In order to understand the key generic codes and conventions in comedy films I watched three whole films, also paying attention to character types and narrative structure. This should help me when putting together ideas for my own film. Here is what I found...
Juno (2007)
Key generic codes and conventions used throughout the film:
Non- diegetic light-hearted music throughout, especially when camera tracks Juno or Bleeker as they are the heroes, and this makes the audience instantly warm to them. Connotes the comedy genre.
Costume worn by Juno is odd and ‘geeky’; patterned jumpers and baggy jeans. This makes her a more likeable character, as she seems down-to-earth. Typically, the main characters of comedy films are likeable because they are, in Western terms, ‘different’ in some way.
Non-diegetic voice over of main character, Juno, accompanies parts of the film with often sarcastic and very funny comments. Gives the film a light hearted feel and helps the audience relate to Juno.
Handheld camera is often used and creates verisimilitude.
Diegetic sound used to connote the comedy genre; sharp, witty and funny dialogue fused with made-up words like ‘guesstimation’.
Props include guitars, sweets (e.g. tic-tacs) and bottles of Sunny D. These props are normal, everyday objects and create verisimilitude.
High-key lighting used throughout to make characters more likeable, connote comedy genre and create light-hearted atmosphere; however, darker lighting is used in more emotional scenes e.g. when Juno is crying in hospital, which connotes sub-genre of comedy-drama.
Narrative Structure:
The Todorovian narrative theory can be applied, although different disruptions in the narrative occur.
Equilibrium: Normal life for Juno; she is a teenage girl with a family, a best friend and is seeing a boy.
Disruption: Juno gets pregnant with Bleeker’s baby.
Realisation of problem: Juno looks for adoptive parents for her baby, and finds them.
There is a second disruption to this sort of ‘mid’ equilibrium: The adoptive father decides he is not ready for a baby.
Attempts to solve problem: The couple divorce but Juno still promises the adoptive mother her baby.
Problem solved: The baby is born and soon in the arms of his adoptive mother.
New Equilibrium: Juno settles back into life as normal, this time seemingly wiser and very much in love with her boyfriend Bleeker.
Key scenes to help forge the narrative:
She takes the pregnancy test.
She tells Bleeker she’s pregnant; this is where we first see the connection between the two and the love interest is established
She goes to get an abortion and decides against it
She decides to get her child adopted
She finds a couple
She tells her parents
She meets the couple
Gets further into pregnancy and has an ultrasound scan
Goes round to adoptive parents house to show them the ultrasound picture and finds she has a lot in common with the Dad. They have a long conversation.
The mother comes home and there is obvious tension; the disruption in the narrative is introduced clearly here.
Juno and the adoptive mother see each other in the mall and Vanessa ‘talks’ to the baby. This is where the audience and Juno first realise Vanessa’s devotion to and need of this baby.
Juno finds out Bleaker is seeing another girl and is taking her to prom. She confronts him and is obviously jealous. They argue.
She visits the adoptive father again. After dancing to some of their favourite music, he tells her he’s leaving Vanessa and she yells at him to stay with her.
Vanessa comes home and he admits he’s not ready to have a baby. Juno leaves extremely upset after the couple argue.
The couple decide to divorce.
Juno leaves Vanessa a note saying she still wants her to have the baby
After a talk with her father, Juno decides to pursue a relationship with Bleeker. She tells him she’s in love with him and they have a happy reconciliation.
Juno goes into labour.
She gives birth to a baby boy who is soon in the arms of Vanessa.
She continues with life as normal.
Character types
I identified the following Proppian character types:
The ‘heroin’ would be Juno, as she is the main character whose journey the audience follows.
The ‘princess’ would be Vanessa, as she is in desperate need of a baby and Juno, the hero, gives her this.
The ‘donor’ would be Bleeker as he helped to provide Juno with the baby, which after all is the cause and whole point of the journey she undertakes
The ‘helper’ would be her friend Leah who is there for her from start to finish, helping her find adoptive parents, tell her own parents etc.
The ‘villain’ could be Mark as he is the person who disrupts the equilibrium.
Although this is a comedy-drama, there is also stock-character types found in teen comedies because the teenage Juno will appeals to and relates to a teenage target audience. The setting of the high-school and a teenage target audience means the following stereotypical social groups and character types are found in Juno; ‘geeks’ e.g. Juno, ‘jocks’ and ‘popular girls’ e.g. Leah.
Just Married (2003)
Key generic codes and conventions used throughout the film:
Sound: Non-diegetic light hearted upbeat music (Basement Jaxx song used at beginning of film- contemporary band appeals to younger target audience) used throughout. Connotes romantic comedy genre and gives romantic anchorage to scenes filming a connection between Sarah and Tom
Settings used are often extremely exaggerated which makes them comical; either very extravagant or very small, dirty hotel rooms.
Settings also connote character types: small, messy flat for lazy, useless male and huge mansion for rich, respectable female and her overprotective wealthy family
Bright colours and high-key lighting throughout to create light-hearted atmosphere and connote comedy genre
Fast –paced editing used, with quick straight cuts to show both romantic and emotional connection between Tom and Sarah and to reflect disasters and disruptions throughout film
Peter connoted as ‘villain’ through darker lighting and medium close-ups of him that frame his constant jealous, angry and possessive facial expressions
Character types revealed through costume: Peter Prentice wears tidy shirts tucked into his trousers and looks groomed and respectable whereas Tom constantly wears baseball caps and sports shirts. Therefore Prentice is Tom’s opposite, revealing him to be the villain. Also the colours Tom wears are brighter, like red, whereas Prentice constantly wears dark colours like brown, black and grey.
Narrative Structure:
The film follows the stereotypical narrative of a romantic comedy; boy meets girl; problems occur due to arguments, family disapprovals and exes; they realise they are made for each other; an inevitable ‘grand gesture’ found in most or all rom-com films is made; and the couple ‘live happily ever after’. The Todorovian narrative theory can be applied:-
Equilibrium: Tom and Sarah have a happy relationship despite her family’s disapproval of him
Disruption: They get married and immediately disasters happen on Honeymoon, including villains Peter and the woman Tom meets in the bar attempting to break up marriage
Realisation of problem: The couple argue
Attempts to solve problem: The couple realise after every disaster that love is all they need and spend their time happily together despite disastrous situations
Problem solved: Tom makes his grand gesture to win Sarah back
New Equilibrium: The couple are happily together again, this time with respect from her family too because of his grand gesture.
Key scenes to help forge the narrative:
In order to set a comical scene and foreground the disastrous events in the rest of the film, it opens with the couple coming home after their honeymoon childishly playing tricks on each other.
