Character, setting, narrative, colour, light, sound, camera and editing

Character

What can you tell about a character by the way they look? Costume, hair and make up are all used to add to the actor’s performance. A character’s behaviour gives us clues about their thoughts and feelings.

Settings

Stories can be set in real places or fantasy worlds, in the past, present or future. When characters are introduced to a new setting it can change their behaviour and influence their personaility.

Narrative

Many stories follow the same basic structure – beginning – middle – end > normal – problem – new normal > equilibrium – disruption – new equilibrium (resolution)

Colour and light

Colour and light are used to create mood. Shadows and dark can create a gloomy atmosphere whereas a bright colourful scene can create a happier mood. Light can also focus our  attention on details in a scene. Colour can represent a character’s emotions.

Music and sound

A film’s soundtrack is as important as the things you see on the screen. Music, sound effects and moments of silence can help create suspense, excitement and laughter. Audiences can often tell if characters are good or bad according to the diagetic and non diagetic sounds which have been added.

Camera and editing

Shot types and camera angles are carefully chosen to show points of view and focus the audience’s attention. An editor’s job is to sequence each shot so the story is engaging and easy to follow.

Use these key facts to think again about the film we have been studying.

How were these all used to:

  • create the narrative structure
  • make stereotypical heroes, villains etc
  • appeal to target audiences
  • make a profit?

Colour – what might it mean?

Use this link

 

http://www.mariaclaudiacortes.com/

BLACK suggests authority, power, boldness, seriousness, is
distinguishing and classic. Business wise it’s great for
creating drama and is good for a background colour (except on websites, it is very hard on the eyes). It is ideal for text on a light background. Black also implies submission and is associated with evil.

BLUE suggests security, authority, faithfulness and dignity.
For business it suggests sanctuary and fiscal
responsibility. It is the most popular and the second most
powerful colour. Blue can also be cold and depressing. Peopleare more productive in blue rooms.

BROWN suggests richness, politeness, helpfulness and
effectiveness. In business it suggests less important items.
Solid, reliable brown is the colour of earth and is abundant in nature. Light brown implies genuineness while dark brown is similar to wood or leather.

GREY suggests authority, practicality, earnestness and
creativity. Business wise it is traditional and
conservative.

GREEN suggests health, fertility, freedom, freshness,
healing, tranquillity and jealousy. Businesses use it to
communicate status and wealth. It is the easiest colour on
the eye and can improve vision. It is a calming, refreshing
colour.

ORANGE suggests pleasure, cool, excitement, cheer,
endurance, strength and ambition. For business it is good
for highlighting information on charts and graphs.

PINK suggests femininity, gentleness, well being and
innocence. For business you must be aware of it’s feminine
links and implications.

PURPLE suggests spirituality, royalty, luxury, wealth,
sophistication, authority and mournfulness. In business it
is upscale and works with artistic types. It is also
feminine and romantic. However, because it is rare in
nature, purple can appear artificial.

RED suggests excitement, strength, sex, passion, vitality,
aggressiveness and commands attention. Business wise it
associated with debt, is great for boldness and accents. The most emotionally intense colour, red stimulates a faster heartbeat and breathing.

WHITE suggests refined, purity, devotion, contemporary and
truthfulness. For business it can be sterile and refreshing. The best colour on the web for a background colour. Doctors and nurses wear white to imply sterility.

YELLOW suggests warmth, sunshine, cheer, happiness, jealousy, deceit and cowardice. Business wise it appeals to the intellectual types and is a good accent. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism. It is the most difficult colour for the eye to take in, so it can be overpowering if overused.

Green, brown, and red are the most popular food colours. Red is often used in restaurant decorating schemes because it is an appetite stimulant.

So that’s a 15?

15 rated films deal with adult themes and have a range of things included in the text that make them unsuitable for younger viewers.

 

Is 15 really stronger than 12A?

