Thursday 30 October 2014

Titanic Essay

Discuss the ways in which Cameron has used binary opposites to create meaning in Titanic.

In this extract from Titanic, the director James Cameron presents the primary protagonists of Jack and Rose as binary opposites. The extract can be broken down into five sections, the opening shots of the Titanic ship, Rose’s arrival, Rose boarding the ship, Jack’s introduction, and Jack’s race to get on board.

In these establishing, introductory shots Cameron has still used binary opposites to convey his ideas, despite the lack of the film’s primary characters.  The very first thing you see is the shipwrecked titanic laying at the bottom of the ocean, rotting and covered in seaweed. This picture then transforms into the spotless, shining, clearly new, and covered in myriads of people ship at the dock. This stark contrast in just the beginning shot shows the audience that the rest of opening and even the rest of the film is going to be filled with symbolic binary opposites.

Meaning is also conveyed through Rose’s arrival. Through the crowd on deck we see two cars; the camera zooms into the cars and makes it apparent that the cars are covered in gold, which denotes wealth.  This juxtaposes Jack as he has no transport; he travels on foot as we see later on in the opening. The car is clearly a very old one, which helps the audience see that the film is set in the past. The car door is opened and out steps the female protagonist ‘Rose’. The first you see of Rose is her hand, which you see from above.  This could connote that Rose feels looked down on and is unhappy. Similarly when Rose turns to face the ship the light shines on her face, this could suggest to the audience the impressiveness of the Titanic, however it quickly becomes apparent by her lack of facial expression that the ship does not impress her at all. This contrasts Jack, as he laughs, jokes, and cheers, showing lots of facial expression at his delight of boarding the ship.

Moreover the use of colours on Rose reinforces to the audience her limitless wealth. Rose is wearing a large vibrant purple hat that symbolizes wealth and royalty. She also wears white gloves; this is to avoid direct physical contact with the lower class people helping her out of the car etc. The binary opposite to this is the less wealthy people (including Jack) as they do not wear colourful clothes, as they cannot afford them. They wear dull colours, which shows the contrast and divide between rich and poor passengers. This idea is again reinforced whenever Rose is on screen asthere is always a lot of light, and bright colours everywhere, not just on clothing. But of course in opposition whenever Jack is on screen the colours are very monotonous, dull, and dark.

When Rose and her family board the ship they are assorted on, helped even. When Jack tries to get on the boat, however, he has to overcome obstacles, like jumping a small gap, and answering questions before he could get on. Rose’s family also skip all of the queues, do not carry their own luggage and they do not get checked for lice, all because they are rich enough to having things done for them, and to bribe others into hushing things up for them. This is how their luggage got on board, as they certainly wouldn’t have carried it themselves. They also walk up to the top of the boat to get on, this is symbolic as it signifies how much more important they are, as they can now physically and metaphorically look down upon the poorer people. In addition to this, the top half of the boat is also coloured white, connoting cleanliness, purity, and another distinct divide between the different classes, as the bottom half of the boat is black. This is where the poorer people get on and where their rooms are. The boats white to black exterior could connote danger, and a foreshadowing for the disaster that is to come.

Jack’s introduction is very different from Rose’s. The first you see of him is through a dirty murky window, which symbolises the divide between him and the outside rich people’s world. The picture inside is of a group of young men who are smoking and gambling on their game of cards. This kind of activity is more associated with the lower classes of people, and immediately tells the audience that these people are much poorer than Rose and her family. The battered cards in their hands denote that they are used a lot, while they also connote that Jacks life is all down to chance, just like betting on a card game.

Furthermore in the centre of the table, there are the coins and possessions that the men are betting on. There are no notes on the table; these men don’t have that kind of money. The presence of items that are not money on table, signify that these men have run out of money, they have put all that they can on the table. This is a stark binary opposite to Rose, and her depth of wealth, as it is vast and is concealed behind her extravagant clothing and indifferent facial expressions.

