Fish Tank - Everyone's favourite social realist film

The first convention that is typical of the social realism genre are the character roles we're exposed to in Andrea Arnold's 'Fish Tank' Mia, much like most working class protagonists, is working towards the goal of an improved life. She's been stuck with difficult circumstances through the situation she was born in to, their dysfunctional family constantly at conflict. The final scene where they're all dancing is one of the rare moments in the text they're all at peace with each other. Another factor is the area she's grown up in. In our scene in particular, she drives off into the sunset with the hope of bettering herself, and changing her life for the better.

The technological conventions may be the most typical of the genre in this text. The Point of view camera shots add to the realism of the text and the handheld camera's and the editing used is designed to make the audience feel as if they are part of the film. They use a POV shot in the final scene when Mia drives off, and looks back to see her sister chasing the car. As the text focuses so heavily on Mia, the shot turns to a POV when she looks back to see her sister. Also the common use of natural lighting that is anything from direct sunlight to the glow of the TV exaggerates the realism aspects of the text.

Typical mise-en-scene and other iconography appear frequently throughout the ending sequence of the film also. The unvarnished locations continue the theme of typical conventions, as the director tries their best not to glamourise any of the locations. For example, the inside of Mia's family's flat is incredibly bare, except for a TV and a couch. The characters also wear very normal clothing for a social realism film, showing their slightly poorer backgrounds, in the final scene this is verified through Mia's mother in her dressing gown, and Mia in a plain black hoodie, tracksuit bottoms and hoop earrings. They also use only diegetic sound throughout, to stress the normality...

Noir Conventions in 'Drive'

The protagonist shows some key noir protagonist stereotypes throughout the 20 minutes of text we were exposed to. It's easy to see that our main character, portrayed by Ryan Gosling, is a very selfless individual, putting the needs of others over his own, this is supported by the fact he takes a job as a getaway driver in order to help the family of his love interest played by Carey Mulligan. Her character however, shows conventions un-similair of a femme fatale. At no point does she use her body to gain a males trust, and at no point does she use 'The Driver' to benefit her needs, instead Gosling is doing these favours for her out of the kindness of his heart.

The film stressed key Noir technical conventions. They often use close ups of Ryan Gosling's dull emotionless face, especially in the getaway scene, almost adding to his selfless character, as if everything violent and destructive going on around him doesn't phase him. Although this is most probably due to the fact that his key reason for doing this job, died from a gunshot wound outside of a convenience store. It's stressed again later when he dismisses the large amounts of money he's amassed, as he's too pre-occupied with Carey Mulligan's character. For the majority of the time, the text uses only diegetic sounds, especially in the scene where the robbery goes horribly wrong.

The text also uses key narrative trends used in Film Noir texts, The driver is constantly doubting people around him, after the failed robbery, and mistrust and paranoia are common themes in Noir, for example, Hartigan in Sin City is also doubting the people around him due to his unfortunate experience with Bob before he was wrongfully imprisoned. Corruption too is a key theme in both texts, the driver's character had been...

A1. To What Extent Are Your Chosen Texts Typical Of Their Genre?

'Sin City' shows signs of typicality towards multiple genres, which is also the reason the text becomes less in keeping with usual genre conventions. By attempting to work under show aspects of both film noir and comic book style genres, Sin City carries conventions of both. What we get instead is a hybrid of the two styles. From the outset of the film we're exposed to some very typical genre conventions of Film Noir. A common theme of a film noir text is the use of lighting. Characters emerging from the shadows are a common theme and can often relate to the characters shady background. This is presented well in the opening scene, where Josh Hartnett's un-named character who is given the pseudonym of 'The Man', who we see at the beginning and end of the film, appears from the darkness before murdering another un-named character. Even throughout the 2 minute scene his face is shown half in shadow and half in light, almost hinting towards the two different sides to his character. It's shown again when we are introduced to Kevin before he murders Goldie, his face falls completely in shadow, almost alarming the audience of his dark ways. The only part in light are Kevin's glasses and the accenting on his sweater, which is done as it makes his character individualistic and easy to recognise from others later in the film.

The mise-en-scene used throughout the film is very characteristic of film noir, our 3 protagonists Marv, Hartigan and Dwight, are almost always seen wearing trench coats which is very common. From the vehicles they drive to the background characters around them, the text attempts to stay typical to film noir. Even the character roles are usual of film noir, You have your male protagonist, or in this case 3, corrupt police officers like Bob and villains like Kevin, Roark Jr. or Jack Rafferty. Another key convention I noticed is the way females pay a very passive role, they tend to slow down the narrative, some are made to seem very weak. The camera techniques when Dwight and shelly talk after Jack leaves show Dwight from Shelly's perspective and vice-versa. We look up towards Dwight as he's powerful. He looks down on Shelly as she's seen as fragile.
Some of the female characters are simply their for visual pleasure such as the girls from 'Old Town'.
They play a vital role in the storyline, but their style of dress is overly sexual. This could have been done as Robert Rodriguez and Frank Miller want their audience to feel socophilia or 'the love of watching.' It also touches on the idea of Laura Mulvey's male gaze theory.

