Fish Tank - analysis

NOTES:
smoking
mum dancing around
un-educated language
"lifes a bitch then you die"
diegetic sound - know the music is playing
typical clothing - trackies, chain, hoops
non-nuclear family
typical location
background noise - kids screaming
"bye ya skank"
turns head when looking out the back of the car, camera then cuts to her inter - see what she is seeing
natural lighting, light from windows lighting up the living room - untidy, messy
slow pace - the dancing scene last longer then it should last
when mia is leaving, saying goodbye to both her mum and inter, don't show emotion, harsh face typical masculine trait

How typical is your chosen text to its genre?

My chosen text Fish Tank is very typical to its genre, which is Social realism. Throughout the film, the director has used technical conventions, narrative themes, character roles, iconography and mise en scene, to help make it typical to its genre. Typical Social realism conventions are, the represent ion of real life difficulties and negative representation of the underclass. I watched a 4 minute clip, of which Mia is leaving home and she is saying bye, within this short clip i was able to identify many conventions typical to its genre of social realism.

A technical convention which is often used in social realist film, and is used throughout this clip is natural lighting. Within the living room, we can see that the only source of lighting is from the open window. This creates a more natural feel to the film, as we can see the source of lighting and know that it is real, therefore the environment and atmosphere feels more realistic. As an audience this allows us to empathise with Mia more, as we ale to relate more and sympathise.                                   Another technical convention is the simple camera cuts that the director choses to use. We see an example of this when Mia gets into the care to leave, we see the protagonists head turn to look out the back window, then the camera cuts and shows the audience what Mia is looking at, which is a shot of her little sister running waving goodbye. This enables us an audience to be put in the same perspective as Mia, and see life from her eyes. The director ables the audience to be placed in the shoes as the protagonists, and this helps create empathy and sympathise for Mia.

A common character role in Social realist films, is a non nuclear, often dysfunctional broken family. This is exactly what Mia, her mum and sister are. For example, when Mia is leaving and going to say bye to her mum, her mum turns around and says: "what you waiting for, fuck off then". This shows that there is no emotion, or trying to hide her true feelings towards her daughter leaving by being cold hearted and unloving. As an audience, we feel uncomfortable watching this, as it is showing how unloved and how hard life must be for Mia, and how her mother is so cold and laid back. Which is also a narrative convention of the representation of real life difficulties.

Noir Conventions in 'Drive'

In the film "drive" it also conveys typical Noir conventions, within the Characters, Narrative, Mise en scene and Technical codes.

In the first scene of of the 20 minute clip, we experience non-liner narrative. This is because they are all sitting around the dinner table, and suddenly it cuts to a flashback of the protagonist (Goslings character). This is a very typical convention, as Noir films are non-liner, and are not in chronological order of events.

The narrative theme of mistrust and paranoia is also a typical noir convention, which Drive also adheres to. For example, just after the robbery scene, and when they are in the hotel room mistrust and paranoia occurs. This is because, the protagonist Gosling, begins to question the red headed female on the events that had just happened. We begin to see backstabbing and corruption take place, and Goslings begins to believe that the women had set them up. This is then backed up, when two men enter the hotel room in order to kill Ryan Gosling, however because of the previous mistrust he was prepared. As well as narrative conventions, they also use many technical codes.

A typical technical code to noir films is the use of high contrast and low key lighting. The scene within the hotel room, before the two men intrude, high contrast lighting is used upon the protagonist face, however as soon as the men intrude and he kills the two men, low key lighting is used. It helps represent his bad side of his character.

The score is another noir technical code convention. The use of the dramatic, loud, low toned sounds, in the scene of the robbery builds tension and drama. It helps the audience guess the consequences before it happens, we get the feeling that something bad and dramatic is about to happen, because the music gives off a bad vibe.

Reaserch - Laura Mulvey, The Male Gaze Theory!

Laura Mulvey and The Male Gaze Theory

The Male Gaze, developed by feminist, Laura Mulvey describes how the audience, or viewer, is put into the perspective of a heterosexual male. Mulvey believes that women should enjoy the attention of attracting the gaze, and put themselves in positions to be looked at. The concept of ‘the gaze’ is one that deals with how an audience views the people/person presented. Mulvey states that in film women are typically the objects, rather than the possessors, of gaze because the control of the camera (and thus the gaze) comes from factors such as the as the assumption of heterosexual men as the default target audience for most film genres.

The male gaze occurs when the camera puts the audience into the perspective of a heterosexual man. It may, for instance linger over the curves of a woman's body.

The woman is usually displayed on two different levels:

-         as an erotic object for both the characters within the film

-         the spectator who is watching the film

The man emerges as the dominant power within the created film fantasy. The woman is passive to the active gaze from the man. This adds an element of 'patriarchal' order and it is often seen in "illusionistic narrative film".

