Overall, filming our preliminary task went well although we encountered some problems. This included the difficulty of finding a place to film; we knew our setting would have to be an office environment, as we planned our preliminary task to follow the script and storyboard of a job interview. With limited space and time to film our preliminary task, we started filming it in an empty classroom. However, we encountered an unused office and with the permission of its owner we filmed it all again. This is definitely something that needs more thought when finding settings for our film opening.
It was also difficult to fit both the people in the frame, and often it was difficult to pan the person walking through the door because they had little space to walk. However, the finished product proves we managed this successfully in the end.
We did encounter some technical issues whilst uploading our preliminary task to edit. Whilst importing the tape, the computer froze a number of times- however with time and patience the project uploaded succesfully.
We found that most of the shots we had on the tape were not needed, so this probably contributed to the technical problems we encountered. We learnt from this to concentrate on the task in hand instead of producing useless footage. However, it is important to remember that with a wide range of shots it is easier to create more variety in the project, and where one scene might have gone wrong there will be plenty of back-ups. It was useful and extremely relieving when we found we had shot 3 different versions of one scene, as only one worked well for our piece.
Another issue we encountered whilst editing was use of props. In our task, we have a close-up of a clock that reads the time as 1:05. However, during one of the scenes we were going to use we noticed that the clock read 12:50. Luckily, we had a version of the scene where the clock is out of view; but this is definitely something to watch out for when we come to film our main task.
Additionally, we found that in order for our continuity task to flow, we had to carefully cut the end off some of the scenes where the dialogue had finished and silence was left.
We added some edits to our task including a fade in at the start and a fade out at the end. All in all, this made the piece flow a lot better. Also a fade in from a white screen to the close-up of a clock indicated a lapse of time, which is what we intended to do.
Watching the task, we believe we demonstrated match-on-action, the 180-degree rule and used shot/reverse shots well. In order to abide by the 180-degree rule we made sure we kept on one side of the room at all time, which helped our shot/reverse shots flow extremely well too. Match-on-action was demonstrated throughout, as no action was left uncaptured.
Also, we followed the storyboard and script as planned, aside from taking out a close-up of the door handle as we decided our piece flowed better with one panning shot of the door opening and the person sitting down. I believe we had a variety of camera shots in our piece, including close-ups, medium shots and over-the-shoulder shots. We decided only one camera movement was necessary; the panning shot, as it was only a very short piece and adding too many camera movements would be confusing and destroy the continuity of the task.
To conclude, if I could change one thing about our task it would be to add costume to our piece. We thought a lot about the setting of a job interview, but little about the smart attire that would be required. One rule, we found, for producing a continutity task is simplicity is key. A complicated storylines and 'artsy' camera shots and movement will complicate the piece and miss the aim of the task. Therefore, we are proud of our preliminary task and believe we met the requirements.
Thursday, 26 February 2009
Wednesday, 11 February 2009
Preliminary Task: Finished Filming
My group and I finished filming the continuity task. The main issues we encountered were:
- Finding a place to film. We knew our setting would have to be an office environment, as we planned our preliminary task to follow the script and storyboard of a job interview. After filming the whole thing in an empty classroom, we encountered an unused office and with the permission of its owner we filmed it all again.
- Framing. As the office was so small, it was hard to fit both the people in the frame, and often it was difficult to pan the person walking through the door because they had little space to walk.
- Lighting. We realised after filming that in one shot the people are filmed infront of a window, which caused silhouettes.
However, we were pleased with how our shot/reverse shots worked out, as they flowed well. Next we will edit it and more evaluation will be undertaken.
Preliminary Continuity Task Planning
Aim: Film and edit a character opening a door, crossing a room and sitting down in a char opposite another character, with whom she/he then exchanges a couple of lines of dialogue. Task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
Script:
The setting is an office.
Interviewer: (on the phone) She was meant to be here five minutes ago!...Yes... Alright...Goodbye.
(door opens)
Interviewee: Sorry I'm late! (sitting down) The traffic was terrible; the weather is just awful.
Interviewer: (sarcastically) Well, we can see your punctuality is intact.
Interviewee: (mumbling excuses) The bus... broke down...
Interviewer: Yes, I gathered that.
Storyboard:
(will scan this ASAP.)
Script:
The setting is an office.
Interviewer: (on the phone) She was meant to be here five minutes ago!...Yes... Alright...Goodbye.