For the most part, women act as an inspiration for men to act which is rather usual of film noir texts. Even though our 3 main characters may be very different they're all very selfless individuals, that sometimes have to overcome themselves and their deep psychological issues which have come as a result of a war which the characters often reference. It's as if everything has been thrown out of equilibrium for all the characters involved since the war they speak of. Even aspects such as heavy rain and fog can often be seen in film noir texts, probably because they help to achieve a very eerie mood.

Sin City happens to take certain characteristics from the comic book genre too though. The protagonists trench coats often act as the equivalent of capes and can be seen fluttering behind them in the wind when they're running. Director Frank Miller wrote the original comic book so it was evident that this cross breed of genres would occur. The use of excessive and eccentric violence takes from the realism of the film, which in my own opinion makes the film easier to enjoy as it takes the edge off. I'd say the use of colour and visual effects such as the silhouettes on the balcony in the opening scene, is the major difference from a normal film noir text. Items of interest are often shown in colour such as Goldie's hair and dress, Junior's blood and Manute's false eye. This is to show they have some form of importance to them, In cases like Goldie's it's helpful later in differing between her and Wendy, especially when Marv mistakes Wendy for he deceased sister. There's no doubting the text tends to be typical of its genres, but by having two they can take away from the other genre.

Analysing Todorov's Narrative Theory - American Psycho

[1] Begins with a state of equilibrium.

We're introduced initially to around 4-5 well dressed men, who are obviously in a position of power. This is highlighted by the reaction of the men when their bill arrives, Bryce (One of the supporting cast) is quoted saying 'Speaking of reasonable, only $570". The men are all in obvious positions of wealth, as they all throw down their platinum AmEx cards in order to pay for the bill. We're then first alerted to the main character Patrick's psychopathic tendencies. As he pays for his drink in a nightclub, he waits until the bar tender is out of ear shot and states "You're a f***ing ugly bitch. I want to stab you to death, then play around with your blood." He then carries on as if nothing's happened.


[2] Disruption of that order.

Disruption occurs when detective Kimball joins Patrick in his office, after the disappearance of businessman Paul Allen, who a few scenes prior Patrick murdered with an axe and then drove to Paul's apartment before staging the scene so it looked as if Paul had left on a business trip. Kimball has many questions for Bateman, and over numerous meetings Patrick's alibi begins to crumble as Kimball finds holes in his story, although Kimball is still none the wiser and doesn't expect anything. It's evident though that the pressure is getting to Patrick. Their final meeting ends with Kimball saying "I'm pretty sure he'll turn up sooner or later. I mean, to think that one of his friends killed him for no reason whatsoever would be too ridiculous. Isn't that right Patrick?" Patrick is unnerved and doesn't react for a few seconds.

[3] Recognition that order has been disrupted.

Patrick finally cracks when his mental problems get the better of him and a quaint old woman catches him trying to feed a kitten to an ATM. He then shoots her and goes on a murderous rampage. He escapes from police for the time being and begins to cry as the elevator carries him up to the top of the building he works in. He then crouches in the corner of his office, and quivers in terror of what he's done. Searchlights shine against the blinds and his voice begins to crack as he picks up the phone and starts confessing his crimes to his attorney Harold.

[4] Attempt to repair the damage

Bateman attempts to repair the damage by confessing to around 20-40 murders all at once, and he begins to sob as he goes into the grizzly details of the horrors he's committed and leaves them in a message on his attorney, Harold's, answering machine. He then see's Harold the next day and tries to talk to him to one side, hoping Harold can help him out of this one. He mistakes Bateman for Davis and plays the hole thing off as a joke. Meanwhile Bateman pleads with Harold, that he really needs help. "I did it, Carnes! I killed him! I'm Patrick Bateman! I chopped Allen's fucking head off," he whispers with tears in his eyes, it appears the attorney realises this isn't a joke and leaves after a few attempts, stating that 'Davis' couldn't have killed Paul as he had dinner with Paul just 10 days ago in London. Patrick begins to question himself on whether he actually committed the crimes or not.