Mulvey argues that, in mainstream cinema, the male gaze typically takes precedence over the female gaze, reflecting an underlying power asymmetry.

Mulvey' also states that the female gaze is the same as the male gaze because women look at themselves through the eyes of men. A feminist may see the male gaze as either a manifestation of unequal power between gazer and gazed, or as a conscious or subconscious attempt to develop that inequality. From this perspective, a woman who welcomes an objectifying gaze may be simply seeking to benefit men, welcoming such objectification may be viewed as akin to exhibitionism.

The Male Gaze typically focuses on:

-         Emphasising curves of the female body

-         Referring to women as objects rather than people

-         The display of women is how men think they should be perceived

-         Female viewers, view the content through the eyes of

     a man

The Male Gaze has noted how

female sexiness is brought into

the equation even when the

media product is not sexy. For

instance, in Paolo Nutini’s Pencil

Full Of Lead, the women are

dancing around in little outfits

and men are watching them. 

There are some flaws and disagreements with the theory however:

-         Some of the women may enjoy the attention and like people to look at them

-    There are videos and media
      products which use men in the same light, for instance in Kelly Rowland’s Motivation the men have less clothes on than she does and she treats them as though they are objects.

-         How is the heterosexual male gaze different from the homosexual (mainly lesbian) gaze?

-         The Matrixial Gaze – Bracha L. Ettinger

-         The Female Gaze - The position of a female possessing the gaze is the female assuming the male gaze. Eva-Maria Jacobsson supports this by describing a "female gaze" as "a mere cross identification with masculinity". However, disregarding the viewpoint of gendered possession of gaze as proposed by Mulvey, there is evidence to support a view of a female gaze – women objectifying men. Furthermore the gaze can also be directed toward members of the same sex for several reasons, not all of which are sexual, such as in comparison of body image or in clothing.

Sin City

How Typical is Sin City to its genre(s)?

Sin City is a hybrid of two main genre's, these are Film Noir and Comic book. At times Sin City can be very typical to its genre, and portray the classic Film Noir and Comic book conventions however they can sometimes be diluted. For example, a typical Film Noir convention is that the protagonist would wear a trench coat, and in the film Sin City, protagonist John Hartigan, Marv and Dwight all wear trench coats. This is a typical noir convention, and the audience is able to recognise this. However the trench coat can also be seen as a hybrid. For example, in the scene where Marv is running down the street, and his leather coat is flapping in the wind behind him, it could represent a ,'cape' which be a typical comic book convention. Therefore, just by Mise en scene, and the item of a coat, it shows that the film is typical to both it's genres.

Another typical Noir convention is non-linear narrative. For example, one moment it's the scene with John being killed, and then suddenly jumps to a new character, Marv. Its in no particular order, and this helps create theme of mis-trust and paranoia. This is because the audience is questioning what's going on in the film, wondering whats happening and it helps build tension. Which once again mis-trust and paranoia is another typical convention of a film noir.

Another typical noir convention is the characters within the film. These characters include: the Protagonists (John Hartigan, Marv and Dwight), the Corrupts cops (Senator Roarke, Cardinal Roarke and Bob) and lastly the Femme Fatals (Goldiem Shelley, Gail and Nancy). These characters are very important within the film as they make up the storyline. A typical Noir Protagonist is willing to put themselves before others, this quote that the character Hartigan says shows this; "an old man dies, a little girl lives" why is a typical noir personality trait. He would rather save someone else's life rather then their own. A typical Femme fatal trait would be, using their femminity in order to manipulate the male protagonists, this usually ends up with them ending up into trouble. This is shown in the scene where Cecile tries to take matters in her own hands, to save both her and \marv, however ends up being killed herself. This represents women characters in the film as being naïve, as she tries to do right however doesn't realise that the cops are corrupt and ends up dead. Therefore emphaises the fact that women need the men in order too look after them and keep them safe, because without them (i.e. Cecile not having Marv) they end up in trouble.

 

To what extent are your chosen texts typical of their Genre?

My chosen text is Fish Tank, and the genre of the text is Social Realism. A way in which Fish Tank is typical to its chosen genre is the use of the technical conventions of a hand-held camera's. For example, in the scene where Mia chases after Connor when he is leaving, when Mia begins to run so does the camera. Its puts us as an audience in the perspective of Mia, as we see what she see's, i.e. blurred, jumpy vision, bouncing up and down. It puts us in the shoes of Mia and helps create empathy which is the main purpose of the film, allows us to understand her and her under-class. We begin to not think that under-class people are just lazy and bad people, but that the reason they are like this is because of the build up of events that have happened in their lives, i.e. in the film Mia's mum treats her horribly, and the result of this is that Mia turns into a nasty, vulnerable broken child herself.

