The joker-costume analysis

Joker is a famous evil villain and i think his popularity is mainly because of his unusual sinister appearance which makes him very memorable to viewers as a character. First of all we see in this image and in most images of the joker he is in low key light. This suggests his dark presence and his sinister personality immediately. The low key light also makes his wrinkles obvious and makes his facial features stand out more as they shadow and become more significant. Firstly he has green curly hair. This is already abnormal and different and suggests that something isn't right with him as a character.The colour green in Egypt symbolises regeneration and rebirth and this may suggest that as 'the joker' he is being reborn into this evil character. His face is also painted white. White connotes purity and peace however he has almost poisoned the white with the other colours of black and red which connote negativity. His eyes are all black. Black suggests darkness in general and evil. The eyes are a key way of communicating and expressing emotions and so if he has surrounded his eyes with black he may be suggesting his emotions are black. He doesn't have any emotions ad if he does he is hiding them away. The make up is quite smeared as well which makes him look crazy and messed up even more as it spreads round his face. The fact that its smeared also makes his eyes look misshapen again suggesting there is something not right about him as a person. He has a big red line across his face as well. This looks like a very sinister smile and links to his name 'The Joker' again this is smeared and looks a bit like blood connoting evil and unnatural feelings.We also see how the make up goes into two points in his facial creases. This looks slightly like teeth suggesting some sort of brutal animal manor of being quite rough and insensitive maybe as a predator. It may also suggest he is some sort of monster with his big sharp teeth blackened eyes and blood on his face.

Opening Titles/Credits Analysis - Casino Royale

The starting sequence starts with showing the company idents such as Dolby Digital, MGM studios and Columbia. These are shown for recognition and credit for being part of that film. The film then starts its main narration with an establishing shot of the building the sequence is taking place in to tell the audience the location, weather and the time of day at this point. The establishing shot is also accompanied by the place name (Prague) in the bottom left hand corner to indicate to the audience what country they are in. This sequence is in black and white to indicate that its in the past and has already happened. There is no sound at this point apart from ambient sound such as footsteps and the lift door.

There are many enigma codes set at this point such as who is the man entering the building and why is he important? Why is James Bond in the office and why does he kill him?

When in conversation there are flashbacks (within the flashback) to the past. The scene is very white which contrasts the dark black scene in the office.

After the initial narration sequence the films animated title sequence starts. The non-diegetic sound the plays alongside this is a real song as there are words. The credits list many names with job titles, they appear in this order: production company, main stars, writer of the book that the film was based on, co-stars, associate producer, sound unit director, costume designer, editor, director of photography, production designer, writer/singer and producer of the song being played along with the director of music for the whole of the film, executive producers and then a repetition of the novel writer. As most films do the credits end with the producer and the director last.

The title sequence is around 4 minutes which is very long compared to most other modern films. I think this is because they wanted to keep the titles the same since the older movies as Casino Royale is now 1 of 23.

In terms of camera work there is a large range of shots. There is an establishing shot of the building where the action is about to take place to indicate to the audience where the characters are to make the narrative easier to understand and follow. There are lots of close ups in the first two minutes on all the characters faces, mostly James and the man who he is accusing of selling secrets. This is to show emotion as they are clearly in a confrontation and the close ups can give the audience and insight into what the characters are thinking or feeling at that time. Around 1 minute into the sequence, there is a very interesting shot where James and the other man are either side of the shot facing each other, there is nothing in the middle and you can only just make out where the characters are as there is little light. I think they have used this shot to show that the two characters are the complete opposite of each other and that one is the hero and one is the villain at the time.

The Godfather opening scene

The opening begins with a very slow jazz soundtrack, which is typical of thrillers. A plain black background, which connotes wealth, death, mystery, and evil, is contrasted with white writing, which has connotations of coldness, fear, reverence, and again, death. The writing simply says 'The Godfather' with puppet strings attached to the word 'father'. This symbolises the control that the godfather in the film has, and, as the audience will discover, how he controls people below him like a puppeteer controls his puppets.

