Alfred Hitchcock
Most well-known for his film-noir and suspense/psychological thriller films, Hitchcock directed over 50 films during his career, with his peak being during the 1950s. Some of his most famous films include Vertigo (1958), Psycho (1960) and North by Northwest (1959). Hitchcock was known as 'The Master of Suspense' as he used this element all the time in his films to create tension for audiences. Typical plot devices of his are placing an ordinary person in extraordinary circumstances; or using mistaken identity where characters are falsely accused. Charming or sympathy-evoking villains are also a convention of Hitchcock's. Although Hitchcock's work is from the 20th century, it offers some inspiration for the thriller genre and may have influenced many other directors' work in the past.
David Fincher
Also a well-known thriller director, Fincher's work includes Gone Girl (2014), Se7en (1995), Fight Club (1999) and The Girl with the Dragon Tattoo (2011). He began his career by directing television adverts and music videos, and his first feature film was Alien 3 (1992) which was not received well by film critics. Despite this film's unsuccessful reception, Fincher released Se7en years later to much more success. A typical feature of his films is his confusing camerawork: as Fincher likes to be heavily involved with computer-generated imagery post-production, the camerawork is often difficult to tell apart from hand-held, motion-controlled or CGI. Close-ups and extreme close-ups are also typical of Fincher.
Christopher Nolan
Though Nolan is famous for other films as well as his thrillers, the thriller films he has directed have been incredibly successful. Memento (2000) and Insomnia (2002) are perhaps his most notable thrillers, as they achieved success in both the box office and reviews. The unique narrative of Memento meant that the film was raved about, some even stating that the script was 'the most innovative ever seen.' Nolan also directed the Dark Knight series, and these films have made him one of the highest grossing directors in history. He admits his influence from the film-noir genre, and his work often features a protagonist who is psychologically damaged and/or out for revenge. He uses hand-held cameras and shots such as point-of-view shots to convey realism and let the audience become immersed.
Jonathan Demme
Demme directed a number of comedy and drama films, but the work he is most well-known for is the famous psychological thriller Silence of the Lambs (1991). This film was one of the only films to win Academy Awards in all 5 top categories, and the first 'horror' film to ever win 'Best Picture'. Demme also directed 2 episodes of the TV crime drama The Killing and the drama Philadelphia (1993) featuring Tom Hanks and Denzel Washington.
October 27, 2016
October 22, 2016
Thriller Genre: Iconography
I've made a moodboard for the iconography associated with thriller films/television/literature. After looking at many thriller films, I discovered that close up shots and low level lighting were common parts of the mise-en-scene: these micro-elements would be simple to incorporate into my own thriller opening sequence. Confined spaces or vast, empty ones were common settings, as these tend to emphasise the loneliness of the character in the setting, and also concentrates on the fears of the audience (an element of horror which has crossed over). Police investigations are often narrative features, as there is usually a body involved- protagonists are hence either police detectives, or people who take it upon themselves to solve the mystery outside of the investigation. As the thriller genre is often crossed over with other genres, it is difficult to single out icons of just the thriller genre, as it exists alongside others. For my own opening sequence, I'd join the thriller genre with another subgenre to make showing iconography easier: for instance, if it was a crime thriller, a detective badge or police tape would be a clear indicator of genre. If I chose a horror thriller, blood splatters and shadowy figures could work together to demonstrate this.
October 18, 2016
Iconography
Iconography is an essential part of genre; and is typically, in media, the 'icons' that hold meaning for an audience. Without iconography, the audience would find it difficult to establish the genre of a media text, therefore audience enjoyment would probably decrease. It originates from the study of art, and the concept of iconography applies as much to real life as to media.
In life, icons may include things such as a tie or glasses. A tie has connotations of intelligence, organisation or authority- it carries many other meanings to the individual, though the main ones are seen by the majority. Seeing a tie as a icon or symbol for these characteristics allows people to make judgements on the person wearing the tie, and possible assume their actions/behaviour.
Similarly, in the media, icons are typical to certain genres. For example, in film, a western is clearly demonstrated by icons such as a cowboy hat, a gun, a saloon. These have become icons of westerns as they have featured in many films of the western genre over time. Each genre and subgenre has iconography to suggest to an audience what type of film they are watching. To convey this most effectively, producers would have to place icons in a film trailer and/or the opening few minutes so that audiences are immediately aware of the genre, and start to make assumptions about the narrative.
In my own opening sequence, I would have to think about the iconography associated with thriller films (contrast lighting, a murder victim, knives as a weapon etc.) and place a few of these in my opening sequence to suggest genre and also narrative/plot.
In life, icons may include things such as a tie or glasses. A tie has connotations of intelligence, organisation or authority- it carries many other meanings to the individual, though the main ones are seen by the majority. Seeing a tie as a icon or symbol for these characteristics allows people to make judgements on the person wearing the tie, and possible assume their actions/behaviour.