Flash back to their first meeting, establishes romantic connection
He accidentally causes her dog’s death by throwing his ball out the window: this is a significant cause for an argument later on in the narrative
After months of dating, they decide to get married
He meets her family who obviously hate him. Stereotypical character types of over-protective father, bitchy sister and considerate, nurturing mother are introduced. Scene is vital for narrative as the villain Peter Prentice, Sarah’s ex, is introduced.
They get married. Beforehand we find out she’s never told Tom she slept with Peter; another significant argument is caused from this later
Their honeymoon starts with both characters getting nosebleeds and infuriating an aeroplane stewardess- foregrounds their disastrous honeymoon
A series of disasters happen meaning the couple has to keep changing hotels and travelling all around Europe and causes arguments in the marriage
A lot of make-ups and break-ups occur
Peter ‘coincidentally’ bumps into Sarah in Venice
The couple argue about the secrets they have kept from each other and then storm away in opposite directions
Sarah ends up going for a drink with Peter and Tom ends up meeting an American woman in a bar
Both of them end up accidentally kissing these characters; and both of them find out about the other’s cheating
A fight breaks out and Tom and Sarah end up in jail in Italy
Peter bails them out
The couple go back home threatening each other that they will leave as soon as they get back.
Back to present tense. Tom realises he loves Sarah and cannot live without her.
After Tom’s ‘grand gesture’, the couple have a happy reconciliation.
Character types
I identified the following Proppian character types:
The ‘hero/heroine’ is both Tom and Sarah as they are the main characters who the audience identify with.
The ‘princess’ is also Tom and Sarah, and their marriage, as this needs to be rescued by both of them.
The ‘helpers’ would be Tom’s best friend and Sarah’s sister, as they are the characters Tom and Sarah turn to in times of trouble.
Also, both characters seek advice from their fathers so they would be their ‘mentors’.
The main ‘villain’ is Peter as he is the character that attempts to ruin the heroes’ relationship. Other villains include the girl Tom meets in the bar and Sarah’s family.
Stock character types of romantic comedy: overprotective, wealthy father; useless, lazy male hero and similar immature best mate; rich, respectful female character and her bitchy friend or sister; caring, considerate and nurturing mother.
American Pie (2001)
Key generic codes and conventions used throughout the film:
Non-diegetic fast-paced, upbeat music that connotes teen comedy genre and gives film a light-hearted feel. Contemporary pop songs used from bands such as blink-182, appeals to teenage target audience.
This music is heard especially during fast paced scenes and scenes of a sexual nature.
Romantic scenes often accompanied by slower non-diegetic music, emphasising the importance of love and sex which are conventional issues in teen comedies
Settings relate to a specifically teenage audience: high school, parties etc; and are conventional to teen comedy films
One particular setting is used to establish equilibrium at start and end of film: in this film, a café. In both of these the importance of friendship is reinforced, as all the characters meet here at the start and at the end of the film. The theme of friendship is hugely conventional to the teen comedy genre, as connoted here.
Props used are iconic to teen comedies and relate to a teenage audience: alcohol, school books etc.
Narrative Structure:
The Todorovian narrative theory can be applied:-
Equilibrium: The teenage boys live a life of parties and trying to ‘get laid’.
Disruption: Sherman supposedly loses his virginity. This causes the boys to make a pact that they will lose their virginity by prom night.
Realisation of problem: The boys make various attempts at doing this. Different disruptions within characters’ relationships occur, e.g. Ken and his girlfriend arguing about sex, Heather realising Oz is ‘using’ her
Attempts to solve problem: The characters make different attempts at solving their own relationship problems as well as still aiming to lose their virginity. However they are beginning to realise this is virtually impossible.
Problem solved: The boys have gained a new sense of maturity and are not too desperate to have sex anymore. However, they do all end up losing their virginity anyway.
New Equilibrium: The boys meet at their favourite café. They have visibly matured but still maintained their friendship.
Key scenes to help forge the narrative:
Introduction to main ‘hero’ where we see Jim in his room at the opening
Introduced to his friendship group, the other ‘heroes’, in a café
At a party, the boys discover Sherman has ‘lost his virginity’. We are introduced to the ‘villain’, or the ‘false villain’, as we later find out he actually did not have sex.
The boys make a pact that they will lose their virginity by prom night.
Ken and his girlfriend have their first argument, signifying the disruption in their relationship
Oz meets Heather; the audience see instant chemistry
Jim is humiliated in front of the school- his disruption
In an act of desperation, he asks ‘geek’ Michelle to the prom
Stifler humiliates Finch in school, leaving his reputation soiled- his disruption
Oz and Heather argue- the disruption in their relationship
Before prom, the boys have talk a about how their prospects have changed since making the pact. This signals them beginning to solve their problems and moving towards a new equilibrium
Stifler’s party- the boys lose their virginity
New equilibrium established as the boys meet in the café in the end scene.
I identified the following Proppian character types:
The ‘hero’ would be Jim as he is the main character, but as we follow the stories of all of his friends they would also be the ‘heroes’.
The ‘princess’ would also be the boys; specifically the loss of their virginity, as that is what they aim to ‘rescue’
The ‘mentor’ would be Jim’s dad who gives him advice and information throughout the film
The ‘helpers’ would be all of Jim’s friends as they help each other out, and Vicky’s friend Jessica is her helper as she offers her frequent advice
The ‘villain’ would be Sherman, as he poses as the threat to the boys having lost his virginity first, and also peer pressure from society
Stock character types of teen comedy: Jim and Sherman are ‘geeks’, Oz is the ‘jock’, Michelle is the ‘nerd’, Vicky is the ‘girl-next-door’, Nadia is the ‘popular’ girl
Friday, 30 January 2009
Thursday, 29 January 2009
Analysing 5 Film Openings
In order to understand how to put together our comedy opening, I analysed 5 comedy film openings.
Analysing Film Openings
‘Knocked Up’ (2007)
The film opens with non-diegetic music; a contemporary ‘rap’ song, accompanied by a very long shot of a small house with a sofa outside, surrounded by trees. Using this prop and framing the trees behind the house immediately gives the character living here connotations of messiness and freedom. There are then a series of straight cuts through scenes of grown men messing around and acting like children. Camera movement is used to give these characters negative connotations of immaturity and laziness: the camera tilts in slow motion as people jump into the pool, reflecting the relaxed, lazy and pointless lifestyles these characters lead. The main character here is established as one man dominates the camera, especially in a medium long shot where the camera tilts up to him with his arms in the air wearing boxing gloves that are on fire. This is a comical shot as it is accompanied by his exaggerated diegetic cheering: he is clearly a grown man but is acting like a child. More about this character’s lifestyle is revealed through a two shot of him and another man taking drugs. This is a comical shot as they sit next to each other, not communicating, and one has a bowl on his head. The non-diegetic music throughout this scene plus a low angle shot of these grown men, two of them obviously overweight, ‘street’ dancing, creates a comical scene that connotes they are dim-witted, immature men who think they are better than they actually are. The camera then tracks these men on a roller coaster, a medium long shot framing them screaming manically, connoting they have a carefree lifestyle and no responsibility. The setting of a theme park also has connotations of childishness and freedom. Their costume is also laid-back; shorts, sports tops etc. which connotes their childish, irresponsible lifestyle. The audience can see stock character types used in a romantic comedy emerging as here we are introduced to the ‘useless’ lazy man whose life is going nowhere.
