The google definition of narration is- 'the action or process of narrating a story'. This means that narration is similar to the narrative, but is the actual process of recounting and telling the narrative to the audience. Usually, this is told over the action and although the narrator may be present, you cannot see them speaking the words. Examples of narration in the following genres: Comedy:
This is a rather unusual example of narration in a comedy film. This is because the film itself has more of a dark comedy genre. The narration in the opening scene begins serious and introduces the character to the audience. The narration finishes recounting a story, which is a little humorous, but in a dark way (it is about him being stabbed by a Santa). It is effective though, as it introduces the genre, and the themes of the movie.
As a whole, it is common to find a film with narration in the comedy genre. Comedy usually has narration as it is another way to give jokes and wit to the audience.
Horror:
This is quite a good example of narration in a horror movie. It is very serious and seems rather intimidating. It starts off seemingly ordinary, introducing the character (Patrick Bateman). He explains his daily morning routine, and everything seems ordinary (perhaps a little regulated, but overly normal). However, then he gets cold. He states "I simply am not there", whilst stripping off a face mask. The face mask seems like a layer of skin, which may be foreshadowing the later events of the film.
Throughout the opening, there is a calming piano tune playing under the narration. This adds to the normality of the scene, as it seems to just be background noise. Moreover, it further calms the audience and is effective as it makes the audience feel almost comfortable, yet at the end, it gets shockingly cold and dark.
It is quite unusual to see narration in horror films. This is because the producers tend to focus more on the jump scares and visual aspects of the film (the gore and visual effects). Also, narration is usually too calm and normal.
Action:
This is the opening four minutes of the film 'Badlands'. It introduces the main characters, but doesn't give too much information away about the film itself. It is quite effective, as it introduces the basis of the story. Also, it is clear that this is an unusual action film, as it is set in a small American town. This is also effective as it shows that this can happen to anyone, and it doesn't just happen in large cities.
It is quite unusual to find narration in action movies. This may because the movies are focusing on the visuals (i.e. the car chases and the explosions), and not the dialogue. Although it is unusual, it is quite effective as it is an easy way to introduce the characters.
Drama:
"Me and Earl and the dying girl" has narration throughout the entire movie. It is quite effective, as it shows us the genre of the film and how the character presents himself. However, it is very common in such teen movies to have narration, so it becomes a bit repetitive. It is well done though, as it ties in to the action seen. It introduces the character and shows us what to expect during the rest of the film.
In the drama genre, it is quite common to see narration in the films. Usually, it depends on the subgenres of the film as to whether it has narration or not. For example, romantic genre films are more common to have narration than action drama films.
Romance:
This is the opening scene of the Romance film, "Annie Hall". It begins with the main character, Alvy Singer, telling a series of jokes. He links it to his life, but it isn't fully clear what he is speaking about, until he speaks about 'Annie'. Then it becomes apparent that he is searching for the reason that him and Annie broke up. Then the scene moves to a childhood scene, with him and his parents. This scene doesn't have narration, but the next scene does. This opening continues to explain his childhood, and several jokes are made. I believe that this opening is effective as it intrigues the audience immediately. We instantly feel a connection to the character, and want to know who the mysterious 'Annie' is.
In this genre in particular, narration is somewhat common, as it can be used to interest the audience.
What is required for a good piece of film narration?
Practically, the narrator must have a clear voice. The narration should not be drowned out by music present, or by any other dialogue that is in the scene. Also, the speech should be relevant to the visuals in the scene, as it would be rather confusing if it wasn't relevant. Moreover, if a film was to have narration rather than speech, it must be interesting and the actor must have an entertaining voice. Finally, the actual language used should link to the genre of the film.
Is narration something that you are contemplating for your own coursework?
Whilst planning our coursework, Noah and I almost immediately decided to include narration in our opening scene. We are thinking of doing a comedy movie, and we have seen how effective narration can be in comedic films, so we decided to include it in our coursework as well. "
The google definition of 'target audience' is- 'a particular group at which a product such as a film or advertisement is aimed'. This tells us that the target audience of the film is the group of people that a particular film is aimed towards. To successfully produce a film, the makers must be fully aware of the audience that they are aiming the film at. What is the target audience for each of the following genres: Comedy: Usually, the target audience of a comedy film varies. The target audience of a comedic film revolves around the content of the film. For example, PG films may be comedies, and are aimed at children and families. However, if you were to watch a higher age rating, the target audience would naturally be older, more mature people. This is due to the fact that the jokes change according to the age rating, and you would have to be mature enough to actually understand the jokes and humor. Moreover, if a comedy film was an 18, you would have to be above that age to fully understand the jokes and humor. These films are more explicit in their language and their visual scenes.
Horror: Due to their ratings, most horror films are aimed at over 18's. There are some films in this genre that are a lower rating, however, to 'stay true' to the genre, it is common for horror films to go all out with the gore and fear. Although the actual age rating on the film may be an 18, it is common for people aged 15-25 to watch such films.This is because people naturally seek thrills and scares at this age, so naturally, film companies release horror movies aimed at teenagers/young adults. Moreover, stereo typically, men are more likely to be targeted for horror films. This is because of the idea that violence and gore if often loved by men, rather than women. Although stereotypical, this partly plays a part in the target audience of horror films. Generally, horror films are aimed at the middle class. This is because they offer a relatively cheap way to experience thrills and excitement. Supposedly, upper class people can get such thrill in other ways (as they have the money available to them).