[5] A state of new equilibrium

The state of new equilibrium we reach is a peculiar one. Patrick's problem hasn't actually been resolved but it would seem people are able to sweep his wrongdoings under the mat. Everyone else is so self centred, they're incredibly superficial individuals who really don't care about much away from there own status and the business world. The movie ends with Bateman dismissing himself after realising that Harold doesn't care for his situation. He stands alone as the narration plays over the image of him. "My pain is constant and sharp, and I do not hope for a better world for anyone. In fact, I want my pain to be inflicted on others, and no one to escape. My punishment continues to elude me. My confession has meant nothing." Bateman has reached an equilibrium where no problems have really been resolved but the cracks have been painted over. Some could argue it's the opposite and if anything we're thrown into dis-equilibrium by the fact Bateman may never have committed any of the crimes and the his mental condition worsens.

The film 'The Good, The Bad and The Ugly' is typical of it's genre by the following conventions

I) Iconographies - Being a western, there are many visual symbols we can decode. The setting is important, in this case the cactus filled desert is the most common setting for a western film, the duel we actually see in the 5 minute clip takes place in a graveyard in a very baron wasteland for example. The second major code in your generic western film is the clothing and accessories in general to the characters. You'll find your generic western cowboys wearing boots, ponchos and stetsons and a holstered six shooter, most likely accompanied by a horse. These are very common symbols although in modern film, people class the western as something else the typical narrative of a western has changed.

II) Narrative - People now argue that western films do not need to take place in western america, like previously thought and the time isn't necessarily the same. Most westerns follow the conventions of a character from the East, or someone from 'out of town' travelling west in search of something or aiming for redemption. The goo, The Bad and The Ugly really supports that idea, but some could argue films like 'The Book Of Eli' or 'Die Hard'

III) Representations

IV) Ideologies

Laura Mulvey's Male Gaze Theory

The James Bond franchise is a clear  example of film objectifying females and forcing the audience to view females via the male gaze. The scene within, "Die Another Day" when James Bond meets the character Jinx demonstrates my previous statement by first of all, using editing techniques and camera angles / movement, to showcase the character of Jinx. We first see her through Bond's perspective as she emerges from the sea. The vignette on the camera makes it seem as if we're looking through the binocular's with Bond. The scene where she emerges is edited so that we watch it in slow motion, this really exaggerates the fact she's there to stimulate a male audience. She's portrayed as a piece of eye candy for the male audience in the way she presents herself too. The representation she gives is a constructed one, this is noticeable as early as when she walks up the beach towards the bar and over-emphasises the sexually suggestive way that she walks and the fact that by the time she get's close to Bond she's wearing a full face of make-up and she's already dry. The director obviously wants her to seem as sexually attractive as possible, as they'd want to appeal to the male audience more, like suggested in Laura Mulvey's male gaze theory, so the construction is formed like that suggested in Post-Modernist views of society and media and are seeing an interpretation of reality, a hyper-reality. Bond is shown as a dominant character throughout the scene, he keeps his famous calm and cool character, whilst talking to Jinx. The camera angles always seem to be looking up at Bond a little whereas they look down at Jinx, it could be because they want Bond to seem more powerful, and Jinx more of a innocent character, if this is the case it's a very hegemonic perspective, and supports the idea that men dominate women in film and society. 

Representation in the film 'American Psycho'

American Psycho (2000) is a film starring Christian Bale as wealthy psychopath Patrick Bateman. I chose to look at the trailer for this piece as I'm a fan of the film and know how men and women are represented in this drama already. I think this movie gives prime examples of gender stereotypes in the workplace which is what makes it such a good text to look at.

 

The entire backstory is riddled with stereotypes. The main character Patrick (played by Christian Bale) showcases the idea of the metrosexual male. The movie begins with Patrick doing his daily routine, which is incredibly complex, more so than any average male or female. Bale plays a character that could be seen as a ‘big shot’ by most. He has the bachelor lifestyle. The money, the women, you name it, Bateman has it. He’s joined by a huge number of similar male characters, who are always seen wearing suits and ties. It acts as a reminder of Bateman and co.’s class. All of these males are made out to be these powerful, dominant, alpha figures but Patrick really personifies these traits. He really thinks of himself as better than everyone else, and to see others succeed around him really irritates Patrick. He is the complete opposite to your common joker character and shows a few traces of the jock character. Women on the other hand take one of 2 charcters in this film. Firstly, there are women who are presented as sexual objects. The scenes in which Patrick hires prostitutes, makes a point of really showing the audience these girls lives are miserable and tries to feed us the impression that all they are good for is sexual fulfilment. On the other hand, almost 100% of the secretary’s we see at Bateman’s place of work, Pierce and Pierce, are female. Not once is a woman shown any higher up than being a personal assistant at this major wall street company, this kind of backs up a functionalist perspective in the way a woman’s job should be to satisfy men on multiple levels. So there are 2 main representations – Sexual objects and tools for men to use. Unfortunately the film doesn’t offer very many perspectives apart from the one’s found in a cruel business world.

