This task will require you to write a 1200 word report on a film text of your choosing. You must discuss these media concepts in relation to the film text in this report.

Micro-features- (One scene)

• Mise en scene (150 words)
• Camerawork (150 words)
• Editing (150 words)
• Sound (150 words)

Macro-features- (The whole film)

• Genre (200 words)
• Narrative (100 words)

Media Theory

Employ the use of two media theories (choose from Tunstall, Connell and Alvarados theories) in relation to the film text (300 words)

 

 

The Other Guys is based upon fraud schemes, which would have been in the news and familiar to audiences since it was released only two years after Bernie Madoff’s Ponzi scheme and the 2008 Wall street crash. Due to the films use of believable settings and characters, the film is successful at entertaining, whilst also reflecting the target audience’s perspectives and offering a sense of personal identity to audiences with office jobs who seek a more exciting and fulfilling career.

The genre of’ The Other Guys is not only a hybrid between comedy and crime, but it also includes a lot of action within the film. This is made clear through the use of police cars and realistic uniforms in the opening scene and consistently throughout. Terry and Allen enforce the idea of binary opposites between the two main characters both being the ‘hero’ figure in the film. Terry is represented as aggressive and controlling which is reinforced from his clothing consisting of mostly leather jackets. The more respected cops Danson and Highsmith also wear leather jackets which forshadows Terrys potential in the police. In contrast to this, Allen is portrayed as determined and loves his simple office job with the use of smart outfits which he even wears when he is at home to reflect his positive and committed attitude towards working in the police department, this is opposite to Terry’s informal clothing outside of his work.

The first scene includes an establishing shot of New York City and the narrator introduces Danson and Highsmith first to represent the unimportance of Terry and Allen. The first scene is a chasing scene which is filmed with a handheld camera and therefore has an imperfect effect to it, it also highlights the chaotic and exciting jobs that Danson and Highsmith have contrasted with Terry and Allen’s office duties. This unsteady camera work enforces the idea of unprofessionalism which is repeated throughout the film during chasing scenes. Danson and Highsmith’s muscle cars were used in the first scene which later contrasts Allen’s prius, this underlines the different roles which Terry and Allen are familiar with in the police force, they are treated with less respect by their coworkers with Allen being considered too irresponsible to have access to his own gun for most of the film.

The narrative of the story follows a linear structure throughout with occasional flashbacks for comedic and contexual purposes. The film begins with Terry hating being partnered with Allen in the police force and they often got into confrontations. However, there is a consistent use of flashbacks primarily on Allen’s life as the audience and Terry learn about his past, exploring the idea of two points of view narrative due to their continued contrast of opinions and differences. This is used to generate a bond between the two characters and makes the experience more personal. By the end of the film, there is closure at the end regarding both of their relationships and careers.

The structure of the narrative has a repetition of disruptions which both main characters have to overcome. The film starts with the equilibrium as Terry and Allen are working in the office together but Danson and Highsmith are killed and the police are in need of two ‘heroes’ to save New York from white collar crime. Allen becomes suspicious and begins to investigate the David Ershon case before anyone else in the police department, signifying his importance in the role.  The story is resolved when they capture Ershon and stop the frauded money transfer with Allen and Terry being presented as heroes throughout the film as they are held back multiple times but eventually solve the case together. In one of the last scenes, it depicts Terry and Allen driving away in a muscle car, this represents them finally being respected by their coworkers for their duties.

In the film Connell’s theory on the typical representation of masculinity is contradicted throughout. Hegemonic masculinity is shared between the two main characters, Terry and Allen, whilst Terry represents physical toughness and strength, Allen has the element of marriage and is capable of doing independent detective work at several points without Terry. This typical rule of masculinity is broken again by Terry and Allen having to rescue David Ershon in a hostage scenario, which presents a male character as ‘the princess’ that therefore needs saving (Propps character types). Allen’s wife Shelia is the only female main character in the story and she is presented as domesticated and defined by her husband as she  is only in scenes centred around either their home or scenes including Allen . Shelia’s actions of kicking Allen out of the house progresses his and Terry’s relationship as they both can relate to relationship troubles in their life and therefore become more connected to later progress the story.

In one scene, Terry and Allen had been temporarily dismissed from the case they were working on. Allen breaks into Terry’s apartment claiming that he had information about the case but is worried Terry’s house might be bugged and decide to discuss the case under the bed. Terry is wearing a suit to highlight that he has moved on since working on the case and it is no longer a priority to him, this is contrasted by Allen wearing more casual clothing, this connotes the change in both characters views and opinions and that it is like they have switched roles compared to the beginning. It begins with a shot of the empty apartment in low key lighting to present that Terry is on his own, when Terry arrives in his apartment there is uses of harder lighting to introduce Allen into the scene.