Action: Traditionally, action films have been aimed at men aged 15-30. This is due to the level of action and violence present in such films. Generally, men are more interested in this kind of fast-paced film. Whilst watching particular action films (for example, 'The Dark Knight'), it becomes increasingly apparent that such movies are aimed at men. These films offer a cast that is largely dominated by men, and the main character is almost always a male protagonist. There may be a female character present, but usually, she is played by a gorgeous, young actress who offers some 'eye-candy' for the male watchers. This isn't necessarily a bad thing, but it is just how filmmakers edit their films according to their target audience. Drama: Due to the nature of this genre, it is hard to define the target audience of a drama film. For example, period drama films are easy to analyse for target audience (young women, due to the protagonist being a strong female), however, they are only a sub-genre in the drama genre. Because of this, there are many sub-genres that have their own target audience. For example:
Period Drama. Mostly, period drama films are directed at women of all ages. This is partly down to the casting, as the main character is almost always a strong female protagonist (for example, in the film Jane Eyre, she is the main character). This means that women can relate to the characters. It is also due to the fact there it is common to have a romantic story-line throughout the film, which appeals to women more than men. In many ways, the target audience for a period drama is similar to that of a romance film (women). There are a few notable exceptions to this rule (for example, 'A Knight's Tale' and 'Robin Hood'). These kinds of films are more aimed at men, as they focus more on the larger historical battles and events.
Crime Drama. Usually, crime drama films revolve around the action on screen. Because of this, they are aimed more at a male audience. For example, the film- 'Reservoir Dogs' is a crime film and an action film. This tells us that crime dramas are based largely on action films. This tells us that the audience is basically the same for both genres- 15-30 year old males.
Romance Drama. A romance drama has almost the exact same target audience as a romance film. However, due to the definition of a drama film ("Drama film is a genre that relies on the emotional and relational development of realistic characters."), it may be likely for something emotional to occur during the film. For example, at the end of the film 'Titanic', the main character dies, leaving his spouse alone. This is a tragedy and is extremely sad. Because of this, the target audience of a romance drama may be those who are prepared for a good cry. They probably will not come to watch a romance drama if they don't want to be saddened by the events, and will instead watch an ordinary romance film.
Romance: Commonly, Romance films are aimed at young women, aged 13-25. This is largely due to the nature of the films- they are lighthearted and 'heart-warming'. It is common for couples to go and see romance films. This is because, somehow the couples emotions and problem are similar to those shown in the film, and the film shows a good resolution, and a couple which they aspire to be like. Moreover, these films do not need much of an understanding to enjoy, as they are usually quite simplistic. Because of this, families also prefer to watch romance films. Statistically, romantic films are the most favourite genre in our society. Finally, romance films are good to watch at any age as it gives either a role model for younger girls, or somebody to relate to.
What would be the target audience for your 'idea so far'? Our idea is definitely going to be a comedy film! Me and Noah almost immediately agreed that we were going to create a comedy film, as we felt this genre has more potential and it also hasn't been done a lot. Following this, we decided upon a basic idea for our opening. Our idea is based around a teenager, and because of this, the film would most likely be a 12+. We would only restrict the minimum age as there may be some minor language in the opening.
What ways would you go about attracting your target audience to come and see this film? I think we could create several different advertising techniques, across different mediums. For example, we could put up posters in and around schools, as this is our target age. Also, we could use social media online to advertise our idea. Studies show that 90% of Americans go onto social media sites. This tells us that the best way of attracting a large amount of viewers would be through social media sites (such as Facebook and YouTube). Furthermore, It has been discovered that people are becoming more responsive to video rather than pictures or text. Because of this, we would focus on creating a few short trailers to put onto such social media sites. These would be short and entertaining, as we don't want to force the viewer into watching a long boring clip. Most of all, we want our target audience to laugh! This is the point of our film, so if we got them to laugh immediately, it would be memorable."
So hello again! Today, I'm focusing on dialogue! Yay!
So, what is dialogue?
dialogueˈdʌɪəlɒɡ/noun 1. a conversation between two or more people as a feature of a book, play, or film. "the book consisted of a series of dialogues"
Shoutout to Google and Wikipedia for that :D
So essentially, it's one or more people just talking. They can talk about pretty much anything; a random conversation, something expositional, or literally reciting something that's happening on screen.
Is it necessary to the opening 2 minutes of a film? No, not necessary. A common rule that's used in film is "Show, Don't Tell". Essentially, it means show your audience what is going on, instead of just telling them. It may not get as much information across, but visual indication in a film should get everything the audience needs to know in whatever shot it is; if it doesn't, it's a poor shot.
So, let's get analysing some film openings! (that was probably grammatically correct)
Unfortunately, I have the 2 minute cap... boo.
But this time, it's a tiny bit different. For each genre, I'm analysing TWO openings; one with dialogue, and one without.
Let's-a go.
COMEDY
So for my without dialogue opening, I chose Ghostbusters (the 1984 one... the GOOD one.)
The opening seems pretty dull; just some establishing shots of a woman walking through a library; presumably, she's the librarian. She goes down one section of the library, and papers start flying out of filing cabinets :0
She starts screaming, and running away... but it seems that whatever invisible entity is throwing the papers around is chasing her. It ends up with a close up shot of the librarian's face, as she screams, and a purple light brightens up her face... as if whoever was chasing her was glowing.
This intro doesn't have any dialogue at all, if you're not including the small segment of the Ghostbusters. However, with there being no dialogue, it still manages to establish a lot about this film's premise; there are spooky ghosts, they're messing up the world of the mortals, and people are dead scared. Get it? Dead? No? Ok...
This intro shows that not all comedies need to open with a barrage of jokes to be funny and to establish itself as a comedy.
The opening WITH dialogue I'm looking at is The Hangover.
It starts with a bride getting ready for her wedding, when she gets a phone call from a man. She asks where they are, and the man responds purely with "We f*cked up.". I turns out that after some talking, one of the members of the stag do has gone missing. The scene ends with some pretty hard hitting dialogue-
"We're getting married in 5 hours!" - Tracy
"Yeah... that's not gonna happen." - Phil
It then cuts to multiple shots of Las Vegas, as the opening credits play.
By having the dialogue, it can give more information than what we would've got if the opening had no dialogue at all; it'd just look like a phone call between a woman and a guy in the desert. The dialogue actually informs us many things; what the story may revolve around, what the stakes are, an introduction to some of the characters & their relationships, and some light backstories. There's no way to concisely tell these things purely through a visual way.