Another technical convention that is used to show that the text is typical to its genre through its use of no 'non-diegetic sound'. Throughout the whole of the film their is constant diegetic sound, for example, you are always able to see the source of where the music is playing out of either a stereo, headphones etc. Constant background noise of either trains, cars, kids playing, shouting. This helps to show social realism, as it is a realistic view of everyday lives growing up in that neighbourhood.

- other point is that it represents the under-represented ... location etc.

Narrative Structure - Todorov's

White Chicks

1. State of equilibrium: The text i've chosen doesn't fit Todorov's 5 stages of narrative. This is because at the start of the film, Kevin Copeland (Shawn Wayans) and Marcus (Marlon Wayans) are two FBI agents, undercover at  shop. Three men then enter the shop, supposedly delivering ice-cream and ask for payment for this. Both Kevin and Marcus put on act until they reveal themselves to be FBI agents. After they try to overcome the delivery men, they open the containers to find out it is just Vanilla Ice-cream. Just after that, another 3 men enter the shop claiming the "ice cream" has arrived, and then realise that Marcus and Kevin are FBI agents. They then have a shootout and the all 6 men flee the shop, confusing Kevin and Marcus who is the real delivery men. This shows that, this film starts off without a state of equilibrium, as there is already trouble happening.

After this happens, equilibrium is restored, and they are back to work, with a new case to be solved, however this soon gets disrupted.

2. Disruption of that equilibrium: chief holds a briefing to explain suspicion of a kidnapping of the Wilson sisters, and they need someone to protect them. Kevin and Marcus end up being the two to protect them. On the way to the Hamptons hotel with the sisters, they crash, and the sisters refuse to leave the hotel with the scars they have on their face.

3. Recognition that the order has been disrupted: Due to the fact that the girls wont leave the Hampton hotel, Kevin has the idea that him and Marcus, pretend to be the Wilson siters, and call a makeup artist to transform them.

 

4. Attempt to repair the damage: Both Kevin and Marcus go undercover and live everyday life pretending to be these girls, to find out information for the case. After being put through various situations they find out that the...

Later, Kevin and Marcus find out that, due to his bankruptcy, Mr. Vandergeld - along with Heath - has been behind the socialite kidnappings in order to save himself and his family from poverty and they manage to capture Mr. Vandergeld before he succeeds. At the fashion show, after Megan and Heather Vandergeld are embarrassed and Kevin and Marcus interrupt the show, a shootout occurs. Vandergeld takes one of the real Wilson sisters and Marcus hostage, and Latrell takes a hit from a bullet shot by Mr. Vandergeld to protect Marcus, only to be alarmed and enraged to discover - not that Marcus is actually male - but rather, that he's actually black. Lucky for him, Latrell soon meets the real Wilson sisters, much to his delight. After Vandergeld's arrested, Marcus apologizes to his wife Gina after realizing that being a female is a hard task, and also because he'd been ignoring Gina for his job. Denise falls for Kevin, after Kevin saves her from Vandergeld who tried to kill her for exposing his crime on camera. Tori, Lisa, Karen, Kevin and Marcus then make a pact to remain friends and go shopping.

Genre

The film; 'The Good The Bad & The Ugly', is typical of it Western genre by iconographies, narrative, representations and ideologies.

Iconography:
The first thing that i noticed when watching, 'The Good The Bad & The Ugly' was Iconography, which connotes Western. The scene is sit in a dessert like surrounding, most Western films are set in a dessert, therefore very conventional. As well, Western films are known for there male characters to wear Stetson hats, and all 3 of the men in this scene wore one, this is once again a typical convention of a Western film. Other elements such as there clothing and the colours that they wore i.e. browns and greens, the usage of guns, all give off the same conventions of a Western film.

Narrative:
The storyline of the film resembles many Western films, for example the Hero is challenged by the villans, and therefore many show downs occur in order for the Hero to defeat the villan.

Male Gaze - James Bond

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 numerous techniques.  The scene starts with a view from Bonds binoculars, this is automatically giving us a view from a males perspective. It then zooms out onto the women, Jinx in the sea. At this point a post-production happens, the text is edited after its been shot, and the movement of Jinx has been slowed down. The audience watches Jinx leave the water, in a slow and exaggerated way. This ables the audience more time for pleasure and focus on her body, the female is being objectified. Her human identity is lost, and the women's main role at this point in the scene is to please the audience.

Once she leaves the water, and enters the beach bar, she has a full face of makeup on. This is creating a fake, constructed idea that all women look that good at all times, which they don't. It suggests that the barrier of beauty shouldn't be dropped, and that all women should looks this, creating a hyper reality.






- slow motion
-makeup, even tho was in the sea
- camera shots, focus on a girls assets
-non-deigetic sound
-sexualised body movements, over emphaised
- language: 'great view' 'wasted on everyone else' 'looking for birds' 'that looks like a mouthful'