There is then a straight cut into a totally different setting in which the camera pans a series of props on a shelf, including a small box of tissues, a notebook and an alarm clock. These props connote an organised, respectful lifestyle, which directly contrasts with the lifestyle of Ben (the male main character), as the props used for him are boxing gloves and marijuana. There is also loud diegetic beeping coming from the alarm clock, which immediately connotes that this character has responsibilities. The costume she wears (smart work clothes) also contrasts with that of Ben’s. The non-diegetic soundtrack changes to a more sweet-sounding, friendly tune, with a steady rhythm and cadence, which connotes her lifestyle is controlled, normal and steady.
A very long shot frames a totally different setting to Ben’s small, messy house: Alison lives with her sister’s family in a huge, expensive looking house. The camera pans the father (her sister’s husband) as he plays with his daughter, connoting the responsibilities of family life, and a medium shot of the family frames props such as fruit and breakfast cereal that contrasts with the drugs used in Ben’s scene. Framing the family in this medium shot connotes them to be a close unit with a strong bond. Alison, however, is framed separately. A medium shot of her watching the family connotes that although she is mature and career-minded she is also lonely.
Therefore, the equilibrium is established by giving the audience an idea about these two character’s completely different lifestyles. Each scene tells the audience that this is normality for them. The enigma is posed, as inevitably these two characters will meet somehow, and the audience will be drawn into the diegesis, as it will be interesting to see if these two contrasting lifestyles will clash. This equilibrium of two different lifestyles is a typical opening to a romantic comedy; the typical narrative being the stock character types of ‘useless’ man meets ‘successful’ woman and the clashing lifestyles causes friction, but eventually they realise that opposites attract. The audience identifies with characters; my target audience of girls might identify with the female character and her situation. The light-hearted music and high key lighting throughout and use of everyday settings and props gives the film a relaxed, light-hearted atmosphere that tells the audience this is a comedy film.
‘Mean Girls’ (2004)
The film opens with a low angle shot of Cady’s parents looking down on her. As this is a P.O.V shot, the audience’s initial reaction would be that they are talking to a very young child on their first day of school, as the diegetic dialogue tells us, but the camera tilts up as she stands up and straight cuts to an over the shoulder shot framing Cady standing between her two parents; clearly much older than five. Immediately the film is comical as it is odd that she is so overprotected by her parents at such a strange age: the tightly framed over the shoulder shot connotes this. The non-diegetic soundtrack has a heavy drumbeat and a high-pitched piano, connoting a contrast of two different cultures. A very long shot of the family connotes they are out of place and overwhelmed in this neighbourhood, which is further revealed in a series of quick fade-ins through still frames of Cady in Africa. Accompanied by this is a non-diegetic voice over which establishes Cady as the main character; the Proppian ‘hero’ of the film. The voice over is also sarcastic and funny, and there are also added scenes demonstrating comical perceptions about home-schooled kids; for example, a long shot of a ‘nerdy’ looking girl wearing glasses, zooming in to show her overly pleased facial expression when she spells a word correctly, and a medium shot of a group of boys in a very still frame connoting that they are simple. The non-diegetic music changes according to setting: when in Africa the music sounds tribal due to it’s heavy drum beat, but when in high school the music is fast-paced and sounds like a contemporary pop song, connoting the modernity of American youth which Cady is not used to. The non-diegetic voice-over says ‘Hello high school’ just as there is a jump cut to Cady almost being run over. This jump cut reflects Cady jumping from the bus and accompanied by ‘Hello high school’ an enigma is posed; high school will be overwhelming and dangerous for Cady. Camera shots and movement further connote this: the camera tracks her walking through school, so the audience immediately sympathise with her as their ‘hero’; a medium close-up of her face frames her annoyed and overwhelmed facial expression; a POV shot frames everyone walking towards her which puts the audience in her shoes and makes them sympathise with her; and a long shot frames a very large amount of kids, some of whom are playing with fire, which connotes an overwhelming environment. The camera also pans the scene in slow motion, connoting that this is all surreal to her. As a teen comedy, the audience begin to see stock character types emerge: Cady is the ‘average’ girl, revealed in her normal costume of a jacket, jeans and t-shirt; but she is made to feel abnormal because the kids in high school all wear bright hoodies, so already she doesn’t fit it. The audience are drawn into the diegesis as they sympathise with and relate to the main character and hero Cady, as they will have all had their first day of school. They can also relate to the character type of the ‘average’ girl.
High key lighting is used throughout to establish the comedy genre and give the film a light-hearted atmosphere. As well as stock character types to teen comedies revealed here, Proppian character types are also revealed. Cady is obviously the ‘hero’ and high school the ‘villain’; her parents could be the ‘donors’ as they have sent her on this journey. However, later in the film when a plot develops these character types will change accordingly. The typical narrative of a teen comedy is also posed; new girl at school attempting to fit in. The target audience of teenage girls can instantly relate to this. Also, there is the typical stock setting of high school. We know she will have trouble fitting in because where Africa would be overwhelming to Western teens; high school is overwhelming and dangerous to her. Plus she is very overprotected by her parents at an unusual age. This draws us into the diegesis and helps us sympathise with Cady.