HORROR
For my non-dialogue horror opening, I chose Child's Play 2.
The opening has two major things going on; let's refer to them as the A-Plot and the B-Plot.
The A-Plot is of a mangled, corpse like doll head having it's burnt skin taken off with professional equipment. It exposes a metal head, which is then repurposed for another Good Guys/Chucky doll.
The B-Plot hasn't got too much going on, just multiple shots of a long, black car driving down various roads.
The emission of dialogue is both a blessing and a curse. It's a great way to open for those who have seen the first Child's Play film... I am not one of those people, but I'll try my best.
By showing this corpse-like doll head and having no audio, it gives a sign to the fans of the original film that this is indeed the same Chucky from last time, and the fact that he isn't lipping someone off is an indication that he will somehow be revived from his "dead" state.
However, for someone who hasn't seen the original Child's Play movie, it raises a lot of questions that could've been answered with dialogue. Whose head is this? Why is it mangled? What is Good Guys? Why did they need to make "Curse of Chucky"?
Well we were all thinking that last one.
By not having dialogue, it's not giving newcomers enough information. They won't know that the doll is cursed, or how it's a murderous little tyke. I guess this is an example of a good series of shots that doesn't get any points across apart from "we made a doll."
A horror movie that DOES start with dialogue is Frankenstein, from 1931.
The opening involves a man walking into shot from behind a curtain, welcomes us, and then starts giving us an explaination of what we're about to see.
"How do you do? Mr. Carl Laemmle feels it would be a little unkind to present this picture without just a friendly word of warning: We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation; life and death. I think it will thrill you. It may shock you. It might even horrify you. So, if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to uh, well, ––we warned you!!" - Edward Van Sloan
Chilling.
It then cuts to all the credits, since they were at the beginning of the film up until the 60's.
By having Van Sloan tell us this, it can prepare an audience of the 30's, who aren't used to seeing a horror movie in the cinema, for what they're in for.
It's also helps to hype up the film itself, by telling us that it may thrill, shock and horrify them, it makes the audience potentially more excited and fearful for what they'er about to watch.
This particular usage of dialogue is good, since films from before the 1960's, especially for a modern audience, can't get any real emotion out of it's viewers (some rare examples of ones that can are "Casablanca" and "It's a Wonderful Life"). By saying the audience should prepare to feel is a way to let them know they should feel scared during this at some point.
However, the dialogue, while iconic, is ultimately unneeded. It could be cut out of the film entirely and nothing would change.
ACTION
For my no-dialogue opening, I've chosen Deadpool.
The opening involves the camera going around a frozen shot of a car crash. As the camera goes around, we see various people being fought by Deadpool, and some parody credits go by, such as "Written by the real heroes here".
By not having dialogue, it adds to the comedic tone that the movie is aiming for as well as action, since Deadpool is a character who's 50% comedy and 50% action. There is a music track playing, but it's so inappropriate for what's going on... especially since it's a love ballad ("Angel of the Morning" by Juice Newton.)
There are really no disadvantages of having no dialogue for this particular example, having no dialogue let's you focus on the comedy and action of the scene
For my dialogue opening, I've chosen Iron Man 3.
In this opening, it starts with three Iron Man suits blowing up, while Tony Stark starts talking to the audience.
"A famous man once said, "We create our own demons." Who said that? What does that even mean? Doesn't matter. I said it because he said it. So, now, he was famous and it's basically getting said by two well-known guys. I don't, uh... (SIGHS) I'm going to start again. Let's track this from the beginning." - Tony Stark
It then cuts to a party, celebrating the new millenium. Tony goes around, talking to some people at this party. He meets a man called Yinsen, who is the one who helps him survive in the first Iron Man.
He then gets in an elevator with his lady-friend, when he's interrupted by a bumbling fanboy, who introduces himself as Justin Hammer.
The opening has dialogue which pretty much tells us the type of person that Tony was before he had the Iron Man suit. This is a side of Tony we don't really know, we only saw something similar to this for about 15 minutes in the first Iron Man. This is good to see and hear, since it can show how much Tony has developed as a character; from being an arrogant, selfish, unlikeable person, to a more considerate but still snarky person.
However, the same thing could've been done without audio, by applying the see-don't-tell rule. They could've just shown Tony being rude to people and having no regard for decency with some music on top, and the same point would've been made.
DRAMA
For my non-dialogue opening, I chose Forrest Gump.
The opening entails the camera following a feather as it floats and flows through the air. We see a bustling, yet small-scale city in the background as the titles play. Eventually, the feather lands near the protagonist, Forrest Gump, as he's sitting on a bench. He picks up the feather, and puts it into his briefcase.
The omission of dialogue in this opening, leaving only music and visuals, gives the opening a much more impactful and striking opening. It also leaves out dialogue so that the audience to admire and respect the effort it took for this opening. To film a feather falling is tricky work as it is, but filming it OUTSIDE, on a windy day, whilst also FOLLOWING IT... it's definitely something that isn't glossed over easily; it takes a lot of planning, effort and patience to do that.
There really isn't any use in having dialogue for exposition here, since 80% of the film is going through Forrest's past, so dialogue explaining the story at the very beginning of the film would be completely unnecessary.
For my dialogue opening, I chose The Social Network.
(just go up to the 2 minute mark)
It's just a date night for Mark Zuckerberg, where he talks to a girl. Their conversation is mostly about clubs and how there are more genius level IQs in China than anywhere else in the world. Eventually, the girl leaves him after he starts being fairly snarky, and she ends it with one line -
"You're going to go through life thinking that girls don't like you because you're a nerd. And I want you to know, from the bottom of my heart,that that won't be true. It'll be because you're an asshole." - Erica
The dialogue is fairly useless, since it doesn't move the plot/story along, and has no real purpose apart from to show how smart Zuckerberg is. The girl he's with clearly recognises this, as she starts to put him down for this when the date is reaching it's end.