Yes. 15 works are stronger than 12 or 12A rated works and could include any of the following:

  • strong violence
  • frequent strong language (eg ‘f***’).
  • portrayals of sexual activity
  • strong verbal references to sex
  • sexual nudity
  • brief scenes of sexual violence or verbal references to sexual violence
  • discriminatory language or behaviour
  • drug taking

 

How many of these did you spot in the 30 minutes of Cabin in the Woods that you watched?

 

NAB fiction

We are about to watch 3 horror genre movies now that you are all 15! Hurrah!

They will be:

The Cabin in the Woods

The House at the End of the Street &

Orphan

 

The NAB will be giving you an opportunity to show that you understand the following about one of the films:

Categories

Medium

Purpose

Form

Genre

Language – Two or more cultural/technical codes

Narrative structure

Representation

Stereotyping

Target audience

Decoding

Production company

Financial controls

You will do an essay with support in class and then there will be a formal test to see what you remember.

Soon…

you will all be 15! Soon you will be able to legally watch 15 films.

Films under this category can contain adult themes, hard drugs, frequent strong language and limited use of very strong language, strong violence and strong sex references, and nudity without graphic detail. Sexual activity may be portrayed but without any strong detail. Sexual violence may be shown if discreet and justified by context.

Main image of The 15 Certificate

 

The 15 certificate was introduced by the British Board of Film Censors on 1 November 1982, following an overhaul of its classifications as recommended by the Williams Committee.  It is currently defined as follows:

Passed only for persons of fifteen years and over. No person apparently under the age of 15 years shall be admitted to any exhibition at which there is to be shown any film which has received a ’15’ certificate from the British Board of Film Classification.

It was a direct replacement for the AA certificate, the only difference being that the age limit was raised from fourteen to fifteen.  In 1985, following the recommendations of the 1984 Video Recordings Act, the 15 certificate was extended to cover video releases.

While the increased age limit allowed the BBFC to be more lenient with regard to classifying certain films, it became clear towards the end of the 1980s that an additional classification was needed between 15 and PG, as Hollywood in particular was producing an increasing number of films aimed specifically at young teenagers.  Since these films were considered too strong for a PG, they were usually given a 15 certificate, thus preventing their natural audience from seeing them.

As a result of increasingly public debate over this issue, the BBFC introduced the 12 certificate in 1989.

The BBFC permits the following within the bounds of the 15 certificate:

Theme: No theme is prohibited, provided the treatment is appropriate to 15 year olds. Language: There may be frequent use of strong language; the strongest terms are only rarely acceptable. Continued aggressive use of strong language and sexual abuse is unacceptable. Nudity: There are no constraints on nudity in a non-sexual or educational context. Sex: Sexual activity and nudity may be portrayed but without strong detail. The depiction of casual sex should be handled responsibly. There may be occasional strong verbal references to sexual behaviour. Violence: Violence may be strong but may not dwell on the infliction of pain, and of injuries. Scenes of sexual violence must be discreet and brief. Imitable techniques: Dangerous combat techniques such as ear claps, head-butts and blows to the neck are unlikely to be acceptable. There may be no emphasis on the use of easily accessible lethal weapons (in particular, knives). Horror: Sustained or detailed infliction of pain or injury is unacceptable. Drugs: Drug taking may be shown but clear instructive detail is unacceptable. The film as a whole must not promote or encourage drug use.

Film codes and conventions – a reminder

What are codes?
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic:

•Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
•Symbolic codes show what is beneath the surface of what we see. For example, a character’s actions show you how the character is feeling.
Some codes fit both categories – music for example, is both technical and symbolic

 

What are conventions?
Conventions are the generally accepted ways of doing something. There are general conventions in any film,  but conventions are also genre specific.

Codes and conventions are used together in any study of genre – it is not enough to discuss a technical code used such as camera work, without saying how it is conventionally used in a genre.  For example, the technical code of lighting is used in some way in all film genres. It is a convention of the horror genre that side and back lighting is used to create mystery and suspense – an integral part of any horror movie.

