Film analysis and theory

Key terms: 

Verisimilitude - How real and believable the world of the story appears to the audience
Diegesis/ diegetic world - The world in which the film takes place
Juxtaposition - Placing opposite objects next to each other to create meaning
Narrative theory - Theories that categories narratives and find features common to them

Theories 

Levi-Strauss and Binary Opposition

• Theorised that since all cultures are products of the human brain, there are features which are common and shared to all  
• Majority of narratives in media (films, books, movies) contain juxtaposing main characters to thicken the plot 
• Narrative tension in media is based on opposition or conflict, can be physical fights or ideological differences
• Examples of binary opposites; good vs evil, peace vs war, young vs old, civilised vs savage, protagonist vs antagonist, humanity vs technology, ignorance vs wisdom, man vs nature etc 

Vladimir Propp 

• Russian soviet formalist scholar
• Analysed plot components of Russian folk tales to identify their basic narrative elements 
• He came to the conclusion there where 31 different plot elements and 8 character types

8 character types: Villain, Helper (someone who helps the hero on their mission), Princess or prize, her father (rewards the hero and usually identifies the false hero), donor (helps the hero, tends to have magic powers), hero, false hero (takes credit for the hero's action and tries to end up with the princess), dispatcher (sets the hero off on their quest)

Todorov

1. films and programmes begin with an equilibrium 
2. Then there is a disruption to the equilibrium 
3. It is recognised that the disorder has occurred 
4. An attempt to repair the damage 
5. Return to a new equilibrium 

Roland Barthes - Action and Enigma codes 

• Action codes : what will happen next... she falls over - will he catch her? She has been caught - what will he do with her?
• Enigma code : the audience question why, e.g. why is there a shoe on the ground?

Laura Mulvey - Male gaze theory 

• 1975
• Media tends to be created by white, heterosexual, middle class men
• Women are presented as objects for the pleasure of heterosexual male viewers
• Women have a passive role in media therefore are subject to the male gaze 

Film Analysis: Street Dance 3D

Camera

Close up's of Carly's face -> portray emotion in an upsetting time in the characters life - > enables a bond to be built between the audience and the character.

Long shots of big hall establish the location.

During the dance sequence, the camera shots slowly become tighter into Carly -> enables the audience to be  in to focus in on the character.

During the dance sequence, a number of camera movements are used to convey fluidity and movement - for example crane shots and tracking shots.

Male gaze theory (Laura Mulvey) - a number of CU's of Carly's body used when she's dancing e.g. of her sweaty midriff and lower back - encourage the audience to objectify Carly and view her in a sexualized way.

Sound

Non - diegetic sound throughout the sequence -> music = upbeat, R&B song ("One in a million" by Swiss ft. Music Kidz)

The only diegetic sound is when Carly throws picture into  can and the glass shatters - picture of her and her ex-boyfriend.

Editing

Montage - to suggest the passage of time

Straight cuts throughout

Slow - motion used for when Carly is dancing and slides under  - the male gaze theory can be applied to this aspect of the sequence, as it encourages the audience to look at her body.

Quite fast - paced with the length of cuts - this speeds up during the dance sequence - rarely more than 1 - 2 seconds in length.

Intercutting between Carly writing the choreography and performing the dance routine.

Mise - en - scène

Lighting - outside = natural lighting, more gloomy (low - key lighting) - shows the emotion and passion of her dancing. Blue light has connotations of escapism and her happiness when dancing,

Setting - central London (Tower Bridge and BT Tower) - associates the film with London may broaden its appeal for a foreign audience - also urban connotation; associations of grittiness.

Setting - large, empty dance studio - connotes loneliness, but also her dedication.

Costume - casual dance clothes - boots and snapback cap to connote urban feel.

Setting - her flat with exposed brickwork - shabby chic/ industrial.

Props - the photo of her ex-boyfriend - creates binary opposition/ inner conflict  - she uses dance to escape.

Casting - the two leads are white, even though the film is concerned with urban music, a genre usually associated with black inner - city culture.

The World's End 

Analyse how mise-en-scene elements contributed to the construction of stereotypes (15 marks).

The casual costume used within The World's End conforms with the stereotype of rebellious youth and gang culture. The robots within the clip are all dressed youthfully, wearing hoodies and jeans; conforming with the stereotypical image of gang members. The dark shades of clothing worn create an ominous atmosphere. By presenting the robot youth as the enemy, dominant representation is being created/ added to. This casual costume of the robots juxtaposes against the formal costume of the 'heroes'. This clash of costume represents the binary opposition between young and old.

The costumes of the 'heroes' within The World's End also feeds into the dominate representation of power held by white businessmen. By presenting the 'heroes' of the film in shirts, ties, blazers, glasses and earpieces they are automatically, even subconsciously, put into a position of superiority. This power is also emphasised by the apposing and hyperbolised dress of the villains. All of this also feeds into the binary opposition and link between good vs evil and young vs old