However, using the dialogue to show his intelligence is a great way to introduce Zuckerberg's strongest aspect. Since he needs to be shown as an intelligent person the whole way through the film, establishing this strength at the beginning of the film helps the audience realise this is going to be important.
ROMANCE
For my non dialogue opening, I chose The Notebook.
The opening is, essentially, a load of establishing shots of a lake, and next to that lake is a large manor (side note: it looks kinda like the Haunted Mansion at Disneyland :0 ). It's sunset, and we can see a person sailing across the lake in a canoe. When we cut to see the manor, there are a lot of cars nearby, both parked in front of it and driving past.
In this opening, there is no dialogue in the first 2 minutes (please ignore the last 38 seconds it's very difficult to find a romance film with no dialogue this is the best i could do).
This wasn't a good decision for the film, since the audience has no idea what's going on! Who is the guy in the boat? Whose manor is it? Why are there a load of cars in front of said manor? Why did they make Curse of Chucky?
Some light narration over this opening would've helped a lot. Just something to give the audience some kind of launching platform to go from.
For my dialogue opening, I went with Beauty and the Beast.
The opening starts with some animated shots of a forest, with a flowing waterfall, birds flying and a castle in the distance. The narrator starts to give exposition about the story as we see some stained glass windows, which show exactly what the narrator is saying.
"Once upon a time in a faraway land... a young prince lived in a shining castle. Although he had everything his heart desired... the prince was spoiled, selfsh and unkind. But then, one winter's night... an old beggar woman came to the castle...and offered him a single rose... in return for shelter from the bitter cold. (...) The rose she had offered... was truly an enchanted rose... which would bloom until his 21 st year. If he could learn to love another... and earn her love in return by the time the last petal fell... then the spell would be broken. If not, he would be doomed... to remain a beast for all time. As the years passed... he fell into despair and lost all hope...for who could ever learn to love a beast?"
This movie uses dialogue in it's opening for expositional purposes. However, this didn't HAVE to be at the beginning. We could've learnt all of this information during the film, such as if Belle asks the Beast how he became like this, they could've just used the same stained-glass window footage and had the V/O of the Beast reciting the intro... provided the pronouns are changed.
So, the bug question: Will we have dialogue in our film opening?
Yes.
With the idea we have, the dialogue is incredibly crucial; the main character has a very "exclusive" vocabulary, mainly containing 80's and 90's slang. If we want to get the full effect of the character across, we need that dialogue.
It'd add to the comedy as well, since the lines we want to incorporate are somewhat silly and funny, which is what a lot of our jokes will be based around.
Hey, it's Noa... ok it's Emily's post so here ya go "Diegetic and non-diegetic music: Music in films can either be diegetic or non-diegetic. When a piece of music is diegetic, the music is being played in the world of the actors. The music can be played on a radio or a phone, etc. For example, in the opening scene of 'Guardians of the galaxy', the main character 'Starlord' is seen dancing to a piece of music. The audience can hear the music played, yet it is apparent that the character can also hear it too (as the music is coming from his headphones). This piece of music is diegetic. When a piece of music is non-diegetic, the source of the music is not visible on screen and has not been implied to be present in the scene. This is the most common as it helps to set the scene for the audience. It primarily portrays the genre to the audience, and what they should expect. An example of non-diegetic music in an opening is in the film 'Shaun of the dead'. In the opening, there is a jolly piece of music playing over the top of the action. The characters are simply just carrying on with their movements and actions, and are not reacting to the music present. This piece of music is non-diegetic. What are the conventions of music in film openings in the following genres? Comedy: Typically, comedy films have bright, upbeat music throughout their openings. This allows the audience to immediately see the genre of the film and what it might be about. Both diegetic music and non-diegetic music can be used with excellent effect. For example, both of my previous examples ('Shaun of the dead' and 'Guardians of the galaxy') are comedies, yet they use different music techniques as one opts for diegetic music, yet the other uses non-diegetic music. Both are very effective, and show the genre of the film- they use bright happy songe to show that although there is some action in both films, the main genre is comedy. It allows the audience to immediately understand the genre of the films. Horror: Most horror movies begin with dramatic, uneasy music. Usually, the music is commonly non-diegetic. This is because non-diegetic music builds the tension and pace of the film, without seeming humorous. In more 'traditional' horror films, the music is created by a band and recorded specifially for the film. However, in more conventional films, the music is created digitally. However, in both of these types of horror films, the music is dark and eerie. It is used to grip the audience right from the beginning and to show what the rest of the film is going to be like. An example of this is, in the 1980's horror film, 'The shining', the film begins on a panning scene of the countryside. This beautiful view is accompanied by a dark bassy piece of music. This is effective as it immediately 'sets the scene' for the audience and shows creates an automatic sense of unease and worry. Drama: Due to the fact that there are many subsections to this genre, it is hard to stereotype the music. The soundtrack can be very varied in each drama movies due to this. For example, in the opening of 'To kill a mockingbird', there is a light, childlike piece of music playing over the top. However, in 'Fight club', the opening is accompanied by a fast-paced track. THie shows us how varied the music can be in this genre. Romance:Romantic films usually have a more classical soundtrack. For example, in the opening scene of the movie 'The Notebook', the openeing titles are shown over a deep red sunset. The accompanying music is a very calming piano tune. This is common and most Romance movies have classical music in their soundtrack. This is effective as it calms the audience and 'sets the scene' for the film. " Yay for Friend Besto! :D ~ Noah :)
Hello, and welcome back to Noah’s Mildly Humourous
Media AS Level Blog!
Need a better name than that… and a better acronym.
NMHMASLB doesn’t exactly roll off the tongue.
So, breaking the fourth wall in movies. What is it
The act of breaking the fourth wall in a piece of
media is when a character directly breaks the illusion of a “wall” between the
audience and the film, and directly speaks to the audience, or references
something that gives away the fact that the character knows they’re in that
particular form of media.
This is mostly done for comedic or expositional
purposes, since people will retain information about the film and it’s details
better when they’re being told them explicitly.