The title disappears and the audience is left with a black screen, emphasising the connotations of the colour black, and also adding mystery and suspense - we don't know what will follow. A male voice-over begins in an Italian accent with the line "I believe in America", suggesting where the film is set, and we fade in to see the man (Pacino) who is speaking. The camera begins with a close up as he talks to the camera and the camera zooms out very slowly whilst he tells us about his daughter's rape. This is a thriller signifier as we instantly know a web of crime and corruption will be involved in the narrative. The mise en scene at this point is all dark, with only the man's collar being the only colour of white, reflecting the title screen with white contrasting with black. As we zoom out, however, we discover with the technique of an over the shoulder shot, that the man is infact talking to someone else. The shot now reveals brown mise en scene - a wooden table, with a couple of papers on, making it seem to the audience like some kind of office. The camera stops zooming out, and Pacino begins to cry, and is given a drink by another man (presumably alcoholic) which shows the audience the flaws of the protagonist - his emotion for his daughter, and his drinking habit. This sequence also reveals that our first thought that there was only one person present was incorrect - there are at least three men present, but it is still unknown where this is set and who the men are. The camera then tracks to focus on a close up of the two men whispering to each other, but we are unable to hear what they say.

 After this sequence, the camera's position changes to show, using a close-up, the second man that was introduced (Brando). We see that he too is dressed in a black suit, and also can see typical thriller mise en scene, consisting of slatted blinds. The camera moves location again to show the entire scene - revealing four male characters, all dressed in suits, all brown mise en scene, and the only light coming from the slats in the blinds. Another over -the -shoulder shot is used to focus upon Brando, this time as a mid-shot, and a red flower can be noticed clipped to his suit, giving connotations of disguised danger. We also see him playing with a grey cat, making him appear powerful as he doesn't give his full attention. The cat connotes cunningness, independence and suspicion, whilst the grey colour has connotations of respect, strength and wisdom.

 

Throughout the sequence, a range of shot types are used. These vary from slow zooms outwards, which draw the viewer in, to over the shoulder shots which are an innovative way of depicting a conversation. They add variety for the audience, as well as being very effective

Goodfellas Opening scene analysis

 The first shot of the film is of a black background with the credits. Minimal wording appears on the screen, and the words quickly slide across the screen from the right in a large white font. The word that has just slid across the screen then reappears in a smaller white font and stays still until it is replaced by the next larger word sliding across. The sound, that goes with the word transitions is presumably diegetic traffic noise, and gives the viewer an idea of the setting. The final sentence that the audience see on this background is “This film is based on a true story” this is used to get the viewer instantly believing of the story and the characters portrayed within it.

 The first opening shot containing real images is the tracking shot of the car driving down the road in the darkness. The shot instantly promotes a foreboding atmosphere that is consistent with the gangster image. This shot pans left and comes alongside the car, giving the viewers the impression that we are following the car, and that the characters inside the car are perhaps key to the story.

When the audience eventually sees inside the car there is a medium close up of the driver, although we can see two other men in the car. The focus on the driver gives the audience a subtle hint that he could be the main character. The next shot of note in the scene is when the men get out of the car to investigate the noise in the boot. The shot is a low angle of the characters in side profile, for the viewer’s looking up at them; it shows the characters have an authoritative and controlling air about them, which makes them more believable as gangsters.

There is then the gradual close up to the boot of the car; the camera zooms in to the source of the noise like a person reluctantly going to open it. This cuts to a medium shot of all three of the men that gradually zooms in on the two holding weapons, who obviously getting ready for a confrontation. The man holding the shovel nods to the character that is out of shot, then the camera pans round to focus in on the un-armed man to reveal the contents of the car. The camera moves slowly again here to convey the trepidation that all of the men are feeling towards having to deal with whatever is making the noise in the back of the car. Also from an audiences point of view this creates anticipation through the build of tension. The scene ends with a still of who we can assume to be the main character, slamming the boot shut in time with a song from a typical 50s Italian American singer Tony Bennett. This is appropriate as the 50’s is a time in history, often thought of as the peak of the American Mafia’s powers. The song is also contemporary to the setting of the next scene.