Similarly, in the media, icons are typical to certain genres. For example, in film, a western is clearly demonstrated by icons such as a cowboy hat, a gun, a saloon. These have become icons of westerns as they have featured in many films of the western genre over time. Each genre and subgenre has iconography to suggest to an audience what type of film they are watching. To convey this most effectively, producers would have to place icons in a film trailer and/or the opening few minutes so that audiences are immediately aware of the genre, and start to make assumptions about the narrative.
In my own opening sequence, I would have to think about the iconography associated with thriller films (contrast lighting, a murder victim, knives as a weapon etc.) and place a few of these in my opening sequence to suggest genre and also narrative/plot.
October 14, 2016
October 07, 2016
Male Gaze Theory- explanation and opinions
Hello! In this blog I'll outline the 'male gaze theory' coined by Laura Mulvey in 1975, and explain why I believe it is outdated.
In her article 'Visual Pleasures and Narrative Cinema', Mulvey slated the Hollywood film industry for objectifying the females in their films. Her basic ideas were that all films are shot with men at the centre: homosexual males are usually the protagonist, the camera acts as a man's eyes with the angles and shots, and the target audience often places men before women. Male gaze theory is therefore the way in which a camera places the audience in the position of a man, and is in turn the way films are mediated from a male point of view. Mulvey is, in my opinion, a quite radical feminist in her views, though some of what she stated in her article can be applied to the modern film industry.
To use the James Bond film franchise as an example: excluding the main female characters, it has almost become a convention for a new attractive woman to become a temporary love interest for Bond in each new film. They serve no other purpose to the plot other than to satisfy both Bond and the male audience, and to show Bond's heroism in being saved by him towards the end.
However, the majority of films are no longer like this. Many now have strong female protagonists, and varied target audiences other than simply men to be pleased. I do still think women suffer from sexual objectification in the media, particularly in film, though it is not as dramatic as Mulvey cut it out to be in her 1975 article.
In her article 'Visual Pleasures and Narrative Cinema', Mulvey slated the Hollywood film industry for objectifying the females in their films. Her basic ideas were that all films are shot with men at the centre: homosexual males are usually the protagonist, the camera acts as a man's eyes with the angles and shots, and the target audience often places men before women. Male gaze theory is therefore the way in which a camera places the audience in the position of a man, and is in turn the way films are mediated from a male point of view. Mulvey is, in my opinion, a quite radical feminist in her views, though some of what she stated in her article can be applied to the modern film industry.
To use the James Bond film franchise as an example: excluding the main female characters, it has almost become a convention for a new attractive woman to become a temporary love interest for Bond in each new film. They serve no other purpose to the plot other than to satisfy both Bond and the male audience, and to show Bond's heroism in being saved by him towards the end.
However, the majority of films are no longer like this. Many now have strong female protagonists, and varied target audiences other than simply men to be pleased. I do still think women suffer from sexual objectification in the media, particularly in film, though it is not as dramatic as Mulvey cut it out to be in her 1975 article.
October 04, 2016
Camera shots and angles
Hello! To refresh our knowledge of camerawork, we explored the main shots and angles we could use in filming an opening sequence. Some examples with explanations are here:
High angle shot
This shot is taken from a high angle at the top of the stairs, so in theory it doubles as an establishing shot and a high-angle shot. This angle is often used in films to show inferiority of a character, to symbolise how small they feel or to show that the odds are stacked against them.
Over the shoulder shot
This is a type of over the shoulder shot which would be used in a conversation scene, as it shows both characters but focuses on the expression of emotion in one character's face. As we have done in this example, the shoulder itself is often not in focus, so that the opposite character can be seen more clearly and to create a professional feel of the whole shot. Over the shoulder shots are often reversed and repeated to create a 'shot-reverse-shot' of the entire conversation. This helps with fluency and also keeping the shots varied, helping with audience engagement.
Close up shot
These shots, because of the proximity to the face, are often used in film to show emotion without using dialogue. It is closer to the actor than a mid shot, which includes the elbows/waist, but further away than an extreme close up, shown below. When cut with another shot of an object or person, the audience is led to believe the character is looking at the object/person or wants to interact with it.
Extreme close up
These shots are also used to show emotion, but it usually focusses on one facial feature which is almost disturbing for an audience as it is unnatural. An effective use of this shot would be in the thriller/horror genres, as a zoom on an eye can connote fear and anguish to the audience.
Bilateral symmetry shot
This example is obviously quite comedic, as our poses are relatively cheesy! The bilateral symmetrical shot is aesthetically pleasing as there is perfect symmetry on each side of the shot, but also has a quite eerie feel so may feature in sci-fi or horror films.
Dutch tilt angle
This camera angle may often be used in thriller or horror films, as it creates tension and is quite an unorthodox angle to use. It adds variety to the shots which can keep the audience engaged in the film or text, and is interesting to analyse as it is likely the director would have used this angle for a reason.
Establishing/Long shot
This shot establishes the setting of the scene and films often open with this type of shot to establish setting of the whole film, such as a high school movie. An extreme long shot or wide shot may also be used to open a film, such as a drone or helicopter shot to establish a city setting.