So, let’s look at examples for both of those reasons
for why fourth wall breaking is used. COMEDIC
(oh wow noah analysing deadpool again that’s so
original)
IT’S A GREAT FILM ALRIGHT
All of the times Deadpool breaks the fourth wall in Deadpool
So, Deadpool was already established to have fourth
wall breaking “abilities” in the Marvel comics centered on him and the X-Men.
He often references the comic book writers as gods (e.g. “THE GREAT BENDIS” is
a reference to Marvel writer Brian Michael Bendis), and he even talks to voices
in his head, which he can SEE, represented by two descriptive comic book boxes;
one yellow and with handwriting font, and one white with a typewriter font.
In the film, it was somewhat tricky to pull off a lot
of this, so they decided to keep the fourth wall breaking effective &
Deadpool-esque, while also being simple to do, and wouldn’t be too heavily
complicated. So, what did they do? They had Deadpool talk to the audience about
the behind the scenes of films, more specifically superhero films. In fact, our
first fourth wall break is a jab the X-Men franchise.
“Oh, hello! I know, right? Whose balls did I have to
fondle to get a movie? Well, I won’t tell you who, but it rhymes with ‘Polverine’!
And I’ll tell ya, he’s got a nice pair’a smooth criminals down under!” - Deadpool
... And...
“…It’s funny how I only ever see two (X-Men)… It’s almost
like the studio couldn’t afford another X-Man.” - Deadpool
Are both examples of some jokes it throws in about the
film industry, which are not only amusing for a general audience, but some of
his fourth wall breaks are jokes that really pay off for people who know a lot
about the lore and backstory of Deadpool, such as the joke with an action
figure of Deadpool as he appeared in the abysmal “X-Men Origins: Wolverine”,
which he brushes aside as if to pretend it was never there.
By using fourth wall breaks for humour, the jokes are
more unexpected, since the audience never expects a character to directly talk
to them from the cinema screen.
EXPOSITION
Ferris Bueller’s Day Off, a 1985 classic, uses a lot
of fourth wall breaking in the beginning and ending, more specifically the
after-credits scene.
Opening monologue from Ferris Bueller's Day Off
The opening monologue is all one big fourth wall
break, as an example. After Ferris’s parents have left him at home ill, Ferris
jumps out of bed the second they’re gone and starts giving exposition to the
camera. He tells us of how he probably won’t be able to pull a stunt like this
again, and how he doesn’t want to waste this opportunity.
“This is my ninth
sick day this semester. It’s getting pretty tough coming up with new illnesses.
If I go for ten, I’ll probably have to barf up a lung… so I better make this
one count.” - Ferris Bueller
By telling us this directly, the audience now knows what Ferris's motives and goals are clear to us now, as well as some light history of his history doing this.
He then sits down in front of the camera, and tells us how he fooled his parents as if we we're students and he's the teacher.
We then see him roaming throughout the house, going through his routine, and talking to the audience as he does about what he thinks about various things; life, school, parents, etc.
"Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." - Ferris Bueller
By telling us this directly as if the audience and Ferris are actually talking, we retain the information better, and makes certain aspects of the film more memorable.
However, FBDO uses fourth wall breaking for comedy as well, with an after credits scene having Ferris walking towards the camera, and saying...
"You're still here? It's over. Go home... Go." - Ferris Bueller
In fact, this scene was also done by Deadpool in the movie Deadpool, for it's after credits scenes; a staple of Marvel movies.
So... that's about it for fourth wall breaks! I hope this was a good read!
Hello! :D So, Emily's back at it again with the blog posts! (spicy man) "What is setting?: Setting is the surroundings around where something is positioned, or where something is taking place. It is the background for the where the characters act out the events, and is very important for any story. To make a film interesting, you must make the setting intriguing and interesting, as well as the characters. The setting hows the audience the context of the story. It does through three elements- place, time and social environment. It plays a key role in forming the mood of the scene and tells the reader where and when the story is taking place. What are the conventional settings we expect to see in film openings of the following genres: Comedy: Due to the genre, comedic films can be set in almost any place. Usually, a comedy occurs in a bright, open place. Also, it is common for these films to be portrayed in a social, open area. For example, a school or a mall etc. An example of a comedy setting is, 'Anchorman', this is set in 1974, in a fictional television station. This is quite a typical setting as it is seemingly normal. Horror: Horror movies are almost the opposite- they are set in in darker, scarier settings. For example, in 'The cabin in the woods', the film is set in a spooky, dark cabin that is surrounded by a huge wood. This is quite a typical setting as it creates a sense of unease and fear right from the very beginning. However, many horror films begin in less intimidating scenarios. They may begin in more natural situations, where they will steadily grow darker. This convinces the audience into the belief that everything is normal, which will then surprise them more when it becomes scarier. Also, a more normal setting in the beginning makes the audience believe that the events of the film could happen to any normal person. Action: Generally, action movies are set in large cities or built up areas. This is used particularly well as it helps the action seem fast-paced and it gives a better sense if the peace than if it was set in the countryside. An example of an action setting is in 'Batman, the dark knight'. This film is set in the fictional city Gotham. this is effective as it shows us some fast-past action and fight scenes. As well as this, the city setting shows how dire the situation is- far more people are in danger than if it was in the country. It adds a more dangerous feel, that shows the audience the severity of the situation. Drama: A drama movie can be set in almost any situation. It is not the setting that 'makes' the movie, but the dialogue and the actual action. For example, 'Titanic' is set on a large cruise ship- called the Titanic. However, another movie from the same genre- 'Forrest Gump' is set in a small town in Alabama. This tells us that Drama films can be set in a wide variety of settings. Romance: Romance films are usually set in very typical settings. Large Urban areas are quite common- such as- beaches, cities, offices etc. This is used so that the meeting seems like a 'chance encounter'. For example, the popular romance film 'When Harry met Sally' is set in New York. This is particularly effective as New York is a commonly known 'romantic' city. It is effective as it shows that audience that this can happen to anyone.