Uses & Gratifications Through TV

My favourite TV show, is the Channel 4 series Top Boy. The fictional drama is set in a gritty East London housing estate known as Summerhouse, and follows the effects of the underground drug trade on the poverty ridden community. The show follows many stories and consequently, I find it easier to relate with and this makes the text more enjoyable. The Series focuses on main character Dushane, who runs the Drug trade in Summerhouse.

The series takes exception to Strauss' binary opposition theory. The primary character Dushane is a ruthless drug lord who isn't afraid to hurt people to cover his own mistakes. Dushane's enemies change from season to season, but whether it's a rival dealer or a corrupted supplier, there's no such good character to counter-act the bad like Strauss' theory suggests. The only signs of goodness are represented by the Metropolitan police force, but they only really make cameo's as they're constantly one step behind Dushane & Partner in crime Sully's schemes.

The Channel 4 show partially follows Todorov's narrative theory however it starts at a different point to the one Todorov suggest. The series starts out of equilibrium from the very beginning when Raikes' (The head honcho in Summerhouse) is having to deal with rival drug dealer, Kamale, moving in on his territory. Sully and Dushane gain Raikes' trust and convince him to let them run Summerhouse for him, and soon they've ridden Kamale from the area. The show is then thrown back into dis-equilibrium when Kamale steals a huge amount of drugs that Dushane has been entrusted by Raikes. Then over the rest of the 4 part series the show follows Dushane trying to get retribution on Kamale and re-gaining the trust of Raikes before Raikes' feels he must take violent action.

The show appeals to a wider audience because of its casting too. Ashley Walters, who plays the main character, was formerly a member of popular group 'So Solid Crew' and has been arrested in the past for firearms charges so knows the role he is playing, better than most others. The show's ensemble cast means that there are many different kinds of people being represented. There's a full spectrum of Ethical backgrounds, Class and Cultures on display.

I personally watch the show for a number of reasons, uses and gratifications. Some people watch this show, as they consider themselves to be the bad boy, drug takers they see on the screen and enjoy it for that reason, as they can gain insight into ones self. Others like me can still seek personal uses from the show. Some people seek different models of behaviour like the way Dushane is portrayed as a confident, cool but still fierce and respected character. The main reason I chose to watch the show personally, is through its entertainment value. The main use for a show like this is relaxation, and escapism for example, as it let's you look into a lifestyle you're not used to. I for one enjoy the fact you can watch shows like Top Boy and see things you wouldn't see in every day life. It really pushes the boundaries when it comes to the seriousness and the darkness of the show, and at times portrays scenes that you couldn't imagine being aired before 10PM at night. People can seek Social uses and gratifications from the piece, some enjoy gaining insights from others lives, like me. Some people will watch the show just to fit in and be able to talk and converse with other viewers. The show is even more popular due to it's easy accessibility I believe. Channel 4's 4oD service that runs through their own website and YouTube, means if someone hears about it from others, it's easy for them to catch up and learn about the show.

Niche & Mainstream Audience

The difference between a Mainstream text and a Niche text is the audience that the text can be applied to. A Mainstream text applies to a wide range of people, sometimes because it keeps up with current trends, sometimes because more people find the text relatable as opposed to Niche texts.  Reality TV shows like 'The X Factor' and 'Big Brother' tend to be popular as a wider demographic can relate to the people they're watching, because of this Reality TV tends to be the most popular of mainstream texts. Shows like Lost and popular US drama 'The Walking Dead' also do well and attract a large audience as they use an ensemble cast. The Walking Dead for example shows characters from different ethical backgrounds, and a huge variety of ages. Especially in the latest series where the youngest character is 6 months of age, and the oldest in his 80's. Mainstream texts also seem to feature a wider range of uses and gratifications than Niche texts. People can easily identify with mainstream texts, and often people watch these mainstream texts to better integrate socially. 

A Niche text however applies to a smaller range of people, shows often apply to a very specific group of people, maybe based on age or other factors like that, but mostly their interests, a good example is Cult films that won't interest as many people who don't know about the field. As it applies to all kinds of media text, the same could be suggested for very specific types of music. Obviously, genres like pop, rock and hip hop are huge mainstream forms of music, but music like folk, dubstep, classic and grime applies to much smaller, niche audiences. A niche text can be as specific as TV channels dedicated to a specific cause, this could include Sports teams like Chelsea or Manchester United who have their own channels, Travel channels that only show very specific shows or even cooking channels.

I'd say Niche audiences give less uses and gratifications to most but Niche texts are also very time specific. Folk and Punk rock music may be considered very niche genres of music now, but in a previous time they'd be considered mainstream by most.