When Jack and his friend win their tickets to board the Titanic, they have a mad rush to get on before it departs. This in itself is different to Rose’s experience of boarding the ship as she leisurely strolls aboard, he has to run as fast as he can to get around people who don’t move for him.
The editing techniques are even different for the two boarding the ship.  Rose has very slow paced editing, there is a lot of time between changing shots, as she has a lot of long sweeping camera movements. Jack, on the other hand, has very fast paced editing, sharp quick jump cuts between angles. This further opposition communicates with the audience how different Jack and Rose are, and not just because of their class.

To conclude, Cameron has used multiple different signifiers to connote binary opposition between Jack and Rose and their separate classes throughout the opening of Titanic.

 1,043 words

Wednesday 22 October 2014

Rose and Jack as Binary Opposites

Claude Levi-Strauss was the first to suggest that a narrative was driven by opposing forces, this idea become his theory "Binary Opposition". More detail is given on this idea in my previous blog post "Binary Opposition".
The Protagonists Jack and Rose (in the opening of the film Titanic) are portrayed as binary opposites.
These are the notes I made on their individual introductions.

Rose:
  • bright lights/ colours
  • hiding her face
  • wealth
  • hand shown first
  • golden light/ carriage
  • walking upwards, to get to the ship
  • guaranteed passage
  • slow casual walking
  • has a car
  • purple hat - royal colour
  • high camera angle, people look down on her?
  • people moved out of the way for her
  • posh white clothes- innocence
  • choir music
  • slow paced editing
  • no emotion showed
  • red lipstick
  • unimpressed by ship
  • escorted into boat
Jack:
  • dark screen
  • dulled colours
  • gambling- down to chance
  • running- no car/ transport
  • walking down to get to boat
  • scruffy clothes
  • folk music
  • fast paced editing
  • laughing and joking
  • no one moved out of the way for him
  • very impressed by ship
  • briefly stopped from getting on the ship
  • runs under the bridge

Tuesday 21 October 2014

Thriller Films and the Sub- Genres Of Thriller

Thrillers: Thriller is a genre that revolves around anticipation and suspense. The aim for Thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem – an escape, a mission, or a mystery. No matter what sub-genre a Thriller film falls into, it will emphasise the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax.

Action Thriller: An Action Thriller uses physical action to create suspense within the film. Like a traditional Action film, this sub-genre will often have continuous motion and action including physical stunts, chases, fights, battles, and races. Often, these scenes will contribute to the overall sense of danger that the protagonist is facing. Examples: Die Hard, Kill Bill Vol. 1, The Bourne Identity.

Crime Thriller: Crime Thriller film is a sub-genre that incorporates the suspenseful aspects of a thriller with a crime film plot. This sub-genre's plot usually centres on a serial killer, murderer, robbery, or manhunt. As opposed to traditional crime films, the storyline focuses both around the criminal and the protagonist. Crime Thrillers use both action and psychological aspects to build tension and suspense. Examples: The Usual Suspects, The Fugitive, Jagged Edge.
Film-Noir: Film Noir is not simply a sub-genre, but rather a term for a distinct, stylistic type of crime-drama or thriller that was popular throughout the 1940s and 1950s. Film-Noir is characterised by a black-and-white style with stark lighting effects. The main character is usually a cynical hero. Film-Noir relies on a narrative voice and various flashbacks to explain the intricate plot. Examples: Sunset Boulevard, The Maltese Falcon, Sweet Smell of Success.
Psychological Thriller: In addition to the traits of a regular Thriller, a Psychological Thriller incorporates elements of drama and mystery film. The suspense in this sub-genre comes from the mind, rather than from a psychical threat. The protagonists in Psychological Thrillers must rely on their mental resources to solve the situation. Because of their nature, many Psychological Thrillers cross over into the Horror genre. Examples: Memento, Rear Window, Taxi Driver.
Science Fiction Thriller: Science Fiction Thriller incorporates hypothetical, science-based themes into the plot of the film. Traditionally, a Science Fiction film will incorporate heroes, villains, unexplored locations, fantastical quests, and advanced technology. These elements can be used in a Science Fiction Thriller to create anticipation and suspense. Often, this sub-genre will explore the “future-gone-bad” theme, including plots that revolve around alien invasions, dystopian scenarios, and super-diseases. Examples: Aliens, Inception, District 9.
Religious Thriller: Religious Thriller film incorporates religious themes, including religious questions, ceremonies, and objects. Though some films can revolve around a specific church, many Religious Thrillers include supernatural experiences not pertaining to a certain religion. Exorcisms, demon possession, and church cover-ups are typical themes of Religious Thrillers. Examples: The Devil’s Advocate, The Ninth Gate, The Da Vinci Code.