‘Superbad’ (2007)
The opening diegetic music is upbeat and immediately gives the film a relaxed, light-hearted mood, connoting its comedy genre. A low angle shot of a car follows; the shot if from the front of the car and is typically seen in ‘rap’ music videos, giving connotations that the owner of the car is rich and respectable. However, this car is a small, dirty looking car, and as the camera tilts up and straight cuts to a medium shot of the young, fat, curly-haired driver, this scene is instantly comical. Stock character types typical to teen comedies are introduced already: this boy is obviously the ‘geek’ who falsely believes he is actually rather cool. There is then a medium long shot of the boy he is on the phone to, framing him eating cereal and studying. The props used in this scene, such as the book he studies from, and the costume he wears (which is a stripy long-sleeved t-shirt) also give him connotations of being studious and establish his character type of being another ‘geek’. The camera pans the boy in his house washing up his dishes, which would be considered a typical ‘geeky’ thing to do for a teenage boy. However, the lighting in the kitchen is darker which connotes that this character is perhaps more shy and reserved compared to his overweight and boisterous companion. This is further revealed, as there is diegetic music from the car radio, whereas the other character stands in silence in his kitchen. Also, the medium long shot means he is not dominant in the frame unlike his friend in the car. Therefore, two stock character types for teen comedies are revealed here; they are both ‘geeks’, but one is lively and outgoing and probably would not consider himself a ‘geek’, and the other is the timid and quiet ‘geek’. Together, they form a sort of ‘team’, which is stereotypical to the teen comedy genre, and the audience immediately relate to them. The diegetic dialogue between these two characters consists of a small argument over what they consider is ‘good’ pornography. These characters are portrayed as so desperate and pathetic through this dialogue, as well as through the props such as the small car, and it is this that makes them so comical. The equilibrium is established, as it is obvious that this is normal life for these teenagers, as a long shot of the other character coming out of his house and getting into the car without hesitation connotes that this is an everyday occurrence. The diegetic dialogue gets louder here because the two characters are still on the phone to each other despite being face to face, which also contributes to the comedy of this film. Also, there is a pan of the small, dirty, maroon coloured car pulling into a nice, expensive looking and very green front garden to connote that these boys are social misfits, as well as the accompanying dialogue about pornography. These characters are obviously the Proppian ‘heroes’, despite being very easy to laugh at. High key lighting is used throughout to give the film a light-hearted mood and connote its comedy genre. The stock narrative is quite easy to guess from this title sequence. The ‘geeks’ in teen comedy films are almost always on a mission to ‘get laid’ (have sex). This immediately relates to the target audience, as sex is a stereotypical issue in teenage life, and also draws them into the diegesis by posing the enigma: how are they going to do it? These pathetic characters are so laughable and so pathetic that this makes a perfect and very watchable comedy film.
‘Bridget Jones: The Edge Of Reason’ (2004)
Non-diegetic very light, classical music opens the film, immediately giving it a light-hearted and romantic feel and connoting the genre, as music like this is iconic to romantic comedy films. A high angle shot of a diary, which the camera circles from a crane, connotes its importance. This diary is iconic to the ‘Bridget Jones’ films. A dissolve is then used into the next scene, which is a high angle show of a car. The camera pans it as it pulls to a stop, framing the snow-covered surroundings. Immediately a British audience will relate to the use of setting; cold winters are inexorable in Britain. Bridget’s costume helps to further relate to the target audience as she wears a huge warm coat and a scarf, plus her hair is messy so she is not perfect, which makes it a lot more realistic.
Characters start to be unravelled in the opening; through a high angle shot of Bridget coming into her mother’s house the use of mise-en-scene tells us a lot about her mother. There is an over-abundance of ornaments and patterned wallpaper, and the use of colours; clashing blues and yellows; connotes how ostentatious her mother is, and the over-exaggeration of this instantly makes her a comical character. This is also further established through her costume: she wears pearls, a bright red top with a flower on it and her hair and make-up are perfect. Her body language, framed through a medium shot of Bridget and her mother, adds comedy too; she keeps away from Bridget making sure she doesn’t budge her hair or make-up. There is also non-diegetic whistling, which follows a steady rhythm, connoting that her mother is a very comical and perhaps simple character in the film.
The audience relate to the Proppian ‘heroin’ Bridget through a non-diegetic voice-over used throughout the title sequence. Also, a close-up and pan of Bridget at her mother’s buffet frames her never changing facial expression. The audience know her smiles are fake, because in the voiceover she tells us what she really thinks of these characters. This helps draw the audience into the diegesis; we instantly relate to Bridget and her situation. A pan of the buffet frames the very few people there, most of whom are grown adults dressed in Christmas outfits- a perfect example of the self-deprecating humour that is so common in British comedy films. As this film is a romantic comedy, it relates to its target audience (women) through its main character and the situations she gets in. For example, a medium long shot and tilt down frames Bridget’s ‘pervert’ Uncle feel her bottom; an immediate straight cut to a close-up of her disgusted facial expression helps the audience familiarise with her. The audience next see that Bridget and her father are very much on the same level; a medium-close-up frames them tightly together which connotes their strong bond and straight cuts throughout their conversation emphasises their close connection.
The love interest is clearly revealed next; the camera tracks Bridget walking towards Mark in slow motion, which connotes the emotional connection between these two characters. A close-up reveals her facial expression, which this time we can see is genuinely happy. This, accompanied by non-diegetic very slow and deep music connotes a strong romantic connection. There is then a zoom in on Mark Darcy to connote his importance to her. However, the camera tilts down to show his costume, which is a very ugly knitted Christmas jumper. Again, the idea that one can laugh at oneself is typical of British humour, creating verisimilitude as the audience can see that he is not perfect. The camera then tilts down to show that she is wearing a matching jumper, which reinforces the romance between these two characters, as they don’t mind looking silly together. Costumes like this create a light-hearted mood that the audience can relate to. High-key lighting is also used throughout the opening to connote the romantic comedy genre and reinforce this light-hearted atmosphere. Also, it means that no villains are yet established, so the romance of this film is the most important thing. There is then a dissolve into Bridget’s ‘fantasy’. The audience know it is a fantasy because of this dissolve, and this helps them relate to her more as it creates the feeling we are really seeing into her mind. Dissolves are used excessively in the next scene, especially through shots of Mark and Bridget kissing. They are used to give the film a relaxed, romantic feel, making it seem almost like a fairytale.
Bridget’s ‘fantasy’ is a comical spoof of a typically perfect romantic scene. The idyllic setting; green field and blue sky, contrasts completely with the snowy town seen earlier, although this is very beautiful in itself; this could be connoting Bridget’s need for perfection thus ignoring what she has got. This is an issue that comes up later in the film; so this ‘fantasy’ in the opening is dropping subtle hints towards later disruptions in the narrative. There is a long shot of Bridget and Mark running towards each other, Bridget wearing a long frock and Mark wearing a crisp white shirt and brown trousers. The couple run in slow motion, accompanied by the non-diegetic ‘Sound of Music’ tune. This is all very exaggerated, mocking the stereotypical ideas of ‘true love’, which is not only very funny but relates to the audience, who would familiarise with Bridget’s realistic situation as well as her dreams of a very unrealistic romance. A very long shot of them embracing frames them surrounded by all this beauty, but they look only at each other, connoting true devotion and reinforcing the film’s romantic genre. The camera moving on a crane connotes how ‘out-of-this-world’ and unrealistic this fantasy is, again so the audience familiarise with it.
From watching the opening, the equilibrium is established as Bridget and Mark happily in love. The enigma posed would be the same as all romantic comedies; can they stay this way? It’s obviously too good to be true. This rom-com will inevitably follow the same Todorovian narrative as all rom-coms, the disruption being the couple temporarily breaking up, a ‘grand gesture’ from one or the other being the attempt to solve the problem, and the equilibrium will then be re-established.