The Hunger Games – Narrative and Character Types

Narrative and Character Types

There are lots of theories on  the ways that stories work: some people say that most stories  or narratives have similar themes, and similar characters.               

The following ‘character types’ come from Propp’s   work on folk tales:

HERO(INE): Individual whose quest  is to restore the equilibrium. – Katniss

VILLAIN: Individual(s) whose  task is to disrupt the equilibrium. – President Snow

DONOR: Individual(s) who gives the hero something e.g. advice or an object. – Haymitch

HELPER: Individual who aids the hero with their set task. – Gale

PRINCESS/PRINCE: Individuals who need help, protecting and saving. – Primrose/Peeta

DISPATCHER: Individual(s) who send the hero on their quest. – Cinna or Effie Trinkett

FALSE HERO : Individual(s) who set out to undermine the hero’s quest by pretending to aid them.  Often unmasked at the end of the film – Seneca Crane

Now think of your favourite film. Which characters play the same type of roles?

 

Target Audience

Key elements of a teen movie:

Handsome young male protagonist – Yes

Attractive female protagonist – Yes

Key location suburban American high school – No

White affluent middle-class family, who live in a large house – No

Teenage angst, conflict with family, heartbreak – Yes

Sex, drugs and romance – Watered down version to fit with 12A rating to get more…?

 

 

Marketing The Hunger Games

The advertising budget for this was around $45 million and the campaign was considered to be one of the most successful in recent movie history.

How did they do it?

…they didn’t just use their money to have social media pages, widgets, and activities, they used their money to drive the social nature of their campaign in order to connect with fans. They actively pursued conversation and interactions with their fans and that is why their budget went so much further than many others before it.

They saw the opportunity to amplify their voice but did so to not get fans and page views, but to build evangelists and even louder champions. And to round it out and reward their following…

They empowered their fans

This was the final piece to the puzzle. Not only did The Hunger Games team find a way to amplify their voice and create an unrivaled social presence, they empowered their fans and their voices to spread the word and their fanaticism to not only their friends and family, but to the entire Hunger Games community.

On their Facebook page, they currently feature (front and center) fan photos from the premiers, mayors of each district, and allow their fans to get district badges. On top of all of that, they have a Fan of the Week page on Facebook! I love how they continue to recognize that their fans are their best marketing team and continuously reward them.

Not only will The Hunger Games be a box office force for years to come, but also a leading case study for anyone in communications for quite some time because while the How might change, the Why of their success will remain the same.

Harrison Kratz is the Community Manager for MBA@UNC

 

CBS News) “The Hunger Games” opened Friday on more than 10,000 screens nationwide. For speculators, it’s not a question of if it’ll be a hit on opening weekend, but whether or not the dystopian teen drama will break box office records.

Buzz surrounding “The Hunger Games” was helped in part by social media. Marketers created numerous ways to engage with audiences, including 13 Facebook pages to represent each of the districts in the film. Fans could become virtual “citizens” of each district. The districts can be found at the film’s main Facebook page.

A Twitter account was created for The Capitol, referencing the central city in the story. According to Forbes, the account @TheCapitolPN acted as a “welcoming site to Panem, the Capitol, and its 12 Districts.” Often tweeting stories, warnings and encouragement in character.

“Hunger Games” have been mentioned about 1 million times just in the last month on Twitter, according to real-time tracking site Topsy.

The Tumblr site Capitol Couture was created to blog the style of characters in the film, as well as inspirational designs. There’s even a guide for what to wear to a fictional Hunger Games.

The film and television check-in app GetGlue offered stickers for the 13 districts, characters and opening weekend. Stickers are unlocked by checking-on opening weekend.

Of course, there’s no accurate way to measure how much, if at all, the social media buzz translates to box office dollars. But, the effort does create a rich experience for fans. CBSnews.com

Watch the video about marketing here: http://www.cbsnews.com/8301-501465_162-57403323-501465/the-hunger-games-marketing-team-turns-to-social-media/

 

Moving to IMAX for the sequel.

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