There is the use of close-ups of Terry and Allen to show a intimate verbal exchange with the camera positioned at eye level with low-key lighting and shallow focus primarily on their faces to show the privacy of the information Allen is sharing which makes the audience feel involved. The editing used in this scene shows straight cuts between shots to reinforce the snappy exchange which is taking place on-screen. There are eyeline reverse shots each time one of the characters speak as they look off camera presumably to the other person whilst the movement of the camera stays fixed. There is little spacing in these shots to represent the responsibility that is being shared with Allen’s private information. In the background there is diegetic radio sound that is muffled by the dialogue happening on screen so the audience can hear the conversation more clearly.

As the verbal exchange turns into an argument, both characters change from a setting of soft low key to hard high key lighting in order to follow this change in conversation. Now the editing cuts includes over the shoulder shots with the focus upon the person in the background who is speaking. The shot types are medium long shots that show Terry and Allen are stood further apart from each other than before, showing the argument as less private and heartfelt.

Media Theory 1– Semiotics

That texts communicate their meanings through a process of signification. This is the idea that signs can function at the level of denotation, this involves a literal/common sense meaning behind the sign and a level of connotation (the suggested meaning).

If something can be described as in different ways (multiple meanings) it is polysemic. Some can be binary opposites.

Textual Analysis Toolkit

Producers of media texts use technical/audio codes to create meaning and communicate ideas and messages to the audience (ENCODING).

The audience can then DECODE these messages and interpret them in different ways.

An example of this is in the film Marley & Me where it provokes the audience to feel upset.

The Green Mile (1999)

• There is scene is quite silent, which connotes the innocence of the character.
• Then emotional part the audience can hear piano/violin playing in the background.
• Lighting is low-key/soft and is used to make the audience feel sad for the character
• Close ups to show the emotions

 

Micro Elements in film (How to speak Movie Part 1: The Camera)

• Shot length– How far the camera is from the object it is shooting. Examples include: (Extreme) wide shot, Long shot, (Extreme) close up, Medium Shot, Two Shot (Where two characters are in the same shot)
• Angle– Neutral level is Eye level, High angle (makes subject look inferior) , Low angle (makes subject look superior), Dutch angle (where the angle is slanted)
• Depth of field– How much the camera is in focus, Deep focus- When there are many subjects at different distances in focus. Shallow focus- A short depth of field. The Rack focus is the changing of the focus midshot,
• Movement of the camera– Handheld shots, Steadicams (A handheld shot but with support to stabilize it), Pan, Tilt, Zoom (Tight/wide Slowly/quickly). Dolly/ Tracking shot- Where the camera is put on a dolly/tracks and moves with/without the subject. Jib/Crane shot- When the camera is placed on a platform and raised above/brought down to the subject.

Mise en scene- everything in the scene

• Decor– Includes objects, props are used in the scene by the actors.
• Setting– Set dressing (objects that aren’t used by the actors but can change. An example of this is taking a studio and used as a modern setting, then use the same location with different props to establish a change in time).
• Costume– The colour and style of clothing can connote to an audience a particular message.
• Lighting– This is a key part as it highlights how the audience should feel whilst watching the scene and the overall mood.
  • The most common used in movies is the ‘Three Point Lighting’ where there is a main source of light, a Fill Light to fill in shadows produced by the key light, and the backlight to separate the subject from the background.
  • Simpler types of lighting are high key lighting, low key lighting
  • Hard lighting (bright key lights that create dark shadows)
  • Soft lighting (where the lights are placed through a filter causing it to be quite somber and low.)
  • Ambient lighting (natural lighting)
  • Motivated lighting– When the lighting is a main part of the scene and the opposite, Unmotivated lighting– The lighting in the scene without being a key element of it
• Colour– In the past black and white was often used as it was cheaper to produce. Now directors would sometimes use B/W to add a classical sense to the scene.
  • Throughout history, editors may tint the film to add colour. A common example of this is the Sepia tone.
  • Colour film is also complicated, during editing producers may use colour grading to make a filter that suits the scene including saturation
• Space– use of space within the frame which makes the scene unique. Shallow/Deep space (The different space between the distance of the characters in the foreground/background.)

Editing 

• Sequence shot– A long running shot that takes in a lot of action
• The cut– The transition between shots, the crossover between these can be edited in various ways.
  • Dissolve– One shot fades into another
  • Wipe– When the first shot rolls across the screen to show the second shot.
  • Fade in/Fade out
• Screen direction– Having a consistent direction of movement between shots
• Match on action– The action happening with two different shots connect together.
• Eyeline– Often when the character arent moving. The characters would look to different sides of the screen and the audience can tell they are looking at eachother.
• 180 degree rule is often used by directors where there is an inviable axis in an action packed scene so that the camera always stays on one side of the characters and does not confuse the audience.
• Establishing shot– Shows where the scene is taking place, often at the start of a programme/film.
• Master shot– A wide shot to establish each characters location.
• Shot/Reverse shot– Showing two people talking and cutting from one shot to the other
• Cross Cutting- Where there are two lines of action to show that it is happening similtaenously.
• Split screen– Two or more shots are in the same frame

 

The Kuleshov Effect: A mental phenomenon related to film by which viewers derive more meaning from the interaction. (Putting two shots together may suggest either a connection or a juxtaposition. )

Audio Codes

Diegetic Sound- Sound which is inside the story world that the characters can hear (dialogue, traffic noises, weather, doors, radio sound)

Non-diegetic Sound– Sound from outside the story world that the characters cannot hear as it is edited in (voiceovers/soundtrack)

Macro Elements in Film

• Genre
• Narrative
• Representation

Genre is generally the categorisation of types of art, literature or entertainment.