‘Hot Fuzz’ (2007)
As this film is of the sub-genre action-comedy, codes and conventions of both action films and comedy films are prominent throughout the opening. Opening with diegetic sirens, the audience immediately are put on edge which is a typical to an action film. However, the abrupt stop to these sirens accompanying a very long shot of a man walking towards the camera connotes that he is not a dangerous character, as the complete silence other than his loud, diegetic footsteps and the very long shot makes him seem small and insignificant; there is no tense non-diegetic music to connote him as the ‘villain’. Also, as it takes him a while to reach the camera, any authority that might have been connoted through his strong, determined body language; or dark lighting to create mystery as we can’t yet see his face; more or less disappears with every step and creates an awkwardly funny atmosphere. A close-up of his face frames exactly the same facial expression he has on his Police badge photograph, which is zoomed in on straight after. The audience start to see that this is a comically arrogant character, which is established in the non-diegetic voice-over, where he talks about himself in third person. A low-angle shot of him and a low-angle close-up of his shoes connotes how bigheaded he is. The close-up of the shoes connotes that he obviously thinks he can ‘walk all over’ anyone. The camera tracks him throughout, connoting him to be authoritative and establishing his Proppian ‘hero’ character type. A quick jump cut frames a close-up of his uniform which connotes his comically exaggerated pride in being a Police officer. His body language is determined and he walks quickly; a tilt of him running up the stairs and then off frame connotes that he is very busy and hard to catch. There is then a flashback of his Police training which is all very fast-paced due to excessive use of straight cuts, connoting the action genre and also connoting his life as exciting and action-packed. However, the comedy side of the genre is revealed through the non-diegetic music; a steady drum beat and a trumpet give it a more light-hearted atmosphere that mocks his seriousness about his profession. Also, his facial expression, which is constantly zoomed in on throughout the flashback, is always the same, matching the cadence of the music and his very monotone non-diegetic voiceover, which creates a comical effect. This opening aims to create a parody of a stereotypical determined, strong and proud police officer, establishing this as the equilibrium. His hard work is connoted through jump cuts to props like pens and paper whilst he is doing his theoretical exam; the excitement he has encountered during his training is connoted through quick pans of officers fighting fire, which connotes danger. However, all of this contrasts with a still medium shot of him giving two old ladies directions, mocking all the hard work he has undertaken, making him a laughable and pitiable character. This helps the audience familiarise and empathise with him, effectively drawing them into the diegesis and making them wonder what will happen to him; whether he will realise that he’s not as powerful as he thinks. The fast pace of the opening, too, engages the audience and sets an exciting atmosphere for the rest of the film. Costume is used effectively in the opening to reveal more about his character; police uniforms have connotations of responsibility, maturity and restrictions, and a very long shot frames him in a line with his fellow officers, all wearing black. This makes him blend in and connotes that his life is not as exciting as he thinks it is; infact, it is quite bleak.
Analysing Film Openings
‘Knocked Up’ (2007)
The film opens with non-diegetic music; a contemporary ‘rap’ song, accompanied by a very long shot of a small house with a sofa outside, surrounded by trees. Using this prop and framing the trees behind the house immediately gives the character living here connotations of messiness and freedom. There are then a series of straight cuts through scenes of grown men messing around and acting like children. Camera movement is used to give these characters negative connotations of immaturity and laziness: the camera tilts in slow motion as people jump into the pool, reflecting the relaxed, lazy and pointless lifestyles these characters lead. The main character here is established as one man dominates the camera, especially in a medium long shot where the camera tilts up to him with his arms in the air wearing boxing gloves that are on fire. This is a comical shot as it is accompanied by his exaggerated diegetic cheering: he is clearly a grown man but is acting like a child. More about this character’s lifestyle is revealed through a two shot of him and another man taking drugs. This is a comical shot as they sit next to each other, not communicating, and one has a bowl on his head. The non-diegetic music throughout this scene plus a low angle shot of these grown men, two of them obviously overweight, ‘street’ dancing, creates a comical scene that connotes they are dim-witted, immature men who think they are better than they actually are. The camera then tracks these men on a roller coaster, a medium long shot framing them screaming manically, connoting they have a carefree lifestyle and no responsibility. The setting of a theme park also has connotations of childishness and freedom. Their costume is also laid-back; shorts, sports tops etc. which connotes their childish, irresponsible lifestyle. The audience can see stock character types used in a romantic comedy emerging as here we are introduced to the ‘useless’ lazy man whose life is going nowhere.
There is then a straight cut into a totally different setting in which the camera pans a series of props on a shelf, including a small box of tissues, a notebook and an alarm clock. These props connote an organised, respectful lifestyle, which directly contrasts with the lifestyle of Ben (the male main character), as the props used for him are boxing gloves and marijuana. There is also loud diegetic beeping coming from the alarm clock, which immediately connotes that this character has responsibilities. The costume she wears (smart work clothes) also contrasts with that of Ben’s. The non-diegetic soundtrack changes to a more sweet-sounding, friendly tune, with a steady rhythm and cadence, which connotes her lifestyle is controlled, normal and steady.
A very long shot frames a totally different setting to Ben’s small, messy house: Alison lives with her sister’s family in a huge, expensive looking house. The camera pans the father (her sister’s husband) as he plays with his daughter, connoting the responsibilities of family life, and a medium shot of the family frames props such as fruit and breakfast cereal that contrasts with the drugs used in Ben’s scene. Framing the family in this medium shot connotes them to be a close unit with a strong bond. Alison, however, is framed separately. A medium shot of her watching the family connotes that although she is mature and career-minded she is also lonely.
Therefore, the equilibrium is established by giving the audience an idea about these two character’s completely different lifestyles. Each scene tells the audience that this is normality for them. The enigma is posed, as inevitably these two characters will meet somehow, and the audience will be drawn into the diegesis, as it will be interesting to see if these two contrasting lifestyles will clash. This equilibrium of two different lifestyles is a typical opening to a romantic comedy; the typical narrative being the stock character types of ‘useless’ man meets ‘successful’ woman and the clashing lifestyles causes friction, but eventually they realise that opposites attract. The audience identifies with characters; my target audience of girls might identify with the female character and her situation. The light-hearted music and high key lighting throughout and use of everyday settings and props gives the film a relaxed, light-hearted atmosphere that tells the audience this is a comedy film.