The editing throughout this scene maintains a slow pace, to ensure the build-up of tension. However, the level of tension that the audience may feel as the scene develops is not matched by the characters involved, as they remain stony faced and uncaring throughout. The type of shots used also effect the time between cuts, as the panning shots, tracking shots and shots that slowly zoom in from medium to a close up, prolong the time that the audience has to wait to find out what is making noise in the boot. The editing during the kill follows the same slow pattern to expose the audience to the brutal realism of the world that the characters inhabit.

The Departed Opening scene analysis

When an opening sequence is long winded, the audience will be inclined to take a lengthy time in actually responding to the film. I believe an efficient opening sequence will get straight to the point and although it won’t give away to the storyline to the audience it will give them a strong idea about the genre - feeding them enough information to keep them entertained. However, narrative enigma is also important and unanswered questions are one of the main reasons why somebody will watch on into a film. Therefore, I believe by analysing the opening sequence of ‘The Departed’ the desired examples and techniques which make a good opening sequence will be used.

When trying to give off a certain mood to the audience, the music which is used needs to be suitable and well thought out. It is effortless to place any music in an opening sequence and still have an effect, but when the director wants the audience to really connect and get involved in the film, the music they choose needs to be strategic. To begin the sequence, instant ambient noises of birds are heard, this could be deceptive for the audience, as typically the sound of birds singing are generally associated with a peaceful and tranquil feeling. However, after watching on a little further the diegetic sound of the gangs fighting transforms the mood and gives a prompt insight to what the genre is related to. Gang crime? At 23 seconds, a man starts to speak. The first line he says is “I don’t want to be a product of the environment, I want the environment to be a product of me” even though this does make sense, it can be rather confusing for the audience to comprehend, this leads them to subconsciously watch on in order to unravel more of his character. At 43 seconds fast, upbeat music starts to play. The man is still speaking at this point, but at 1:48 the music gets louder and becomes more apparent. Another line he later says is “20 years after an Irishman couldn’t get a f***ing job, we had presidency, may rest in peace.. That’s what the n****** don’t realise”. This is quite unexpected, and gives the audience a further opinion of this character, he seems quite aggressive and heated and because the audience doesn’t realise why, narrative enigma is successfully created resulting in them wanting to find out more. The music itself doesn’t have a great impact on stating the genre, but the representation of the mans character and what he says makes it fairly obvious.

The camera movements, shots and angles are also imperative when analysing an opening sequence. The establishing shot to start the scene off, pretty much sums the mood of the audience. It shows that the people there do not respect their environment, and due to the fact a handheld shot is used when filming the boys fighting, makes the audience feel like they are truly involved in the scene. It is evident the person filming the fight is doing so for entertainment purposes, and this accurately sets out the genre for the audience, resulting in the dominant ideologies of the film being negative. When the camera cuts away to the school children on the bus, a close up is used of the young girls cheerful face, this could propose that she is familiar with situations like this, and for her it has become a norm. Finally, a quick pan is used to show a cluster of people on one side of the road (we make the assumption they are rioters) and a group of policeman on the other. This illustrates the opposing relationship between the two, and the representation of the two different set of characters this film is going to propose. Below are screen shots of points made.

The editing of this clip additionally plays a part in making the opening sequence of this film successful. The director uses a chain of short takes, this speeds up the action making it seem extra dramatic for the audience. However, at 1:00 when the man is talking, a long take is used, this could make the audience feel uncomfortable, and leave them on edge thinking something unexpected is going to happen. There is a cross cut of the fighting and the man (in his policeman uniform) waving on traffic at the opening , this could confuse the audience, again creating narrative enigma. Due to the fact the opening sequence doesn’t run in a linear narrative, there will be many questions that the audience will want to be answered, this will result in them watching on further. Below are screenshots of the editing of this sequence.











