Film’s multimodal capacity to assert, describe and depict 1. Introduction 1.1 Overview It is the intention of this paper to illustrate how film’s multi-modal affordances allow some capacity to assert as well as depict. If the language of cinema is acknowledged then the issue becomes one of enquiring into the differing nature of description and assertion within film and the novel. Therefore, the paper will argue the case for the centrality of text and sound within cinema. In the analysis, examples will be drawn from a range of sources to contrast the inferential requirements of portrayals in each medium.
Identify and assess some of the factors which help define media genres ‘Genre’ is a subjective way of classifying texts by connecting them via their common elements and separating them via their differences: ‘genres are instances of repetition and difference’ (Neale 1980: 48) . In terms of media texts: “The concept of genre is now widely used, both as a way of categorising forms of media production and output […] to explain how we, the audience, make sense of the ‘flow‘ of media output by identifying and organising.” (O’Sullivan 2003: 56). Examples of key factors that identify media genres will be described in terms of films, books and magazines, though genre applies to all types of media text including music and television. In the most basic sense media texts can be classified into genres by looking at their most fundamental features- for example narrative (the content or plot of the text), themes, audio-visual codes/iconography (costumes, lighting), setting, form, mood, structure and the text‘s reality and relevance to the ‘real world‘ (verisimilitude). If one was to try and identify a film’s genre there are three main indicators (setting, form and mood).
No: 129083035) (M.Sc. Full Time) COURSE: BIBLIOGRAPHY OF MASS COMMUNICATION COURSE CODE: MAS 805 LECTURER: DR. THERESA IFEOMA AMOBI © JAN., 2013 Bibliography Citation Hebert, B. and Philip, M.H., (1993). Movies, delinquency and crimes. United States of America: The Macmillian Company. INTRODUCTION Studying mass media effects on the audience is, perhaps, one area that has frequently attracted the attention of mass communication scholars because of the media’s potentiality to exert certain patterns of behaviour on individual member of the audience.
Within this essay, we will look further into the male gaze and what it means and how it is constructed, but also look for flaws in the argument and whether alternative gazes exist, such as the female gaze. The ‘male gaze’ refers to the power in which the male spectator has when they are watching the film. The male actor is often the main focus of the film, his role in the film as the protagonist often makes the male seem powerful and important, whereas the female counterpart often relies heavily on the male and is seen to be vulnerable and powerless. The main focus of the role of women are to be “looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness”(Mulvey, 1975). This view is reiterated by the camera techniques in Hollywood cinema, more often than not the female body is shown with close ups or areas that the male gaze find attractive, such as their breasts, bum and legs.
Firstly, the analysis will focus on the dramaturgical composition of the film and how the participants (the ‘bunkers’) have been perceived in theory and practice. Secondly, the interview techniques will be examined and how they are used, illustrated and perceived in the film, as well as how visual effects and other techniques are used in the film. Thirdly, the moving picture’s composition will be discussed, and the way the film presents a picture and is edited to present its message to the viewers is also analyzed. Finally, a summary of the findings will be presented. 2.
man displaced the classic structure of masculinity by replacing aggression with emotion, intellectualism with irrationality, virility with insecurity, and strength with imperfection. This became the model of masculinity in the 1970s, as several other films of the era also expressed this redefinition of manhood. (Check out John Schlesinger’s Image by Adam Meaney As a response to this displacement, the cinema of the 1980s took action (quite literally) as it sought to reassert control of the “shambled” gender ideologies. Epitomic films of the decade such as Rambo: First Blood (Ted Kotcheff, 1982), The Terminator (James Cameron, 1984) and Die Hard (John McTiernan, 1988) perfectly represent the typical blockbuster action film of the era that bombarded society with images of what it considered to be the “correct” male attributes. As a result, yet another type of masculinity came to be established in this era: ultra-masculinity maintained the same attributes of the authoritative male, but it went even farther by constructing itself as god-like.
How does the theory and practice of montage cinema as seen in Eisenstein and Vertov differ from mainstream cinema of the same period? Discuss with reference to critical material and any film examples you want to use. You need to remember to include the theory in this essay to help ground a compare and contrast-type answer Eisenstein,s beyond the Stars: The Memoirs of Sergei Eisenstein,ed.Richard Taylor,trans.William Powell. British Film Institute: London In the first of my film,Strike,I wanted to take the terror of the finale to a high point. The most horrible thing in the representation of blood is blood itself.
Our study will explain and interpret the meaning or the significance behind those components, and by then try to connect the shot to the themes of the film. Tony Scott applies several genre specific editing techniques, which accordingly suture the audience to the stories multiple levels. Tony Scott is mixing up the sound effects, which links the audience to the drama and the history of the movie, providing a coherent structure. 00:45-1:00 In the first scene of the movie we are presented with the main character “Domino” (Keira, Knightley). In terms of Mise-en-scene our eyes are firstly attracted to Keira, who is lighting up a cigarette.
That we as viewers are positioned either to sympathises or discriminate the culture and to turn a blind eye. Many of these values that are portrayed influence our everyday living in our own lives and the way we judge different cultures. Feature films have the ability to convey cultures and present their attitude and beliefs to an audience. This gives the director power to incorporate and bring socio-cultural relations into a production. Many cultural films have conflict presented between two significant cultural groups.
School of Arts, Design, Media and Culture MAC 101 Discuss (with reference to critical reading) the importance of any TWO of the following concepts for an analysis of media texts, and demonstrate through analysis of an excerpt from a media text how you would apply these concepts in your own discussion Stephen Wright This essay will set out to investigate how women are represented in action movies. The films I will mainly study in order to gain an understanding of this subject will be Casino Royale and Sin City. Both of these films have a tendency to depict women in a derogatory way. To do this the term representation will be investigated to understand its full meaning. This essay will focus mainly on the feminist attitudes towards the gender representations.