(door opens)
Interviewee: Sorry I'm late! (sitting down) The traffic was terrible; the weather is just awful.
Interviewer: (sarcastically) Well, we can see your punctuality is intact.
Interviewee: (mumbling excuses) The bus... broke down...
Interviewer: Yes, I gathered that.
Storyboard:
(will scan this ASAP.)
Friday, 6 February 2009
Institutional Issues & PPT
I considered the issues and constraints on pitching my film to the institutions I studied:
- Funding. The British Film Industry rely mainly on American funding, and it would be extremely hard to get funding for an independent film like my own.
- Promoting my film. This also relies on funding from a distribution company.
- Competition. There are other independent directors and companies who might be after my target audience and will also be pitching a teen comedy film to Paramount/20th Century Fox. How can I make my idea grab their attention?
I sent an e-mail to Paramount Pictures to inquire about funding:
Hello, I notice that you have distributed a lot of teen comedy films. I am working on a British teen comedy film and wonder how I would go about getting funding from you.
I will discuss these issues further with my group when we compose a summary of our institutional findings.
Edit: I recieved a reply from Paramount Pictures.
'Dear Grace
We do not take unsolicited material however if you are a first timefeature writer can I suggest your initial port of call should either bethe UK Film Council or the BBC's writers initiative - The Writer's Room.
Good luck with you project.
Kind regards
Alexei
We do not take unsolicited material however if you are a first timefeature writer can I suggest your initial port of call should either bethe UK Film Council or the BBC's writers initiative - The Writer's Room.
Good luck with you project.
Kind regards
Alexei
Alexei Boltho
Director Co-production & Acquisitions
Paramount Pictures International'
This e-mail helped me reveal more about my competition; our film opening would be 'unsolicited', so other film producers who may be working with companies associated with Paramount and/or have been invited by Paramount to submit their film, i.e. 'solicited' material, would be more acceptable.
The e-mail reply also showed me how hard it is to get funding, and how new, independent film directors have to start from the very bottom before even thinking about asking for funding from companies like Paramount.
Paramount Pictures International'
This e-mail helped me reveal more about my competition; our film opening would be 'unsolicited', so other film producers who may be working with companies associated with Paramount and/or have been invited by Paramount to submit their film, i.e. 'solicited' material, would be more acceptable.
The e-mail reply also showed me how hard it is to get funding, and how new, independent film directors have to start from the very bottom before even thinking about asking for funding from companies like Paramount.
Here is the powerpoint of my institutional findings, which briefly summarises what I found out.
Case Study: 20th Century Fox
One of the six worldwide major American film studios, 20th Century Fox was founded in 1935 as a result of two major entities merging (Fox Film Corporation and Twentieth Century Pictures). It is owned by media mogul Rupert Murdoch.
It is also one of the five major distributors that dominate the British Film Industry.
They distribute a lot of blockbusters (e.g. I, Robot) with Hollywood actors such as Johnny Depp and Will Smith. Also specialise in distributing comedy films (e.g. The Girl Next Door and Marley & Me)
It is also one of the five major distributors that dominate the British Film Industry.
They distribute a lot of blockbusters (e.g. I, Robot) with Hollywood actors such as Johnny Depp and Will Smith. Also specialise in distributing comedy films (e.g. The Girl Next Door and Marley & Me)
Case Study: Paramount Pictures
Case Study:
Paramount Pictures
I did a case study of Paramount Pictures, finding that they were huge distributors of teen comedy films: including the American teen comedies Accepted, Mean Girls, Eurotrip and the British teen comedy Angus, Thongs and Perfect Snogging.
- An American motion picture production and distribution company.
- The oldest existing Hollywood film studio (founded in 1912)
- Owned by Viacom.
- Owner of DreamWorks (also distributors of teen comedy films e.g. She’s The Man)
Brief history of Paramount Pictures
In 1912, Adolph Zukor created Famous Players Film Company.
Zukor planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "famous players in famous plays").
W. W. Hodkinson organized Paramount Pictures Corporation in 1914 which is where Famous Players released their films.
By the end of the 1910’s Famous-Players Lasky and its ‘Paramount Pictures’ (a three-way merger of Famous Players, Lasky Feature Play Company and Paramount Pictures) dominated the film business.
In 1930, changed its name to Paramount-Publix Corporation because of the importance of the Publix theatre chain.
In 1935, Paramount Publix went bankrupt.