I personally think the mis-en-scene doesn’t reveal a lot about the genre of the film, though some hints are given. The main colours used are yellows, blacks and grays - these colours are associated with danger but this is not enough alone to give the audience a dominant ideology, or represent the characters well. We see that the man is dressed in a policeman’s uniform, this does indicate his occupation but still doesn’t tell us enough about him as a character. However, when we do get further into the clip and there is a long take of the man is talking, low key lighting is used. This has a virtuous effect, and successfully makes the character seem shady, dangerous and untrustworthy. Here are screenshots to demonstrate the low key lighting.











In conclusion, more through the sound, camera and editing the genre is clearly stated, resulting in the dominant ideologies revolving around crime. The representation of the main character is put across well, but conversely the conventional elements (the credits at the beginning) do not have a great effect in regards to the genre. The audience may not distinguish how to react when the sequence first starts, but certainly towards the end they have made their own assumptions on what they think.

Trainspotting opening scene analysis

The opening scene from ‘Trainspotting’ introduces the main characters in the film. As it is filming them doing various things it freezes on them and in white text says their name. All the main characters are male heroin addicts. The Scottish accent in the narration informs us that it is set in Scotland and we assume it belongs to the main character shot in the extract, ‘Renton’. The scene opens with Renton running on a road stealing from CD shops to pay for his addiction; symbolically he is running on the ‘road to nowhere’. The scene is energetic and rowdy due to the fast drum beat (which represents the pumping adrenaline in the men’s bodies) in the music and the fast pace of speech as well as the action taking place such as running and football. This creates an impression that the film is very male as it is mainly men in the film playing football etc. There are also someone women in the scene, however they are only there for a short shot and they are cheering on the men suggesting that the women have a very secondary type of role in the film. The smoking and reference to drugs as well as the running away in the opening scene suggests that the men ‘live fast’ and therefore do not live the conventional everyday life which represents the type of film the audience are about to watch. The film is of the drama genre however its sub genres are also comedy, crime and drug culture. ‘Trainspotting’ is classified as drama since it is a serious story due to the drug habit and several scenes that showed the real lives of junkies, and graphic images of injecting heroin. On the other hand it can be classified as comedy as there are moments of ‘black humour’ that are there to lighten up the seriousness of the film. ‘Trainspotting’ can also be under the crime and drug culture genre due to the story in itself and the characters This film gives us a very vivid and real picture of a heroin addict's every day routine and living life synchronized around getting what they need.

The scene fades in from black and then opens with a long shot of a shopping street using a low angle. Two men run into the shot and it cuts to a medium two shot of the two men. It then cuts between the shot of the two men running and their feet various times. It is a tracking shot as it moves with the men as they run. The camera pans through other parts of the shooting location as well as shooting the men running; there are also various long shots of both men running away from the camera, shot at eye level. Crane shots are also used to catch all the action of the scene. It then cuts to a medium shot of the previously running man in an apartment smoking a cigarette; he is clearly high as the camera then cuts to a long shot of the man standing in the apartment about to perhaps collapse. The camera then quickly cuts to an oblique, long shot of a group of men on a football pitch standing in pose as if they were waiting for a photo to be taken, the camera then cuts to an identical shot of another ‘team’ doing the same thing. There is a football in the central foreground of both these shots and a net in the background which creates the idea that they are about to play football. It then cuts to handheld, long and medium shots of the men playing football following them round the pitch. The audience witnesses a man being kicked in the head with a football, as he falls backwards the scene cuts back to the man in the apartment who also falls. The camera then shows a close up of the side view of the man’s face and then pans his body.

