overly emotional. On the other hand, the victim of the crime being investigated is a woman, therefore there's a sense of compliance with the stereotype. There are elements of the family-orientated stereotype, as the victim's wife is represented as family-orientated.
Butler's gender performativity theory supports the depiction of Saga as not empathetic or emotionally-led, as usual with female characters, as she states gender has an element of performance due to gender stereotypes e.g. men- cold women- emotional. Furthermore, The Bridge subverts any kind of sexualisation of the women in this episode and thus, Van Zoonen's feminist theory, as for instance, Saga changes her top at work without being bothered, and the mid-shot without any kind of 'seductive' audio except the dialogue being exchanged, reinforces the fact the scene isn't coded to sexualise her character.
Butler's gender performativity theory supports the depiction of Saga as not empathetic or emotionally-led, as usual with female characters, as she states gender has an element of performance due to gender stereotypes e.g. men- cold women- emotional. Furthermore, The Bridge subverts any kind of sexualisation of the women in this episode and thus, Van Zoonen's feminist theory, as for instance, Saga changes her top at work without being bothered, and the mid-shot without any kind of 'seductive' audio except the dialogue being exchanged, reinforces the fact the scene isn't coded to sexualise her character.
Identify some examples of how the narrative and themes of the episode are highlighted for the audience through technical codes (e.g. lighting, camera shots such as close-ups, use of sounds...)
As usual with Nordic Noir, the bleak lightning and dimly-lit aesthetic suggest the dark mood and narrative of the TV series.
Sounds are utilised to imply ominousness, for instance when Saga and her Danish partner come to question the victim's son and sinister music starts to play on the background.
Levi- Strauss' binary opposites theory applies to the Saga and her work partners as the importance of work-life balance is brought up, and binary opposition of the prioritisation of work against personal life is indicated through the narrative of Saga staying up the whole night to attempt to uncover the case, as opposed to her co-worker who arrives late because he's been with his wife
Levi- Strauss' binary opposites theory applies to the Saga and her work partners as the importance of work-life balance is brought up, and binary opposition of the prioritisation of work against personal life is indicated through the narrative of Saga staying up the whole night to attempt to uncover the case, as opposed to her co-worker who arrives late because he's been with his wife
Tuesday, November 26, 2019
Life On Mars
Genre;
Crime Conventions (Modern/1970's);
- Characters
- Settings
-Narrative and Iconography
Sci-Fi Conventions;
- Characters
-Settings
-Narrative and Iconography
Narrative;
- Very well structured
- Linear narrative
- Restricted narrative as we see it from the point of view of the main character and no other sub narrative is revealed before the protagonist.
Todorov; Narrative Theory
Equilibrium; The show starts off with an unhappy equilibrium as the protagonist is having personal life problems and his work life is lacking enthusiasm.
Disruption; The disruption is when the protagonist gets hit by a car and he time travels to the 1970's to solve another murder and figure out how to get back to his "Normal life".
Resolution; The murder is solved and his relationship with his boss progresses however, the main narrative on how to get back to his normal life isn't resolved.
Barthes Narrative codes; Enigmas.
- Will he get back to the present day?
- is his girlfriend back home alive and safe?
- Will he get with the police women in the 1970's
- Does he change the future by destroying evidence and stop the murder influencing the child.
The episode finishes with a cliff-hanger as , as the audience we don't have all the answers to the enigmas in the show.
Representations;
- Gender.
Women are portrayed differently throughout the show. In the present day, his girlfriend is on the same level as him in the work place and is listened to by the men in the station. However, in the 1970's era, his potential love interest ( shown through the mid-shots used and the actions between them) isn't on the same level on him career wise and isn't listened to by the men in the police station as they make a lot of sexual comments towards her.
- 1970's/ Present day
1970's police are unprofessional and sexist.
present day police are more professional and inclusive.
- Ethnicity
During the 1970's period in the episode, the character are predominately white apart from the bartender who is Jamaican. Where as , in the present day, the cast is very ethnically diversed.
Post Modernism;
- Hyper reality
-Simulara
-Parody and pastiche
- Reflectivity
- Irony
- Intextuality
The protagonist is emotionally and mentally unstable. We are shown this through the fact he used to follow instinct and now follows protocol.
His girlfriend is also his sidekick ( Crime Conventions).
We establish how modern policing is done in the 2000's
Iconography is used to show the time change. Minimal dialogue is used.
- Cassette is shown in the car instead of the Ipod.
- The audio changes to the song "Life on Mars" by David Bowie
- The police uniform swapped in the different eras.
- Clothing of the protagonist changes through the eras as well.
The song "Life on Mars" by David Bowie is used as intertextuality. (Post Modernism)
Police station is an anchor of the time travelling. Contrasts through lack of technology as well as ethnic diversity and gender inclusivity.
As the episode progresses, women are viewed in a less objectified manner and ideologies progress.
( Same applies with ethnicity, Could talk about Post Colonial theory)
Crime Conventions (Modern/1970's);
- Characters
- Settings
-Narrative and Iconography
Sci-Fi Conventions;
- Characters
-Settings
-Narrative and Iconography
Narrative;
- Very well structured
- Linear narrative
- Restricted narrative as we see it from the point of view of the main character and no other sub narrative is revealed before the protagonist.
Todorov; Narrative Theory
Equilibrium; The show starts off with an unhappy equilibrium as the protagonist is having personal life problems and his work life is lacking enthusiasm.
Disruption; The disruption is when the protagonist gets hit by a car and he time travels to the 1970's to solve another murder and figure out how to get back to his "Normal life".
Resolution; The murder is solved and his relationship with his boss progresses however, the main narrative on how to get back to his normal life isn't resolved.
Barthes Narrative codes; Enigmas.
- Will he get back to the present day?
- is his girlfriend back home alive and safe?
- Will he get with the police women in the 1970's
- Does he change the future by destroying evidence and stop the murder influencing the child.
The episode finishes with a cliff-hanger as , as the audience we don't have all the answers to the enigmas in the show.
Representations;
- Gender.
Women are portrayed differently throughout the show. In the present day, his girlfriend is on the same level as him in the work place and is listened to by the men in the station. However, in the 1970's era, his potential love interest ( shown through the mid-shots used and the actions between them) isn't on the same level on him career wise and isn't listened to by the men in the police station as they make a lot of sexual comments towards her.
- 1970's/ Present day
1970's police are unprofessional and sexist.
present day police are more professional and inclusive.
- Ethnicity
During the 1970's period in the episode, the character are predominately white apart from the bartender who is Jamaican. Where as , in the present day, the cast is very ethnically diversed.
Post Modernism;
- Hyper reality
-Simulara
-Parody and pastiche
- Reflectivity
- Irony
- Intextuality
The protagonist is emotionally and mentally unstable. We are shown this through the fact he used to follow instinct and now follows protocol.
His girlfriend is also his sidekick ( Crime Conventions).
We establish how modern policing is done in the 2000's
Iconography is used to show the time change. Minimal dialogue is used.
- Cassette is shown in the car instead of the Ipod.
- The audio changes to the song "Life on Mars" by David Bowie
- The police uniform swapped in the different eras.
- Clothing of the protagonist changes through the eras as well.
The song "Life on Mars" by David Bowie is used as intertextuality. (Post Modernism)
Police station is an anchor of the time travelling. Contrasts through lack of technology as well as ethnic diversity and gender inclusivity.
As the episode progresses, women are viewed in a less objectified manner and ideologies progress.
( Same applies with ethnicity, Could talk about Post Colonial theory)
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