However, in 1936, Zukor reorganized the company as Paramount Pictures, Inc. and was able to successfully bring the studio out of bankruptcy.
Established it’s prominence in distributing comedy productions with the introduction of the Marx Brothers in the 1930s and the actress Mae West who starred in comedy films.
By the 1930s was turning out sixty or seventy pictures a year.
Also hugely successful in its cartoon productions, including Betty Boop and Popeye the Sailorman.
Had a recession in the 60’s
In the 70’s became partners with Universal Studios and Metro-Goldwyn Mayer
The 80s onwards was highly successful for Paramount.
Sunday, 1 February 2009
Institutional Research: BBFC
So my film opening will abide by the regulations of the BBFC, I researched what was acceptable in Certificate '15' films.
'15' – Suitable only for 15 years and over
No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video or DVD.
Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language. But the strongest terms will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.
- Taken from the bbfc website: http://bbfc.co.uk/classification/c_15.php
From studying the BBFC's regulation and control guidelines, I also know that my film must not break any of the legal, protective and societal guidelines.
'15' – Suitable only for 15 years and over
No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video or DVD.
Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language. But the strongest terms will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.
- Taken from the bbfc website: http://bbfc.co.uk/classification/c_15.php
From studying the BBFC's regulation and control guidelines, I also know that my film must not break any of the legal, protective and societal guidelines.
Belated decision and looking into codes and conventions for the film
Belated decision...
Whilst discussing the films we watched in my group, we found that the majority of films viewed were teen comedies. We also all found it very difficult to pin down any film as a 'comedy' as they were all mostly sub-genres of comedies. Therefore, we decided a teen comedy would be the best option for our film opening, and also suited our target audience.
As a group, we discussed which of the codes and conventions we found would be possible for us to use in our film opening. We figured the following would be attainable:
Whilst discussing the films we watched in my group, we found that the majority of films viewed were teen comedies. We also all found it very difficult to pin down any film as a 'comedy' as they were all mostly sub-genres of comedies. Therefore, we decided a teen comedy would be the best option for our film opening, and also suited our target audience.
As a group, we discussed which of the codes and conventions we found would be possible for us to use in our film opening. We figured the following would be attainable:
- Setting of school, characters' houses, 'parties'
- Non-diegetic voice-over
- Non-diegetic music
- Props- everyday objects e.g. schoolbooks
- Costume; teenage actors already have teenage characters' clothes
- Costume to connote charater types (e.g. thick glasses for 'geeks')
We also talked about the differences between British and American teen comedies, realising that our target audience would be British and our film would have to be set in Britain anyway. We could think of a very long list of American teen comedies, but hardly any British teen comedies- in fact, the only two we could think of were Angus, Thongs and Perfect Snogging and Bend It Like Beckham, which are both Certificate 12, so are aimed at a little younger than our target audience. This made us think, have we found a gap in the market?
I also thought about the difference in the style of humour used in British and American comedy films. I have found that in British films the humour is often very self-deprecating, whereas in American films it is a lot more slapstick. As my target audience will be British, I should perhaps focus more on the self-deprecating humour. However, looking at my audience profile, the favourite films, actors and actresses listed are predominantly American. Plus, due to the lack of British teen comedy films, we will have to follow the codes and conventions of American teen comedies anyway. Perhaps a combination of American teen comedy conventions and self-deprecating British humour will make a winning formula.
Powerpoint Presentation: Summary of Films Analysis
In this powerpoint I am aiming to identify the generic codes and conventions in teen/romantic comedies that I will be aspring to use in my own film opening.
Title
Summary of Comedy Films Analysis
Key Generic Codes and Conventions
Slide 1
Sub-genres
I found it difficult to identify any of the comedy films and openings as simply a ‘comedy’. All of them fit into a sub-genre of comedy:
Comedy-drama; Juno
Teen Comedy; American Pie, Superbad, Mean Girls
Romantic Comedy; Bridget Jones, Knocked Up, Just Married
Action-Comedy; Hot Fuzz
Slide 2
A few of them also had elements of other sub-genres too; for example, Juno is a comedy-drama but also has conventions of teen comedy; Knocked Up is a rom-com but has elements of a comedy-drama and Mean Girls is a teen comedy but also follows the codes of a rom-com.
The three whole films I watched were Just Married, Juno and American Pie. All three follow the conventions of a romantic comedy, and the last two films combine this with the codes and conventions of a teen comedy.