‘Mean Girls’ (2004)
The film opens with a low angle shot of Cady’s parents looking down on her. As this is a P.O.V shot, the audience’s initial reaction would be that they are talking to a very young child on their first day of school, as the diegetic dialogue tells us, but the camera tilts up as she stands up and straight cuts to an over the shoulder shot framing Cady standing between her two parents; clearly much older than five. Immediately the film is comical as it is odd that she is so overprotected by her parents at such a strange age: the tightly framed over the shoulder shot connotes this. The non-diegetic soundtrack has a heavy drumbeat and a high-pitched piano, connoting a contrast of two different cultures. A very long shot of the family connotes they are out of place and overwhelmed in this neighbourhood, which is further revealed in a series of quick fade-ins through still frames of Cady in Africa. Accompanied by this is a non-diegetic voice over which establishes Cady as the main character; the Proppian ‘hero’ of the film. The voice over is also sarcastic and funny, and there are also added scenes demonstrating comical perceptions about home-schooled kids; for example, a long shot of a ‘nerdy’ looking girl wearing glasses, zooming in to show her overly pleased facial expression when she spells a word correctly, and a medium shot of a group of boys in a very still frame connoting that they are simple. The non-diegetic music changes according to setting: when in Africa the music sounds tribal due to it’s heavy drum beat, but when in high school the music is fast-paced and sounds like a contemporary pop song, connoting the modernity of American youth which Cady is not used to. The non-diegetic voice-over says ‘Hello high school’ just as there is a jump cut to Cady almost being run over. This jump cut reflects Cady jumping from the bus and accompanied by ‘Hello high school’ an enigma is posed; high school will be overwhelming and dangerous for Cady. Camera shots and movement further connote this: the camera tracks her walking through school, so the audience immediately sympathise with her as their ‘hero’; a medium close-up of her face frames her annoyed and overwhelmed facial expression; a POV shot frames everyone walking towards her which puts the audience in her shoes and makes them sympathise with her; and a long shot frames a very large amount of kids, some of whom are playing with fire, which connotes an overwhelming environment. The camera also pans the scene in slow motion, connoting that this is all surreal to her. As a teen comedy, the audience begin to see stock character types emerge: Cady is the ‘average’ girl, revealed in her normal costume of a jacket, jeans and t-shirt; but she is made to feel abnormal because the kids in high school all wear bright hoodies, so already she doesn’t fit it. The audience are drawn into the diegesis as they sympathise with and relate to the main character and hero Cady, as they will have all had their first day of school. They can also relate to the character type of the ‘average’ girl.
High key lighting is used throughout to establish the comedy genre and give the film a light-hearted atmosphere. As well as stock character types to teen comedies revealed here, Proppian character types are also revealed. Cady is obviously the ‘hero’ and high school the ‘villain’; her parents could be the ‘donors’ as they have sent her on this journey. However, later in the film when a plot develops these character types will change accordingly. The typical narrative of a teen comedy is also posed; new girl at school attempting to fit in. The target audience of teenage girls can instantly relate to this. Also, there is the typical stock setting of high school. We know she will have trouble fitting in because where Africa would be overwhelming to Western teens; high school is overwhelming and dangerous to her. Plus she is very overprotected by her parents at an unusual age. This draws us into the diegesis and helps us sympathise with Cady.
‘Superbad’ (2007)
The opening diegetic music is upbeat and immediately gives the film a relaxed, light-hearted mood, connoting its comedy genre. A low angle shot of a car follows; the shot if from the front of the car and is typically seen in ‘rap’ music videos, giving connotations that the owner of the car is rich and respectable. However, this car is a small, dirty looking car, and as the camera tilts up and straight cuts to a medium shot of the young, fat, curly-haired driver, this scene is instantly comical. Stock character types typical to teen comedies are introduced already: this boy is obviously the ‘geek’ who falsely believes he is actually rather cool. There is then a medium long shot of the boy he is on the phone to, framing him eating cereal and studying. The props used in this scene, such as the book he studies from, and the costume he wears (which is a stripy long-sleeved t-shirt) also give him connotations of being studious and establish his character type of being another ‘geek’. The camera pans the boy in his house washing up his dishes, which would be considered a typical ‘geeky’ thing to do for a teenage boy. However, the lighting in the kitchen is darker which connotes that this character is perhaps more shy and reserved compared to his overweight and boisterous companion. This is further revealed, as there is diegetic music from the car radio, whereas the other character stands in silence in his kitchen. Also, the medium long shot means he is not dominant in the frame unlike his friend in the car. Therefore, two stock character types for teen comedies are revealed here; they are both ‘geeks’, but one is lively and outgoing and probably would not consider himself a ‘geek’, and the other is the timid and quiet ‘geek’. Together, they form a sort of ‘team’, which is stereotypical to the teen comedy genre, and the audience immediately relate to them. The diegetic dialogue between these two characters consists of a small argument over what they consider is ‘good’ pornography. These characters are portrayed as so desperate and pathetic through this dialogue, as well as through the props such as the small car, and it is this that makes them so comical. The equilibrium is established, as it is obvious that this is normal life for these teenagers, as a long shot of the other character coming out of his house and getting into the car without hesitation connotes that this is an everyday occurrence. The diegetic dialogue gets louder here because the two characters are still on the phone to each other despite being face to face, which also contributes to the comedy of this film. Also, there is a pan of the small, dirty, maroon coloured car pulling into a nice, expensive looking and very green front garden to connote that these boys are social misfits, as well as the accompanying dialogue about pornography. These characters are obviously the Proppian ‘heroes’, despite being very easy to laugh at. High key lighting is used throughout to give the film a light-hearted mood and connote its comedy genre. The stock narrative is quite easy to guess from this title sequence. The ‘geeks’ in teen comedy films are almost always on a mission to ‘get laid’ (have sex). This immediately relates to the target audience, as sex is a stereotypical issue in teenage life, and also draws them into the diegesis by posing the enigma: how are they going to do it? These pathetic characters are so laughable and so pathetic that this makes a perfect and very watchable comedy film.
‘Bridget Jones: The Edge Of Reason’ (2004)
Non-diegetic very light, classical music opens the film, immediately giving it a light-hearted and romantic feel and connoting the genre, as music like this is iconic to romantic comedy films. A high angle shot of a diary, which the camera circles from a crane, connotes its importance. This diary is iconic to the ‘Bridget Jones’ films. A dissolve is then used into the next scene, which is a high angle show of a car. The camera pans it as it pulls to a stop, framing the snow-covered surroundings. Immediately a British audience will relate to the use of setting; cold winters are inexorable in Britain. Bridget’s costume helps to further relate to the target audience as she wears a huge warm coat and a scarf, plus her hair is messy so she is not perfect, which makes it a lot more realistic.
Characters start to be unravelled in the opening; through a high angle shot of Bridget coming into her mother’s house the use of mise-en-scene tells us a lot about her mother. There is an over-abundance of ornaments and patterned wallpaper, and the use of colours; clashing blues and yellows; connotes how ostentatious her mother is, and the over-exaggeration of this instantly makes her a comical character. This is also further established through her costume: she wears pearls, a bright red top with a flower on it and her hair and make-up are perfect. Her body language, framed through a medium shot of Bridget and her mother, adds comedy too; she keeps away from Bridget making sure she doesn’t budge her hair or make-up. There is also non-diegetic whistling, which follows a steady rhythm, connoting that her mother is a very comical and perhaps simple character in the film.