How important is setting in the construction of mise-en-scene and creating an understanding for the viewer? Setting is very important in the creation of the mise-en-scene in a film. Mise-en-scene includes the 'behind the scenes' attributes of a film- this involves the setting, actors and even the costume, make-up, props and all of the more artificial details that create the scenes. This tells us that without the setting, the scene is simply incomplete. Without the setting, the scene doesn't make sense. For example, if you took a period drama, such as 'Pride and Prejudice', yet removed the setting, it would not make sense to the viewer. The costume and props would suggest a more dated film, but the set would be modern, which would confuse the audience. Moreover, the aim to many period films is to educate the audience, and if there was no set to the film, it would be less educational. Removal of setting would also remove the mood of the film. The setting creates the pace, mood and emotion of the scene and removing this would leave the film incomplete."
Wow, I'm really on a roll! (well maybe it's because i have deadlines whoops)
So, today is about characters! More specifically, analysing 3 film characters, and seeing what makes them great characters, plus why they're so beloved.
But first, I need to explain whether or not characters are important to a film opening or not. I think they're not, necessarily. There are plenty of successful and beloved film openings that don't feature important characters to start off with, such as the opening for Nightmare Before Christmas. That film starts off with some narration, and then musical number. The only major character seen is Jack Skellington, and even so, it's only in the last 20 seconds; we know nothing of him, the only thing we know is that he's a highly respected figure. However, while not including a character is possible, it's not always the route to go. The more memorable film openings are the ones that introduce us to the characters early on, so we can have a longer connection with them, and can learn more about them.
Anyways...
So, I decided to use 3 characters that I know a lot about, but are also well beloved by the public.
First, is probably the most iconic film character of all time... Darth Vader.
The iconic "I am your Father" scene, from The Empire Strikes Back
Darth Vader is a Sith Lord, and main antagonist of the original Star Wars series. His real name was Anakin Skywalker, and had a rich history in the Republic, as a Jedi Knight. Eventually down the line, he was tempted by the Dark Side of the Force, and became the monster known as Darth Vader. He wears a black suit, complete with cape and helmet, which is unmistakably Vader's. He weilds a red lightsaber, and has mastered the Force; a power that binds and surrounds all the beings of the Star Wars universe, and gives those who master it special abilities, such as telekinesis and mind manipulation.
FILMS APPEARED IN:
Star Wars - A New Hope (1977)
Star Wars - The Empire Strikes Back (1980)
Star Wars - Return of the Jedi (1983)
Star Wars - The Phantom Menace (1999) (Anakin)
Star Wars - Attack of the Clones (2002) (Anakin)
Star Wars - Revenge of the Sith (2005) (Anakin)
Rogue One: A Star Wars Story (2016)
He's in a lot of films. The only Star Wars film he's not in is Star Wars - The Force Awakens... because he's dead.
In the Star Wars saga, Darth Vader / Anakin Skywalker has always had a pivotal role, either as a main antagonist (in Episodes IV-VI) or as a protagonist (in Episodes I-III). He is woven into the narrative as a force to be reckoned with, and the whole Star Wars universe revolves around this character, so it's fair to say he's vital to the Star Wars storyline.
So, why is Darth Vader so iconic?
To start off with, he was seen as a threatening and powerful villain back in 1977, which still rings true today. No villain in fiction has ever managed to reach the level of danger and power that Darth Vader has. For example, another villain that Vader is compared to is Voldemort, from the Harry Potter series. Voldemort, while he was a threat to the wizarding world and had powers far more powerful than any other wizard's, he still failed in taking over a school, and ended up being defeated by a teenager. Darth Vader managed to get the control he sought after since the very beginning, and manages to destroy planets, and even kill the Emperor, until he dies of being shocked too much by said Emperor.
It's also because of how unique he looks; Darth Vader's look was something that was like nothing else anyone had ever seen. The black helmet, the cape, the panels, etc, all built up a nearly 7 foot monster in a black suit.
One other aspect of him that made him so iconic was him on a whole. His character was so intriguing and had such a rich history, so much so they made a prequel trilogy focusing on the origins of Darth Vader. A young orphan boy, trained in the Jedi arts who was then tempted by the Dark Side of the Force, and ends his life as one of the two rulers of the galaxy? That's a solid and interesting backstory. We know so many aspects of his life: his mother, his lover, his mentors, his children, his skills & abilities... All those aspects help us to be more aware OF him, and thus make him more iconic.
In the opening 2 minutes to Star Wars, we see Darth Vader's soldiers, the Stormtroopers, taking out many Rebel Soldiers. From this, we know that Darth Vader has a lot of power; so much so, he has his own soldiers to enter a room before he does.
Next up, is Spider-Man. For this particular character, who has had multiple adaptations, I will be focusing on the MCU version, portrayed by Tom Holland.
Spider-Man as he appears in Captain America: Civil War
After being bitten by a radioactive spider, teenager Peter Parker gained spider-like abilities, such as climbing up the walls, premonition, and sticking to any surface. After constructing some web shooters, he used all the abilities, donned a red and blue suit to become... SPIDER-MAN!
In Captain America: Civil War, he plays a smaller role in the narrative than people wanted, but still was woven into the story so well; he's not just stuck on for fan service, he's a driving part of the story.
He's mainly used as a pawn on Iron Man's team, and Spider-Man fights nearly every member of Captain America's team; Captain America himself, Bucky, Falcon and (Gi)Ant-Man are all fought by Spider-Man.
So, why is he so beloved? Well, one of the reasons is definitely how iconic he is. Spider-Man is one of the three titans of comic book superheroes, alongside Superman and Batman. Spider-Man has had such a huge impact on society, influencing multiple comic books, movies, TV shows, music... any type of media you can think of, Spider-Man has been there.