I found that the codes and conventions of teen comedies and romantic comedies often intertwine. I found they both follow a romantic story, along with a slight battle-of-the-sexes theme.
Slide 3
Mise-en-scene
Costume…
…connotes stock character types. I found that in teen comedies the ‘geeks’ wore patterned jumpers, tucked in shirts and glasses, which would all be deemed unfashionable by Western terms. The ‘popular girl’ would wear short skirts, often a lot of pink and have a lot of skin showing, to connote her stereotypical provocative nature.
…connotes Proppian character types. I found that the ‘villain’ is easy to establish as they usually wear clothes that contrast with that of the ‘heroes’. For example, Peter in Just Married wears tidy, tucked in shirts and suits, whereas the ‘hero’ Tom wears shorts and sports tops.
…helps to relate to the target audience. Casual clothing such as jeans creates verisimilitude. A teenage audience can familiarise with teenage characters through their costume.
Props…
•…create verisimilitude. Everyday props such as breakfast cereal make the film more realistic.
•…relates to the audience. For example, if someone has the same mobile phone as a character, they familiarise with them instantly. I found that in teen comedies this was most common.
•…connote the sub-genre. Bottles of alcohol, adult magazines, school books and/or cigarettes are conventional to the teen comedy genre. Wine and flowers are conventional to romantic comedies.
Slide 4
Mise-en-scene
The lighting used in comedies is always high-key to create a light-hearted atmosphere and make the characters seem more realistic. This helps create verisimilitude and puts the audience at ease, making it easier for them to familiarise with the characters and identify the ‘hero’.
I noticed that characters’ position in a frame is used to connote their relationship; for example in American Pie, Kevin and his girlfriend are often tightly framed together, whereas Jim and Michelle, having only just met, often have a lot of distance between them.
The movement and gesture within a frame creates comedic scenes in the films. For example, an awkward situation between two characters would be created through tense body language (e.g. Jim and Michelle)
Slide 5
Setting
I found that teen comedies are set mainly in school or college. Secondary locations include parties, characters’ bedrooms and shopping centres.
Romantic comedies often have very idyllic settings, to the point that they become unrealistic. For example, Just Married is set on their honeymoon in which they travel all around Europe, so the settings include Venice and Paris. Although the characters could be arguing there is always an amazing backdrop. These beautiful settings create a fairy-tale like atmosphere about love.
Slide 6
Camera shots and movement…
…establish key themes and issues conventional to teen comedies and romantic comedies, connote character types, create a comedic effect and establish relationships between characters. For example;
Two shots are used to frame a couple, connoting the importance of love conventional in teen/rom-coms through their close body language.
Handheld camera creates verisimilitude, but often it accompanies scenes of drunken characters and parties. Also, the camera sometimes goes in and out of focus. This creates a drunken, heady feeling for the audience too so they familiarise with the characters. Mostly in teen comedies.
Very slow tilts are used to establish the love interest, usually starting from their feet upwards. In teen comedies, this is often the female ‘princess’, and in romantic comedies is usually both the male and female protagonists to show the difference in their costume and lifestyle.
Close-ups on characters’ face helps the audience familiarise with them more emotionally. For example in Juno, there are close-ups on her face when she is upset. This establishes these characters as the ‘hero’, as it means the audience understand them more.
Low angle shots are often used to connote power and popularity of characters in teen comedies, for example the ‘jock’. However, they can also be used to connote comical characters, who often believe they are the popular- for example Stifler in American Pie.
Slide 7
Editing
Straight cuts are used…
…to create verisimilitude. This is particularly in teen comedies so that the audience familiarise with the characters.
…to connote relationships between characters.
…to create a fast pace, particularly during slapstick scenes.
Fade-ins are used…
…to connote the passing of time…
…a change to a different character…
…or sometimes someone passing out when drunk. This relates to a teenage target audience who would be familiar with that situation.
Dissolves are… conventional to romantic comedy films because they add to the fairy-tale like atmosphere by giving the film a romantic flow.
Slide 8
Sound
In all the comedy films I watched, there was a non-diegetic soundtrack, which was..
…light-hearted and upbeat, due to it’s light rhythm. Especially when establishing close friendships and relationships, e.g. the close friendship group in American Pie or Sarah and her mother in Just Married, and also when the camera tracks the main ‘Hero’.
…often contemporary pop songs which would relate to a teenage target audience. Often used in party scenes.