The audience relate to the Proppian ‘heroin’ Bridget through a non-diegetic voice-over used throughout the title sequence. Also, a close-up and pan of Bridget at her mother’s buffet frames her never changing facial expression. The audience know her smiles are fake, because in the voiceover she tells us what she really thinks of these characters. This helps draw the audience into the diegesis; we instantly relate to Bridget and her situation. A pan of the buffet frames the very few people there, most of whom are grown adults dressed in Christmas outfits- a perfect example of the self-deprecating humour that is so common in British comedy films. As this film is a romantic comedy, it relates to its target audience (women) through its main character and the situations she gets in. For example, a medium long shot and tilt down frames Bridget’s ‘pervert’ Uncle feel her bottom; an immediate straight cut to a close-up of her disgusted facial expression helps the audience familiarise with her. The audience next see that Bridget and her father are very much on the same level; a medium-close-up frames them tightly together which connotes their strong bond and straight cuts throughout their conversation emphasises their close connection.
The love interest is clearly revealed next; the camera tracks Bridget walking towards Mark in slow motion, which connotes the emotional connection between these two characters. A close-up reveals her facial expression, which this time we can see is genuinely happy. This, accompanied by non-diegetic very slow and deep music connotes a strong romantic connection. There is then a zoom in on Mark Darcy to connote his importance to her. However, the camera tilts down to show his costume, which is a very ugly knitted Christmas jumper. Again, the idea that one can laugh at oneself is typical of British humour, creating verisimilitude as the audience can see that he is not perfect. The camera then tilts down to show that she is wearing a matching jumper, which reinforces the romance between these two characters, as they don’t mind looking silly together. Costumes like this create a light-hearted mood that the audience can relate to. High-key lighting is also used throughout the opening to connote the romantic comedy genre and reinforce this light-hearted atmosphere. Also, it means that no villains are yet established, so the romance of this film is the most important thing. There is then a dissolve into Bridget’s ‘fantasy’. The audience know it is a fantasy because of this dissolve, and this helps them relate to her more as it creates the feeling we are really seeing into her mind. Dissolves are used excessively in the next scene, especially through shots of Mark and Bridget kissing. They are used to give the film a relaxed, romantic feel, making it seem almost like a fairytale.
Bridget’s ‘fantasy’ is a comical spoof of a typically perfect romantic scene. The idyllic setting; green field and blue sky, contrasts completely with the snowy town seen earlier, although this is very beautiful in itself; this could be connoting Bridget’s need for perfection thus ignoring what she has got. This is an issue that comes up later in the film; so this ‘fantasy’ in the opening is dropping subtle hints towards later disruptions in the narrative. There is a long shot of Bridget and Mark running towards each other, Bridget wearing a long frock and Mark wearing a crisp white shirt and brown trousers. The couple run in slow motion, accompanied by the non-diegetic ‘Sound of Music’ tune. This is all very exaggerated, mocking the stereotypical ideas of ‘true love’, which is not only very funny but relates to the audience, who would familiarise with Bridget’s realistic situation as well as her dreams of a very unrealistic romance. A very long shot of them embracing frames them surrounded by all this beauty, but they look only at each other, connoting true devotion and reinforcing the film’s romantic genre. The camera moving on a crane connotes how ‘out-of-this-world’ and unrealistic this fantasy is, again so the audience familiarise with it.
From watching the opening, the equilibrium is established as Bridget and Mark happily in love. The enigma posed would be the same as all romantic comedies; can they stay this way? It’s obviously too good to be true. This rom-com will inevitably follow the same Todorovian narrative as all rom-coms, the disruption being the couple temporarily breaking up, a ‘grand gesture’ from one or the other being the attempt to solve the problem, and the equilibrium will then be re-established.
‘Hot Fuzz’ (2007)
As this film is of the sub-genre action-comedy, codes and conventions of both action films and comedy films are prominent throughout the opening. Opening with diegetic sirens, the audience immediately are put on edge which is a typical to an action film. However, the abrupt stop to these sirens accompanying a very long shot of a man walking towards the camera connotes that he is not a dangerous character, as the complete silence other than his loud, diegetic footsteps and the very long shot makes him seem small and insignificant; there is no tense non-diegetic music to connote him as the ‘villain’. Also, as it takes him a while to reach the camera, any authority that might have been connoted through his strong, determined body language; or dark lighting to create mystery as we can’t yet see his face; more or less disappears with every step and creates an awkwardly funny atmosphere. A close-up of his face frames exactly the same facial expression he has on his Police badge photograph, which is zoomed in on straight after. The audience start to see that this is a comically arrogant character, which is established in the non-diegetic voice-over, where he talks about himself in third person. A low-angle shot of him and a low-angle close-up of his shoes connotes how bigheaded he is. The close-up of the shoes connotes that he obviously thinks he can ‘walk all over’ anyone. The camera tracks him throughout, connoting him to be authoritative and establishing his Proppian ‘hero’ character type. A quick jump cut frames a close-up of his uniform which connotes his comically exaggerated pride in being a Police officer. His body language is determined and he walks quickly; a tilt of him running up the stairs and then off frame connotes that he is very busy and hard to catch. There is then a flashback of his Police training which is all very fast-paced due to excessive use of straight cuts, connoting the action genre and also connoting his life as exciting and action-packed. However, the comedy side of the genre is revealed through the non-diegetic music; a steady drum beat and a trumpet give it a more light-hearted atmosphere that mocks his seriousness about his profession. Also, his facial expression, which is constantly zoomed in on throughout the flashback, is always the same, matching the cadence of the music and his very monotone non-diegetic voiceover, which creates a comical effect. This opening aims to create a parody of a stereotypical determined, strong and proud police officer, establishing this as the equilibrium. His hard work is connoted through jump cuts to props like pens and paper whilst he is doing his theoretical exam; the excitement he has encountered during his training is connoted through quick pans of officers fighting fire, which connotes danger. However, all of this contrasts with a still medium shot of him giving two old ladies directions, mocking all the hard work he has undertaken, making him a laughable and pitiable character. This helps the audience familiarise and empathise with him, effectively drawing them into the diegesis and making them wonder what will happen to him; whether he will realise that he’s not as powerful as he thinks. The fast pace of the opening, too, engages the audience and sets an exciting atmosphere for the rest of the film. Costume is used effectively in the opening to reveal more about his character; police uniforms have connotations of responsibility, maturity and restrictions, and a very long shot frames him in a line with his fellow officers, all wearing black. This makes him blend in and connotes that his life is not as exciting as he thinks it is; infact, it is quite bleak.
Friday, 16 January 2009
Wednesday, 14 January 2009
Group summary of questionnaire findings
I got together with the rest of my group and we looked at the results from our separate questionnaires. After comparing and gathering together our results we wrote summary of our findings.