It's also because of what he represents; he's a young spirit that believes in all that's just and fair. He's a symbol of what America is to most Americans, which is the place Spider-Man is most impactful. In fact, the filmmakers of the original Spider-Man realised this. The film was originally released just after the tragic events of 9/11, they decided to add a final shot of Spider-Man swinging through New York, and finally landing next to an American flag atop a skyscraper, and proudly stands next to it. With Spider-Man being this symbol of the American ideology and having ideal morals and values, he's more appealing to more people.
We don't see Spider-Man in the opening of Captain America: Civil War, since they wanted to keep him a surprise. However, all the other Spider-Man openings are basically the same; they have the opening credits with some nice web aesthetics, and then Peter Parker sums where his life is at that moment.
My third character is Buzz Lightyear.
Buzz and Woody meet in Toy Story
Buzz Lightyear is a "Space Ranger" action figure from the Toy Story series, who was introduced as a birthday present for Andy. In the first Toy Story film, he's delusional, since he believes he's a real Space Ranger, and not just an action figure. Andy's favourite toy, Woody, tries throughout the whole film to show how he IS a toy, until Buzz finds out himself.
Toy Story 2 sees Buzz taking more of a leader role, by taking charge of rescuing Woody with the help of some of Andy's other toys.
Toy Story 3 is a mixed bag for Buzz; he's first a secondary leader to Woody, then leader, then enemy (after the main antagonist, Lotso, reset his mind), then back to ally (well... Spanish ally then back-to-normal ally.).
FILMS APPEARED IN:
Toy Story (1995)
Toy Story 2 (1999)
Toy Story 3 (2010)
Toy Story 4 (2019) (NOT YET RELEASED)
For the narrative of the trilogy that has already been released, Buzz is always a deutagonist, with Woody being the protagonist. In Toy Story, he's not only a key character, but a plot point as well; he is the present that Andy's toys wishes Andy didn't get. The story revolves around how the toys all deal with the arrival of Buzz, and trying to help him convince he's a toy and keep things running as they always did.
In Toy Story 2, Buzz is more of a protagonist this time, as he leads a team of Rex, Hamm, Mr Potato Head and Slinky Dog to save Woody. In this film, he's more of a character that's there to keep everything running and trying to do everything in the right way, which isn't necessarily a bad thing.
In Toy Story 3, he is once again used as both deutagonist and plot device. At one point, his mind is turned back to what it was at the beginning of Toy Story, where he thinks he's a Space Ranger. So, while the rest of Andy's toys are formulating an escape plan, they need to take Buzz out, but... end up turning him Spanish. This costs them precious minutes, which could've been used to escape from Lotso when they were homeward free.
So, why is Buzz so iconic?
First off, he's just a funny character and concept. He has some great comedic moments, for example when Woody retracts his helmet in Toy Story, and Buzz acts as if he can't breathe. Iconic moments like this are what makes the characters iconic as well.
There's also the chemistry between him and Woody. They're such a great duo, since they're so contrasting. One is a cowboy ragdoll from a 50's TV show called "Woody's Roundup", and the other is a spaceman action figure with many lights and buttons. It's a buddy picture where the buddies contrast so much, their interactions are so interesting. You should be able to sit through a film just about the two being stuck in an elevator and it'd still be interesting.
We don't find out anything about Buzz in the opening two minutes, since he's not IN the opening two minutes... because he's not in it. However, we do see the stakes of Buzz's arrival though. Andy's favourite is Woody, and a newer, more high-tech toy would threaten Woody's position as favourite.
So... Characters are done! :D Hope this was a good read B)
Hello! :D So, it's an even numbered post, so heeeerrreeeesssss EMILY! :d "
What is narrative:
The Google definition of 'narration' is- "a spoken or written account of connected events; a story". This tells us that a narrative is an account of a particular story. Narrative is similar to story, however, story is simple a sequence of events, usually called the plot and narrative is the way in which those events are put together and shown to an audience. Narrative is commonly confused with narration, however, narration is the actual process of narrating and is usually played over the top of the action. Structure of narrative: The story can have an open or a closed structure: If the structure is open, it means that there is no final ending scene. It may have small cliff-hangers or apparent closing scenes, but not a finalized end. For example, many soaps on television have open endings at the end of each episode. This is because the soap will continue, even if it appears as if it has ended. this is effective as it leaves the audience with questions, so they will watch on. A closed structure is the opposite and means that the story does end. This is more common in films and is known as closure. Usually, films have closure but particular films leave their ending open (i.e.- Inception). A closed structure is effective as it gives the audience closure and doesn't frustrate them in leaving questions. What are the conventions of narratives in these genres: Comedy: Comedy can be a very unpredictable genre. The narrative in comedic films is difficult to define as each has it's own story. For example, 'The Hangover' is a comedic film, yet it has a hugely different story line to 'Grown Ups'. Both of these films are comedy movies yet both have incredibly different plots- The Hangover is based around a group of men who were on a stag-do and have lost the groom. Lots of hi jinks occur, yet there is lots of action as they search for their missing friend. Also,Grown ups is based around a group of childhood friends who have met to spend the summer together with their families. There are lots of comedic moments, but nothing 'bad' happens. Horror: As a genre, horror can have quite a predictable narrative. Usually, the horror film begins with the characters venturing into an unusual and slightly scary setting (although they might not realize this at the beginning). The situation gets more threatening and after venturing into this situation, a wave of violence and aggression is released. This leaves a large amount of the characters dead and the survivors are forced to fight back against the malevolent figure. Finally, the climax of the film provides a more dramatic fight between the characters and the figure. This can have different results, as many horror films try to make their endings unique and unpredictable. finally, it is more common in newer movies to leave the ending open to scare the audience. For example, in the film 'Cabin in the woods', a group of friends travel to a lakeside cabin, that is seemingly harmless, yet rather spooky. The friends then find a diary, and much to the protests of a particular character, they read it and release a darkness. As the kids begin to enjoy themselves, one of the characters dies and they are forced to fight off the zombies that are approaching. Most of the characters die,except for two who are then forced to fight their way into the mysterious facility that are controlling the zombies. They fight their way through and finally realize that they are being controlled. In a last attempt to save themselves, they refuse to save the world, and the film ends with a mysterious hand ripping through the earth. Action: Action movies can sometimes have quite a typical narrative. At the start of the film, the characters are introduced and we learn the opening plot of the film (what the characters are going to do in the film). Then, basically all hell breaks loose. There is a car chase and the protagonists must either escape the antagonists or chase them. Typically, somebody dies or is injured, which only makes the situation more chaotic. The ending of an action movie can be hard to stereotype, as most movies change the ending to surprise the audience, but typically, there is a big reveal and the main character gets what he wants (this is usually some form of revenge). Many action films end with the bad guy being killed and the world is saved. The protagonist gets their romantic interest, and all is well (Or is it?