…in rom-coms, and during romantic scenes in teen-coms, gave romantic anchorage to a scene because it was often light, classical sounding music.
Many of the films featured a non-diegetic voiceover from the main character. This helped the audience identify them as the ‘hero’ and therefore familiarise with them. The voiceover was also often very funny and witty and carried the narrative along.
Diegetic dialogue is fused with witty, funny, fast-paced dialogue. There are often arguments between characters which get louder, faster and a lot more exaggerated, packed with witty insults. Also, the ‘villain’ can be established because their tone of voice is often calm and sophisticated (e.g. Peter in Just Married) in comparison to the comically immature heroes.
Slide 9
Narrative structure
I found that teen and romantic comedy films often followed quite a similar Todorovian narrative structure. Generally, they go like this:
Teen comedies:
Equilibrium: Normal high school life, usually following one or a group of ‘average’, ‘geeky’ or ‘new to school’ characters
Disruption: A teen issue of some kind disrupts this equilibrium, usually to do with sex/relationships.
Realisation: Characters realise that in order to be socially accepted they must do certain things (see below).
Seek to solve problem: Male protagonists try to ‘score’, female protagonists try to fit in/date the ‘perfect’ boy (often the ‘jock’). Often more smaller disruptions within these plans occur.
New equilibrium: The Heroes end up with their desired love interest and often a new sense of maturity.
Romantic comedies:
Equilibrium: The completely different lifestyles of a male and female protagonist. Somehow, they meet, which is a disruption to their ‘former’ lifestyles, however creates a new romantic equilibrium.
Disruption: The couple argue due to either exes, misconceived ‘cheating’, dislike from one or the other’s family/friends, and break up temporarily.
Realisation: One or the other, or both, realises they are incomplete without their love.
Seek to solve problem: a ‘grand gesture’ is made.
New equilibrium: The couple have a happy reconciliation.
Slide 10
Character Types: Teen coms
Key stock character types I found in a teen comedy are: the ‘geek’ (e.g. Sherman in American Pie), the ‘popular girl’ (e.g. Leah in Juno), the ‘Jock’ (e.g. Oz in American Pie), the ‘average girl’ or ‘girl-next-door’ (usually the main character so the audience familiarise with them).
I also found that there were stereotypes of social groups in teen comedies, e.g. ‘goths’.
I identified the following Proppian character types in teen comedies:
I found that the ‘hero’ can be male or female; for example in American Pie, the heroes are male, but in Mean Girls the heroin is female. This is all depending on target audience and how they familiarise with the heroes; teen films like Mean Girls would be considered a ‘chick-flick’, having a predominantly female audience, but American Pie would relate more to boys.
In ‘chick-flicks’ the villain is almost always the ‘popular girl’. However, I found that mostly in teen comedies the villain is usually pressure from society.
The ‘mentors’ and ‘helpers’ are friends and family of the hero/heroin, who offer frequent advice and guidance.
The ‘princess’ is almost always the hero/heroin too; sometimes they rescue themselves from their problems but often a male ‘hero’ will rescue the female protagonist, in which case becomes the ‘princess’.
Title
Summary of Comedy Films Analysis
Key Generic Codes and Conventions
Slide 1
Sub-genres
I found it difficult to identify any of the comedy films and openings as simply a ‘comedy’. All of them fit into a sub-genre of comedy:
Comedy-drama; Juno
Teen Comedy; American Pie, Superbad, Mean Girls
Romantic Comedy; Bridget Jones, Knocked Up, Just Married
Action-Comedy; Hot Fuzz
Slide 2
A few of them also had elements of other sub-genres too; for example, Juno is a comedy-drama but also has conventions of teen comedy; Knocked Up is a rom-com but has elements of a comedy-drama and Mean Girls is a teen comedy but also follows the codes of a rom-com.
The three whole films I watched were Just Married, Juno and American Pie. All three follow the conventions of a romantic comedy, and the last two films combine this with the codes and conventions of a teen comedy.
I found that the codes and conventions of teen comedies and romantic comedies often intertwine. I found they both follow a romantic story, along with a slight battle-of-the-sexes theme.
Slide 3
Mise-en-scene
Costume…
…connotes stock character types. I found that in teen comedies the ‘geeks’ wore patterned jumpers, tucked in shirts and glasses, which would all be deemed unfashionable by Western terms. The ‘popular girl’ would wear short skirts, often a lot of pink and have a lot of skin showing, to connote her stereotypical provocative nature.
