Tuesday, 22 March 2016

Vladimir Propp


Vladimir Propp – Character types


The Hero – On a quest

The Villain – Works in opposition to the hero

The Princess – What/Who the quest is for

The Dispatcher – The one who sends the hero on the quest

The Donor – Someone who assists the hero by giving them things

The Helper – Assists the hero on his quest

The father – Rewards the hero

The False Hero – Appears to help the hero but is later on unmasked as a fraud.

 

Genre Theories


Genre theory


Genre is the classification of any media text into a category or type: e.g. news, horror, documentary, soap opera, docu-soap, science-fiction or lifestyle etc.

Genres tend to have identifiable codes and conventions which have developed particular expectations, which may either be fulfilled or denied/subverted by the producer.

All Genres have subgenres. This means that they are divided up into more specific categories that allow audiences to identify them specifically by their familiar and what become recognisable characteristics.

Social realism – The realism of what someone has gotten themselves into.

Daniel Chandler’s Genre Theory

NARRATIVE - similar plots and structures, predictable situations, sequences, episodes, obstacles, conflicts and resolutions.

CHARACTERS - similar types of characters (sometimes stereotypes), roles, personal qualities, motivations, goals, behaviour.

THEMES - topics, subject matter (social, cultural, psychological, professional, political, sexual, moral), ideologies and values.

SETTING - geographical and historical;

ICONOGRAPHY - echoes the narrative, characters, themes and setting, a familiar stock of images or motifs, the connotations of which have become fixed. Includes décor, costume and objects, certain 'typecast' performers familiar patterns of dialogue, characteristic music and sounds,

FILMING TECHNIQUES - stylistic or formal conventions of camerawork, lighting, sound-recording, use of colour, editing etc.

 

 

Todorov


Tvetan Todorov’s narrative theory

 

He stated narratives are led by events in a cause and effect format.

·         The narrative starts with an equilibrium

·         An action/Character disrupts the equilibrium

·         A quest to restore the equilibrium ensues

·         The narrative moves to a confrontation or climax

·         Resolution/Equilibrium is restored

 

This is a simple structure, and some texts defy the idea of a resolution or return to equilibrium, as they seek to challenge audiences by offering open-ended narratives that require the audience to interpret what they understand by the ending.

Other resolutions are far from a ‘return to equilibrium’ – the audience comes to realise that the only resolution will be a tragic one and there will be no return to equilibrium for the main characters.

Our Thriller would adhere to Todorovs narrative theory as we start with an equilibrium, which is then resolved through the use of flashbacks until the film returns to the disequilibrium.




Tuesday, 15 March 2016

Editing

On the 7th of March me and Linden met up once again to edit our thriller opening, Blackmail. I arrived at Lindens around 4pm and we straight away began the editing, he started by showing me the clips we had and we discussed what order we wanted the clips to be shown in and reverted back to our story board to help settle debates. The editing was a much shorter process than the filming, due to the distance we had to walk during the filming process, resulting in us being finished by around 7pm. The editing was simple to do and Linden most of it whilst allowing me to do bits every now and the so I could learn how to do this for future reference. The titling was done with minimal effort and the cut and stick was done in minutes

Friday, 11 March 2016

Filming

3rd of March 2016
A sneak preview of "Blackmail".
We filmed our entire film on the 3rd of March. This involved over 4 hours straight filming in the cold and the darkness. The day started at my house when Linden arrived at around 5 o'clock. We requested the help of Jon-Joseph Murtugh from the other media group to assist us with our filming and the lighting. We begin by getting the first few shots, in and around my house and garden. As time went on the darkness set in and the batteries began to wear thin. We had to get all of our shots today as there would be no other time that all 3 of us were free for long enough to get the shots. We obtained all of our shots in the order they are shown in the feature film as it shows a journey which we actually made, so this was the most effective way to get the footage. Parallel editing is used throughout our opening to show Jamie's best attempts to reach Linden in time whilst also showing Linden preparing for the end.