Monday 20 October 2014

Codes And Conventions Of The Thriller Genre



The Thriller Genre:
A thriller usually consists of a battle between a protagonist, and an antagonist, caused when there is a disruption in the initial equilibrium. The story then shows a building the tension and suspense, ready for the climax of the storyline. The aim of the protagonist is to restore the equilibrium, where as the antagonist seeks to destroy it.


Conventions Of Thrillers Include: 
Low Key Lighting
Quick Cuts
Shadows
Tension Music
Changes in Angle of Shots
Exaggerated Diegetic Sound effects
Montages
Protagonist at mercy of Antagonist



Character Conventions:
The protagonist is a brave courageous person, who is innately good 
The antagonist has a hidden identity which the audience will uncover as the film progresses. Often wants revenge on the protagonist because of a past event. 


Cinematography Codes for Thrillers: 
Close up, and extreme close up shots. Used to show emotion, and to help the audience notice certain things, or link sequences together, important for the narrative. 
Shots of antagonist are ambiguous. They often are cut quickly, have low key lighting. Or focus on a silhouette, or shadow.  


 Editing Conventions:
Jump cuts- helps the narrative
Cross Cutting - helps audience link the narratives into a story


Sound Conventions:
Jumpy non-diegetic, tension building music. 


Mise en Scene:
Dark often gothic setting
Low key lighting
Antagonist in dark clothes, Protagonist in everyday clothes
Make up and hair of antagonist often is warped and strange, Protagonist's is usually more normal.
Filmstoke (Often black and white in parts, or even grainy) 


Monday 13 October 2014

Narrative

Narrative and story are different. A story is a sequence of events, known as the plot. Whereas narrative is the way that those events are put together to be presented to an audience. so, when analysing narrative you analyse the way the story is put together, including the intended theme,  instead of the story itself.  

Narrative Includes:

Technical codes

Verbal codes
Symbolic Codes
Structure
Character
Narrative Conflict

Russian Theorist Tzevtan Todorov suggested that all narratives have a 3 part structure. Equilibrium (beginning), Dis-equilibrium (middle), and New Equilibrium (end). This theory takes into account Aristotle's theory that all drama is conflict, so therefore there is a dis-equilibrium at the heart of every narrative. Claude Levi-Strauss had a theory called binary opposites, where each narrative has an opposing force. These theories provide formal framework for describing and understanding the meaning and significance of a narrative.  


Friday 10 October 2014

Terror In The Night - Animatic



This is the animatic of our groups horror story, Terror In The Night.

Wednesday 8 October 2014

Binary Opposition

Binary Opposition

Structuralism -  understanding semiotics through its opposite which is called the binary opposite. 
Claude Levis Strauss and Roland Barthes developed this idea.
They realised that meaning can never reside entirely within a thing in itself, but only from a complete appreciation of a thing opposite ~ called its binary opposite.


Examples of Binary Pairs:
- Fast/ slow
- Strong/Weak
- Tall/Small
- Good/Bad
- Wealthy/Poor
- Moral/ Immoral
- Happy/Sad
- Male/Female
- Black/White
- Life/Death
- Calm/ Moody
- Interesting/ Boring


Saturday 4 October 2014

Famous Directors on Genre

Famous, Accomplished, and Influential Directors on Genre

Daniel Chandler: 
"Conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and / or form (including structure and style) which as shared by the texts which are regarded as belonging to them."

David Buckingham:
"Genre is not simple 'given' by culture: rather it is in a constant process of negotiation and change"

John Fiske:
Defines genre as "attempts to structure some order into the wide range of texts and meanings that circulate in our culture for the convention of both producers and audiences"

Rick Altman:
Argues that "Genres are usually defined in terms of media language (semantic elements) and codes (iconography/ stars) or certain ideologies and narratives (syntactic elements)."