…connotes Proppian character types. I found that the ‘villain’ is easy to establish as they usually wear clothes that contrast with that of the ‘heroes’. For example, Peter in Just Married wears tidy, tucked in shirts and suits, whereas the ‘hero’ Tom wears shorts and sports tops.
…helps to relate to the target audience. Casual clothing such as jeans creates verisimilitude. A teenage audience can familiarise with teenage characters through their costume.
Props…
•…create verisimilitude. Everyday props such as breakfast cereal make the film more realistic.
•…relates to the audience. For example, if someone has the same mobile phone as a character, they familiarise with them instantly. I found that in teen comedies this was most common.
•…connote the sub-genre. Bottles of alcohol, adult magazines, school books and/or cigarettes are conventional to the teen comedy genre. Wine and flowers are conventional to romantic comedies.
Slide 4
Mise-en-scene
The lighting used in comedies is always high-key to create a light-hearted atmosphere and make the characters seem more realistic. This helps create verisimilitude and puts the audience at ease, making it easier for them to familiarise with the characters and identify the ‘hero’.
I noticed that characters’ position in a frame is used to connote their relationship; for example in American Pie, Kevin and his girlfriend are often tightly framed together, whereas Jim and Michelle, having only just met, often have a lot of distance between them.
The movement and gesture within a frame creates comedic scenes in the films. For example, an awkward situation between two characters would be created through tense body language (e.g. Jim and Michelle)
Slide 5
Setting
I found that teen comedies are set mainly in school or college. Secondary locations include parties, characters’ bedrooms and shopping centres.
Romantic comedies often have very idyllic settings, to the point that they become unrealistic. For example, Just Married is set on their honeymoon in which they travel all around Europe, so the settings include Venice and Paris. Although the characters could be arguing there is always an amazing backdrop. These beautiful settings create a fairy-tale like atmosphere about love.
Slide 6
Camera shots and movement…
…establish key themes and issues conventional to teen comedies and romantic comedies, connote character types, create a comedic effect and establish relationships between characters. For example;
Two shots are used to frame a couple, connoting the importance of love conventional in teen/rom-coms through their close body language.
Handheld camera creates verisimilitude, but often it accompanies scenes of drunken characters and parties. Also, the camera sometimes goes in and out of focus. This creates a drunken, heady feeling for the audience too so they familiarise with the characters. Mostly in teen comedies.
Very slow tilts are used to establish the love interest, usually starting from their feet upwards. In teen comedies, this is often the female ‘princess’, and in romantic comedies is usually both the male and female protagonists to show the difference in their costume and lifestyle.
Close-ups on characters’ face helps the audience familiarise with them more emotionally. For example in Juno, there are close-ups on her face when she is upset. This establishes these characters as the ‘hero’, as it means the audience understand them more.
Low angle shots are often used to connote power and popularity of characters in teen comedies, for example the ‘jock’. However, they can also be used to connote comical characters, who often believe they are the popular- for example Stifler in American Pie.
Slide 7
Editing
Straight cuts are used…
…to create verisimilitude. This is particularly in teen comedies so that the audience familiarise with the characters.
…to connote relationships between characters.
…to create a fast pace, particularly during slapstick scenes.
Fade-ins are used…
…to connote the passing of time…
…a change to a different character…
…or sometimes someone passing out when drunk. This relates to a teenage target audience who would be familiar with that situation.
Dissolves are… conventional to romantic comedy films because they add to the fairy-tale like atmosphere by giving the film a romantic flow.
Slide 8
Sound
In all the comedy films I watched, there was a non-diegetic soundtrack, which was..
…light-hearted and upbeat, due to it’s light rhythm. Especially when establishing close friendships and relationships, e.g. the close friendship group in American Pie or Sarah and her mother in Just Married, and also when the camera tracks the main ‘Hero’.
…often contemporary pop songs which would relate to a teenage target audience. Often used in party scenes.
…in rom-coms, and during romantic scenes in teen-coms, gave romantic anchorage to a scene because it was often light, classical sounding music.
Many of the films featured a non-diegetic voiceover from the main character. This helped the audience identify them as the ‘hero’ and therefore familiarise with them. The voiceover was also often very funny and witty and carried the narrative along.
