Post 15: Reflecting on theory

Genre theory

Genre theory is the theory of film producers distributing a film that appeals to a certain audience.

Genre theory follows set rules of codes and conventions that set up a genre for a film, such as mise-en-scene, lighting, sound and props etc.

At first, a genre of a film would be one set idea, for example, an sci-fi movie. When genre theory was first introduced, films would have one set genre that would follow the codes and conventions of that genre.

However, due to new technologies, genre’s can change and adapt in different ways. This is why we now have sub-genre’s, such a psychological horror, or rom-com’s etc.

As there are so many competing film producers, everyday they are fighting the typical codes and conventions of genre’s, adapting and changing original genres.

Our film is definitely an example of this genre theory. Our film is not just a thriller, but it is a psychological thriller, tapping into child abuse.

Audience theory

Audience theory categorises how audiences recieve media texts, and what they recieve from them. Hypodermic Needle Theory Introduced to explain how mass audiences react to mass media, mass media was still new at this time. It suggests audience recieve information passively through the media text. Suggests we are manipulated into what the producers want us to hear. Two-Step Flow Suggests that audiences are influenced by 'opinion leaders'. The information that the opinion leaders learn from media texts are passed on to others. The opinion leader doesn't, however, have to be a person. This theory diminished the power of the media to their audiences and decided that social factors are important when considering a mass audience. Lasswell- Uses and Gratifications In 1948, Laswell suggested these media functions for the media audienc: Surveillance, Correlation, Entertainment, and Cultural Transmission. This theory suggests, unlike the other theories, an active audience. (Harold Laswell) In the 60's, Bulmer and Katz extended this theory. They suggested that the audience choose a text for these purposes: 1) Diversions- Escape from everyday life 2) Personal Relationship- Emotional interaction 3) Personal Identity- Finding yourself in a text 4) Surveillance- Information useful for living. Reception Theory Created in the 1980's, based on Stuart Hall's encoding/decoding model. Reception theory is the way in which the audience recieve and interpret a text, how their circumstance effect their reading (i.e. Gender, Race, Age.) In relation to our film, it is targeted at teenagers who may be in the same situation as our character Grace, and young adults. I believe that our film does take some ideologies from 'Reception Theory', as 'Bruises' does tackle a hard hitting issue, which, relying on some peoples circumstances, may appeal more to someone who has been through a similar situation. They may recieve and interpret the text in different ways as well, which therefore supports the reception theory.

Narrative Theory Narrative Theory is explained under 4 main theorists. Bartes, Todorov, Levi-Strauss and Propp. Bartes- Enigma Code - The enigma code is the explanation of a text that portrays a mystery to draw in the audience and pose questions, so an audience becomes interested. Todorov's theory - Todorov argues that there is a basic structure for all narratives. He stated that films all started with an equilibrium, then progressed to disequilibrium then followed by a renewed state of peace for protagonists. The new equilibrium brings the chaos to an end. This is often referred to as 'classic' or 'Hollywood' narrative. Levi-Strauss- Binary Opposition -Narrative tension between an opposition or conflict. For example, two characters fighting, but it often functions at an ideological level. For example, in westerns, what do Cowboys and Indians represent? Vladimir Propp- Characters and Actions - Propp used Russian folk tales for the basis of this theory. There are several basic archetypes. Characters: The Hero, Villain, Doner, Helper, Princess, Dispatcher and The Father. There are then 30 actions in which the film typically follows. In terms of our short film, I believe we haven't followed any of these theories specifically. But I believe that our short film do adopt some basic idea's from Levi-Strauss' theory. The opposition of Grace and her Father act on a ideological basis, Grace stands for a victim, and the father as a Perpetrator, and the insight into these kind of abusive attacks.

Post 14: Pre-Production Documentation

Location Recce's:
These documents are a series of pictures that are edited together, to get a shot of a location that is used in filming. This can be done in 'Windows PowerPoint'. Underneath the picture is the name of the location, the lighting that is in the room (i.e. how many lights there are on the ceiling or windows), the power source (the amount of plug sockets) and any permission needed to use the room for filming.








Shooting Schedule:

Script:
This is the original script that Jenna Pridgeon wrote, and we are both working on at the moment, titled 'Bruises'. The script is the main document that is seen by the actors to learn from. However, fundamentally, it is what people within the industry use to see if they want to make your film or if it has potential to be a film.

Costume List:

This is a list of all the costume items the cast member will need for each scene that requires it. the first line states what items of clothes are needed, the second says who it is needed for and the third line states what scenes they will be needed for.

Prop List:

Similar to a costume list, but with props that are required for the day instead of costume. It states who will provide what and for each scene that particular prop will be needed for.

Risk Assesment:

This is a documentation that is essential when it comes to making films. This is for the use of the the directors or whoever is in charge on the day of shooting to recognise what risks are around, and if action has been taken to eliminate the risk. The first line says the location, the second is the risk that is there, the third is the action to be taken, and the final line is the risk after action has been taken.

Character Profile:
This is a quick description of what the characters in the film are like, what they symbolise or stand for, what they give to the film etc. It then has a collage of what they would typically wear.

Grace:

Father:

Cast Profiles:

This is a short documentation of information about the cast in the film. On this, there is the age, height, measurements, eye colour, shoe size a brief description about what their hobbies are, and what they do in their day to day life, and 3 pictures of each cast member.

Zoe:

Ryan:

(Due to reliability, Ryan was later changed to Martin Pridgeon to play Grace's Father)

Technical recce's:

These are an areal drawing of each location we will be filming in for production. This includes everything from the furniture in the room, to the number of lights. On this, we draw where the camera's, lighting and actor will be placed for each scene in that location. This is to help us perceive where we may encounter issues with placing of the furniture or the type of lighting that may be in the room.

Storyboard:

A Storyboard is a documentation where the shot and scene numbers, with camera and character movement, lighting and shot length are in the right hand box, and a drawing of the shot in the left. The arrows outside the left hand side boxes indicate camera movement, and the arrows inside the box indicate character movement. This is so we can get an idea of what the shot should look like, and how long it should take when we are filming.

Shot List:

This documentation in a list of all the information we need to film in each scene. The first line has the location in which we will be filming in it, the second line contains the scene number, the third line contains the shot number, and the final line contains a brief description, similar to the ones found in the locations recce's, of what is happening in each shot.