Genre Conventions are grouped into these headings:

• Characters
• Narrative
• Iconography (physical aspects of genre which are repeated, and the conventions that you can identify on the mise-en-scene)
• Setting
• Technical and Audio codes

 

Genre Hybrids: Two or more genres that are fused together (Rom-Coms, Action-comedy, Horror-Comedy etc)

Sub-genres: Distinct and fairly long-lasting types within a genre (Sub-genres in a horror film- Supernatural horror, Gothic horror, Zombie films, Psychological horror)

Genre Cycle-A film is easier to market if its categorised as a genre. Genre is used as a financial tool, a way of advertising/promoting a film to audiences.

Genre Theory–

• The idea that genre is dominated by repetition, but are also changed/ updated.
• The idea that genre can change, develop and vary and borrow from/overlap eachother
• The idea that genres exist within specific economic, institutional and industrial contexts (the amount that creators spend).

Narrative

The way in which different elements in a story are organised to construct a meaningful story. It can be applied to both fiction/non-fiction texts.

You can begin to see the similar narratives in a number of films (which can be linked with genre).

Narrative Structures

Closed structures: When the story ends satisfactory and there is a sense of closure at the end.

Open structures: There is no final conclusion to the story, it is left for the audiences to interpret their own ending or is left open for a sequel.

Multi-strand narrative: There is several stories running at once, often interlinking.

Point of view: Seeing the story from one perspective. (often documentaries).

Linear Structure: Films presents events in chronological order

Non-Linear Structure: Films which presents events not in chronological order

 

Todorov Narrative Theory/Hunger Games example

• Normality (equilibrium) Normal teenage girl in poverty with her family
• There is a disruption. The hunger games competition is coming around again
• The characters recognise the disruption, Katniss is forced to compete
• There is a resolution, Katniss is determined to win the game
• Things go back to normal (re-equilibrium), Katniss won The Hunger Games and creates a new equilibrium as she is the new winner

Representation is the way in which the media portrays the world around us, from particular perspective. There are a number of different identity groups which we can analyse in media products. (eg, age, gender, race, ethnicity, class, sexuality, political beliefs, disability, religion)

Masculinity can be defined as a concept which presents the often stereotypical attributes related to being a male: (Strength, Power, Physique, Independence, Sexual Attractiveness)

Connell 1995 Theory

• Hegemonic Masculinity: In most societies today this is associated with whiteness, heterosexuality, marriage, physical toughness and authority
• Complicit Masculinity: Don’t have the physical aspects as hegemonic but can reap the same benefits either directly/indirectly
• Marginalised Masculinity: Refers to groups on the outskirts of dominant masculinities identifying with a social grouping that is not dominant
• Subordinate Masculinity: A type of masculinity which goes against hegemonic, For example of homosexual men are culturally viewed as inferior, discriminated against, politically oppressed.

 

Femininity can be defined as a concept which presents stereotypical aspects related to being female.

• Attractiveness
• Emotions
• Relation to the ‘home’
• Passiveness
• Submissiveness
• Consumeristic
• Defined by her relation to her Husband/Father/Brother/Boyfriend

Four categories which women in the media are usually portrayed as usually shown through her relationships with other people; domestic, consumer, sexual or marital.

Domestic: Female characters who are strongly associated with the ‘home’ and life with it- cooking, cleaning etc.

Consumer: Characters are defined by their consumeristic behaviour to buy expensive luxurious stores, fashionable brands and pride themselves on their possessions.

Sexual: Characters who are defined by their attractiveness/ sexually exaggerated- she’s often seen as disposable and replaceable.

Marital: Female characters who are defined by their husband/boyfriend. Their lives revolves around ensuring their partner is comfortable and happy. Similar to domestic.

 

Race and Ethnicity

Race is related to biology (your descent), while ethnicity is associated with cultural identity.

Alvarado published a chapter in the 1987 book ‘learning the media’ which discussed racial stereotyping. He identified four key categories:

• Exotic
• Dangerous
• Humorous
• Pitied

Exotic: This is essentially the to the ‘other’, peoples differences are highlighted because they are unfamiliar. (It can be associated with sexualisation)

Dangerous: Ethnic groups can be displayed as dangerous through their behaviour. The representation could lead to audiences relating this behaviour to real-life.

Humorous: Ethnic groups are represented as amusing. The cultural features of a particular group can be mocked. (An example of this is Groundskeeper Willie from The Simpsons).

Pitied: This makes the audience feel as if they should help them, created a sense of pity. This can be a negative aspect as the audience may be sympathetic towards these representations, it works to reinforce Western cultures privileged position.