October 01, 2016
Textual Analysis
In this blog post, I'll explain how textual analysis works in media, using the example of a film poster for 'Forgetting Sarah Marshall'.
Textual analysis is viewing a media text, and looking in detail at how it is constructed. It is looking at the meaning behind a text, and asking why and how the meaning is conveyed. This is done by analysing both micro elements (camera work, editing, sound- mise en scene) and macro elements: drawing conclusions from the micro level about representation, characterisation, genre, narrative and ideology. Different individuals have different interpretations of texts, so the analysis should incorporate different views of the same text. Textual analysis is essentially a three-step process: analysing micro elements, concluding the macro representations that these elements create, and considering the different interpretations people may have. Decoding is the way of understanding media texts by making meaning of the sounds (aural codes) or pictures (visual codes) presented.
This film poster for 'Forgetting Sarah Marshall' can be analysed for plot clues and genre hints by simply looking at the micro mise en scene elements. The use of a utopian beach setting shows a 'perfect world', though the perfection is broken by the fact the heart-shaped cloud in the sky is broken by the plane, and Jason Segel's character's posture and body language connotes unhappiness. The proxemics of the characters, particularly how Segel is stood in the sea looking on at the lovers, conveys ideas of a storyline of lost love. This is reinforced by the tagline and title, the former of which gives away the genre explicitly: it is a comedy supposedly about 'getting dumped and taking it like a man' -- this tagline in itself is comedic, as Segel's character does not appear to be 'taking it like a man' at all. The casting also gives away the genre: Jason Segel and Russell Brand are both known for comedy, and the films mentioned that are by the same producers are both of the comedy genre. The use of colour is also symbolic for the plot and themes of the film: the poster is largely blue, which has many connotations but in this context the colour represents the sadness of the lonely man in the sea. The girl is dressed in green, which has a main connotation of envy/jealousy: this emotion is evident as Segel's character is visibly envious of Russell Brand's. Brand is dressed peculiarly for the beach- he is in all black, which is a common convention in more serious films for villains or enemies. His costume suggests his role as an antagonist in the film, as does his positioning with the character who is clearly Sarah Marshall herself. His facial expression reinforces this idea of a 'bad' character, as he sneers at the camera. Sarah Marshall is represented as quite shallow, as she looks into Brand's character's eyes devotedly and this allows an audience to make assumptions about her: she has left the 'everyman hero' of Segel's character for the arrogant rockstar she is now with.
Even the smallest details are codes to suggest genre, representation or narrative, and being able to textually analyse media texts will not only help in exams but also with creating my own opening sequence to a film.
Textual analysis is viewing a media text, and looking in detail at how it is constructed. It is looking at the meaning behind a text, and asking why and how the meaning is conveyed. This is done by analysing both micro elements (camera work, editing, sound- mise en scene) and macro elements: drawing conclusions from the micro level about representation, characterisation, genre, narrative and ideology. Different individuals have different interpretations of texts, so the analysis should incorporate different views of the same text. Textual analysis is essentially a three-step process: analysing micro elements, concluding the macro representations that these elements create, and considering the different interpretations people may have. Decoding is the way of understanding media texts by making meaning of the sounds (aural codes) or pictures (visual codes) presented.
This film poster for 'Forgetting Sarah Marshall' can be analysed for plot clues and genre hints by simply looking at the micro mise en scene elements. The use of a utopian beach setting shows a 'perfect world', though the perfection is broken by the fact the heart-shaped cloud in the sky is broken by the plane, and Jason Segel's character's posture and body language connotes unhappiness. The proxemics of the characters, particularly how Segel is stood in the sea looking on at the lovers, conveys ideas of a storyline of lost love. This is reinforced by the tagline and title, the former of which gives away the genre explicitly: it is a comedy supposedly about 'getting dumped and taking it like a man' -- this tagline in itself is comedic, as Segel's character does not appear to be 'taking it like a man' at all. The casting also gives away the genre: Jason Segel and Russell Brand are both known for comedy, and the films mentioned that are by the same producers are both of the comedy genre. The use of colour is also symbolic for the plot and themes of the film: the poster is largely blue, which has many connotations but in this context the colour represents the sadness of the lonely man in the sea. The girl is dressed in green, which has a main connotation of envy/jealousy: this emotion is evident as Segel's character is visibly envious of Russell Brand's. Brand is dressed peculiarly for the beach- he is in all black, which is a common convention in more serious films for villains or enemies. His costume suggests his role as an antagonist in the film, as does his positioning with the character who is clearly Sarah Marshall herself. His facial expression reinforces this idea of a 'bad' character, as he sneers at the camera. Sarah Marshall is represented as quite shallow, as she looks into Brand's character's eyes devotedly and this allows an audience to make assumptions about her: she has left the 'everyman hero' of Segel's character for the arrogant rockstar she is now with.
Even the smallest details are codes to suggest genre, representation or narrative, and being able to textually analyse media texts will not only help in exams but also with creating my own opening sequence to a film.
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