- if it is in a series of action films, there is a plot twist at the end, and the main antagonist survives somehow and is plotting revenge). For example, in 'Taken', ex-CIA member Bryan Mills is forced to travel to Paris after his daughter has been kidnapped. There is lots of action as Bryan fights his way through Paris to save his daughter. He finds her friend dead and has to chase down the gang leader who has his daughter. After lots of car chases and shootings, he finds his daughter and takes her back home to her mother. Drama: The genre 'Drama' is actually more of an umbrella term. This means although it is easy to define if a movie is in this genre, it is difficult to observe a typical narrative of a drama movie. You can have a movie that is drama but is also comedy, or horror etc. For example, both 'Titanic' and 'Black Swan' are drama movies. Yet both have very different story lines: Titanic is based around the true story of the ship 'Titanic'. It is based around two lovers who board the boat and fall in love. All is well, until the inevitable happens, and the ship sinks, killing Jack. However, Black Swan is based around a young girl who throws herself into getting the part in a popular ballet production. She becomes the lead of the production and the audience watches her slowly descend into madness. Romance: Narrative in a romantic movie is usually quite predictable. To start with the main character is introduced and we see that they are in love with somebody else. However, there is a problem between them (i.e.- the other person is married) and the main character has to fight for their love. Usually, in the end of a Romantic movie, they 'guy gets the girl', however, sometimes the movie will end on a more tragic note and one of the characters will die. An example of this is 'The fault in our stars'. This movie is based around two teenagers who fall in love. It all seems okay and they are happy, but suddenly one of them is diagnosed with cancer and they struggle to stay together. In the end, they are deeply in love, but one of them dies and it is very tragic. Narrative theory: Propp: In the early 1920's, Vladimir Propp looked in depth into the narrative of folk tales. Whilst reading many fairy tales, he observed that they were all quite similar in plot and characters. He used his research, and created a theory about the characters and their actions as narrative functions. Typical characters that Propp found:
The hero- This is usually the main character. They are a character that seeks something/someone.
The villain- This is the main antagonist who actively oppose the hero's quest.
The donor- They provide an object (or person) with magical properties.
The dispatcher- They send the hero on their quest.
The false hero- Who disrupts the hero through false claims.
The helper- They help the hero in their quest.
The princess- They act as a reward for the antagonist and the object of the villains plots.
Her father- This character rewards the hero for saving his daughter.
Todorov: Tzvetan Todorov observed lots of stories and discovered that most plot lines actually follow the same route. In his theory, he states that there are 5 steps of this path: 1- Equilibrium: The opening of the plot will show a normality, and most of the characters are doing what they should be. For example, at the beginning of the movie Taken, the main character is seen buying his daughter a birthday present, and everything seems normal, and content. 2- A Disruption (disequilibrium): The second part of the plot features a disruption of the peace, and a problem may occur. In Taken, this is where the seemingly charming taxi driver answers an unusual phone call and appears to be telling somebody about the how the girls are alone in Paris. 3- Realization: During this section of the plot, all the characters realize that the problem has occurred, and the plot descends into chaos. In Taken, this section is where the girls are kidnapped and the father overhears them being taken. 4- Restored Order: This is the part of the film in which the characters try to restore order and repair the damage that has been caused. In Taken, this is where the father travels to Paris in order to rescue his daughter and her friend. He does so and restores the order to the film. 5-Equilibrium: This is the ending of the plot, and the characters can resume their normal lives. The problem is fixed, and normality begins again. In Taken, the father takes his daughter home and treats her by meeting a famous pop star. Barthes: Roland Barthes was a French literary theorist, who came up with a narrative theory. He suggested that there is five codes that describe the meaning of a text:
Hermeneutic/enigma code:
This code refers to any element in the plot which is not explained fully and is left unclear to the reader. This has purpose and is used to keep the audience questioning and guessing about the enigma, until the final scenes where closure is achieved.
Proairetic/action code:
The proairetic code is used to build tension and refers to any piece of action or an event that shows that something is going to happen. For example, somebody draws a gun on another character, and we wonder what will happen next to these character- will they shoot each other? These two codes are usually used as a pair and develop the story's tensions in order to keep the audience interested.
Semantic code:
The semantic code refers to the connotation to the story. It gives additional meaning to sections of the film.
Symbolic code:
This is quite similar to the Semantic code as it also deals with semantic meanings of sections. However, it acts in a wider way as it organizes the semantic code into broader sets of meaning.
Referential (Cultural) code:
This code refers to all of the things that are founded on some kind of canonical works that cannot be questioned, as they are assumed to be the truth. This can refer to scientific fact, or religious beliefs. Levi-Strauss: Claude Levi-Strauss was an anthropologist who studied many myths of tribal cultures. He used this to examine how stories reflect the beliefs of a culture. He focused on the idea of 'Binary Opposition'. During the mid 20th century, Claude teamed up with Barthes and they came up with the idea that the way we understand particular words is not so dependent on the meaning of the word itself, but in our understanding of the difference between the word and its 'binary opposite'. Examples of 'Binary opposites' include:
Good and Evil.
East and West.
Young and Old.
Simply, his theory revolves around the idea that the conflict in the plot is based around these binary opposites. Also, these opposites are supposedly the central climax of a narrative structure. "