The majority of people we asked were between the ages of 15-17, this would have influenced the trends of our results as people of this age group have similar interests in films. Looking at our results we will target our product to this demographic.
Also we asked more females than we did males therefore our trends show that the majority prefer the genre of romantic, comedy and action showing stereotypically the male preference. This was backed up by our results, which showed the majority of males tended to choose action as one of their favourite genres. We have decided to develop our piece conforming to the comedy genre, as this was given as a favourite genre consistently, but we are undecided as to which sub genre of comedy to do.
When we looked at the occupations of the participants, it became apparent that the majority of them were students at varying levels of education, and the majority were studying at A level standard. This will affect our product because we need to be aware that typical students are often stereotyped as having low incomes and so their ability to go to the cinema, and purchase DVD’s etc.
By asking their participants about their hobbies and interests, we were able to see that the most popular hobbies and interests for females were, shopping, socialising, and watching TV. Their hobbies appear to be mundane, and so they may be more prone to comply with Blumler and Katz’s uses and gratification theory of audiences needs to escape into the world of film. This could influence our product, as we need to be aware that our targeted audience are more likely to be interested in watching fictional and unrealistic films.
Also the fact that many of their hobbies involves social interaction again fits in with the uses of gratification theory, in which the audience is believed to want to relate and interact with others. The hobbies are quite stereotypical for our participants gender so we should use stereotypes in our product in order that they can relate to the characters. Therefore our product should something that they could discuss, it has to be something they can identify with e.g. realistic situations to their age range and gender.
The majority of students we asked were studying media studies and English. This means they are liable to be interested in films of a fictional nature with a more creative nature. It is also possible that they were more interested ion independent and art house films, however this theory was contradicted by our results that show that the significant majority preferred blockbusters. This could be because the institutions who produce the films because they tend to produce films that they believe will be the most successful and blockbusters usually fall into this category. The fact that 8 of our students said they study media, which was the second most studied subject from our sample. People studying media studies are more likely to be aware of the nature of our questionnaire and so are more liable to be affected by demand characteristics and so are more likely to answer in a way that they believe we want them to.
When we analysed the character types that were reported to appear in participant’s favourite films, it became apparent that villain’s and heroes are the most common. This complies with Propps theory that all narratives contain specific character types, so we should follow Propps theory when developing our piece and include character types such as the hero and the villian.
The question we asked about character types which our participants preferred could have been worded much better as people especially who didn’t study media studies didn’t understand the question and gave us the actors name rather than the characters name. It might have been a good idea to give an example answer from them to model theirs on.
From our second questionnaire we found that when asked who their favorite actor and actress was the majority of participants chose popular Hollywood actors and actresses who star in blockbusters which were of the romantic comedy genre e.g Cameron Diaz, Reese Witherspoon, Britney Murphy, Jude Law and Hugh Grant. Johnny Depp was also a frequent answer given to this question, he has recently starred in a lot of blockbusters such as Pirates of the Caribbean.
Following this we asked the participants if they would be persuaded to make a special effort to see a film if a particular actor or actress was in it and the majority of the participants said that it would depend whether they liked the look of the film therefore we should use stereotypical characters which particular actors portray.
Over half of the participants we asked said that they vary their choices of the genre of the films that they view and the minority only viewed films that conformed to their preferred genre. This works to our advantage, as we are free to choose from a number of different genres and still appeal to our audience.
From our results we can see that the majority of people tend to watch a film with an age classification of 15 therefore we think that we should model our film form this, including the same content that is consistently seen through films of this classification.
When asking our participants we found that the majority preferred British Films so we should make our film including the attitudes and values consisting with the British public and popular British films. We can use research from companies such as working title’s films when developing our product to make it more typically British to the audiences preference.
The majority of the people we asked said that they didn’t favour a particular institution suggesting that it isn’t of any particular importance to them however these people we asked didn’t necessarily know which institutions their favourite films were made by therefore couldn’t answer the question appropriately so we should have informed them more clearly.
Looking at the responses about institutions we can see that linking to the hypodermic needle theory the participants that favoured a particular institution also favoured a particular genre. Each institution could inject particular ideas into the viewer influencing their choices.
Some participants however did favour institutions in particular; these could have been the participants who were students and studying media. The two favoured institutions were Universal Pictures, 20th Century Fox.
Reflecting on our questionnaire we could see that the question we asked about downloading films wasn’t necessary to develop our product.
Results of Questionnaire: Charts and Tables
Here are the results of the quantitative questions I included on my questionnaire, presented in graphs and charts.
I found that the comedy genre was definitely most popular, most likely due to the age group and sex of the people I asked.
Results of Audience Research Questionnaire
I distributed my questionnaire to 20 people and these are my results.
I decided that in order to find a trend within a particular demographic my questionnaires should not be given out randomly, so I gave them to one particular age group; teenagers (ages range from 13-19).
The majority of people I asked were female, which was a factor that definitely influenced the results.
I found that the comedy genre was definitely most popular, most likely due to the age group and sex of the people I asked.Friday, 9 January 2009
Audience Research Questionnaire
I wrote a draft of a questionnaire to find out my target audience and get ideas for my product. This is the final version and I aim to distribute it to 20-30 people.
Audience research
Questionnaire
Age …………
Sex
Male
Female
Occupation ……………………………………………………………………………………………………….
Hobbies and Interests ………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………
Favourite Film ……………………………………………………………………………………………………
Why is this film your favourite? …………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Actress ……………………………………………………………………………………………….
Why is this actress your favourite?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Actor ………………………………………………………………………………………………….
Why is this actor your favourite?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Film Genre (please tick the box that applies most to your taste. If this is impossible, write your answer after ‘Other’)
Comedy/Romantic Comedy/Teen Comedy
Science Fiction
Action/Adventure
Horror
Thriller
Other ………………………………………………………………………………………………………………..
Why do you enjoy this particular genre?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Thank you for filling in this questionnaire.
Audience research
Questionnaire
Age …………
Sex
Male
Female
Occupation ……………………………………………………………………………………………………….
Hobbies and Interests ………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………
Favourite Film ……………………………………………………………………………………………………
Why is this film your favourite? …………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Actress ……………………………………………………………………………………………….
Why is this actress your favourite?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Actor ………………………………………………………………………………………………….
Why is this actor your favourite?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Favourite Film Genre (please tick the box that applies most to your taste. If this is impossible, write your answer after ‘Other’)
Comedy/Romantic Comedy/Teen Comedy
Science Fiction
Action/Adventure
Horror
Thriller
Other ………………………………………………………………………………………………………………..
Why do you enjoy this particular genre?
…………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………
Thank you for filling in this questionnaire.
Wednesday, 7 January 2009
Hello!
Welcome to my coursework blog! On this blog I will track and record my progress, including research and planning, and aim to evaluate everything my group and I do.
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