Diegetic dialogue is fused with witty, funny, fast-paced dialogue. There are often arguments between characters which get louder, faster and a lot more exaggerated, packed with witty insults. Also, the ‘villain’ can be established because their tone of voice is often calm and sophisticated (e.g. Peter in Just Married) in comparison to the comically immature heroes.
Slide 9
Narrative structure
I found that teen and romantic comedy films often followed quite a similar Todorovian narrative structure. Generally, they go like this:
Teen comedies:
Equilibrium: Normal high school life, usually following one or a group of ‘average’, ‘geeky’ or ‘new to school’ characters
Disruption: A teen issue of some kind disrupts this equilibrium, usually to do with sex/relationships.
Realisation: Characters realise that in order to be socially accepted they must do certain things (see below).
Seek to solve problem: Male protagonists try to ‘score’, female protagonists try to fit in/date the ‘perfect’ boy (often the ‘jock’). Often more smaller disruptions within these plans occur.
New equilibrium: The Heroes end up with their desired love interest and often a new sense of maturity.
Romantic comedies:
Equilibrium: The completely different lifestyles of a male and female protagonist. Somehow, they meet, which is a disruption to their ‘former’ lifestyles, however creates a new romantic equilibrium.
Disruption: The couple argue due to either exes, misconceived ‘cheating’, dislike from one or the other’s family/friends, and break up temporarily.
Realisation: One or the other, or both, realises they are incomplete without their love.
Seek to solve problem: a ‘grand gesture’ is made.
New equilibrium: The couple have a happy reconciliation.
Slide 10
Character Types: Teen coms
Key stock character types I found in a teen comedy are: the ‘geek’ (e.g. Sherman in American Pie), the ‘popular girl’ (e.g. Leah in Juno), the ‘Jock’ (e.g. Oz in American Pie), the ‘average girl’ or ‘girl-next-door’ (usually the main character so the audience familiarise with them).
I also found that there were stereotypes of social groups in teen comedies, e.g. ‘goths’.
I identified the following Proppian character types in teen comedies:
I found that the ‘hero’ can be male or female; for example in American Pie, the heroes are male, but in Mean Girls the heroin is female. This is all depending on target audience and how they familiarise with the heroes; teen films like Mean Girls would be considered a ‘chick-flick’, having a predominantly female audience, but American Pie would relate more to boys.
In ‘chick-flicks’ the villain is almost always the ‘popular girl’. However, I found that mostly in teen comedies the villain is usually pressure from society.
The ‘mentors’ and ‘helpers’ are friends and family of the hero/heroin, who offer frequent advice and guidance.
The ‘princess’ is almost always the hero/heroin too; sometimes they rescue themselves from their problems but often a male ‘hero’ will rescue the female protagonist, in which case becomes the ‘princess’.
Slide 11
Character Types: Rom-coms
Key stock character types I found in a romantic comedy are: the conventionally, by Western terms, ‘successful’ woman, glamorous and beautiful but unsatisfied without love- the Proppian ‘princess’ who must by rescued by the ‘hero’; a ‘useless’ and ‘lazy’ man, who is still remarkably attractive and whose weaknesses are seen as strengths; the comically and stereotypically over-protective father of the woman who is sometimes the ‘villain’ and the ostentatious yet caring and nurturing mother, who acts as a ‘mentor’ to the princess; the male’s mentor being his father- often a senior reflection of himself. The ‘villain’ is also often an ex or another love interest. Then there is the similarly immature companion of the male, his ‘helper’, and the similarly successful friend of the female, her ‘helper’ (who sometimes have a comical relationship of their own).
Slide 12
Audience Theory
I found that the codes and conventions of romantic and teen comedy films complied with the ‘uses and gratifications’ theory:
Escape: The idyllic settings of romantic comedy films and the fairy-tale like atmosphere created means that audiences can escape into these films.
Identity: The ‘everyday’ props and modern props such as mobile phones and computers, the costume of characters, straight cuts etc. meant the audience could identify with characters and familiarise with their situations.
Social Interaction: This is also meant a teenage audience could communicate with their peers about the films, relating them to their own lives.
Entertainment: The ‘screwball’ style of comedy, combining witty humour with slapstick scenes, means that teen/rom-com are extremely entertaining for audiences.
Also, the ‘hypodermic needle’ theory could be applied. The inevitably happy ending to teen and rom-com films always ends with love. Therefore, they are injecting the audience with the idea that love conquers all. Feminists would criticise this as the female protagonist might lose everything else but still have her male ‘hero’.
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