Before the camera fades in from black there is 6 seconds of blackness where the audience can only hear the sound of men running, as soon as the scene fades in we hear the drum beat of Iggy Pop’s song ‘Lust for Life’ which links to the sarcastic narration throughout the whole scene of the main character. The narration is the most famous monologue from the film and talks about the different choices society tells us to choose and how in his opinion you end life bored and unsatisfied if you take these paths. It also includes the famous film quote ‘choose life’, he cynically finishes this narration with ‘I chose not to choose life, and the reasons? There are no reasons. Who needs reasons when you’ve got heroin?’ suggesting that heroin is his life and creates dramatic potential for the rest of the film and encourages the audience to watch the rest. He is basically saying he is rejecting ‘normal’ life for the ‘joys of heroin.’ The voice over narration informs the reader the main message and story behind the film about the choices we have to make in life juxtaposition with the life of a heroin addict and the choices they have to make. Throughout the extract there are also sound effects that link to the different paradigms being shown in the scene, for example an accelerating car, the laughter and shouting of the men, cheering when the ‘football team’ is in shot.

The lighting in the extract starts of bright as it is daylight in the parts where the men are running away which suggests that they do not care what time of day they commit crime, they will do it whenever the opportunity arises so that they can fund their habit. The lighting in the flat is dark and there is only one small source of light coming from outside which represents the poor living conditions a serious heroin addict has as all the can afford to pay for is there next ‘hit’. The lighting when they are playing football is outside at night time and is very dark; whilst ‘ordinary’ people sleep at night so that they are energised for work the next day, these addicts stay up playing football, this is another representation of the life they lead.

In my analysis I have shown how the opening sequence of the film ‘Trainspotting’ is an introduction to the characters, location and main plot and message of the film, in some ways the audience knows the basics of what is to come in the film. The lighting, sound, editing and camera techniques help to create an adrenaline rush for the audience so that they can relate to the characters in the film. It also helps to create an energetic atmosphere in the extract. The opening scene basically represents the life of a heroin addict.

Forest gump opening scene

 

Forrest Gump

 

In the opening scene for forrest Gump, from the start it automatically shows the audience what type of day it as, as the shot is pointing at the sky and showing the feather fall slowly. It looks like a normal typical cloudy day. ‘Paramount Pictures Presents’ is the first written thing, to highlight the importance that the production company is important.
The setting for this scene is a phenomenal example of setting in the mise-en-scene, the feather then carries on drifting which the camera tracks, the scenery of a town is then revealed, the village looks very small with normal looking buildings, which could be symbolic later on. The clean white feather keeps falling and the rising again depending on the wind and contrasts against the dark trees and sometimes it’s up in the clouds, where it almost blends in completely so we can't see it . The way the camera focuses on it also makes it appear inherently part of this world, an illustration of the metaphor that is the story of Forrest Gump.

The feather falls very soft and smoothly, which connotes against the relaxing melody that is played behind. I think this done to set a scene, and to give the audience a certain mood to get ready for the rest of the movie. There are no diegetic sound, which gives it a fake and surreal tone, and forces the audience to concentrate on the feather.

 

The feather then falls lower towards the centre where everything is happening. It’s influenced by the movement of objects like a passing car and person. This is the first time that the audience now get an impression of when it’s set as the old cars help connate this. Even though everything else is moving around, such as cars driving pass and people walking the camera still keeps its attention steadily on the feather in the centre. The feather then rest on someone’s shoulder, but as they walk on the feather then shots back up which makes the volume of the music go up, showing that this is not the feathers journey over.
Throughout the whole of the opening there is just one long shot following the feather. This shows that it’s a long and slow process for the feather to find its finial destination. This could also be symbolic for the rest of the movie and It takes a long time for Forrest Gump to find his final destination.
As the feather then floats down to the ground it slowly rests on someone’s dirty trainers, which once again is symbolic for later on, and the untouched, perfectly clean feather contrasts against this. As the man who sits alone on a bench, slowly picks up the feather the camera follows his hand, reavling he’s wearing a suit which is a bit odd considering hes wearing dirty trainers. When the camera stops Tom Hanks face is finial

shown which is important as he is the main character of the movie. He then frowns unsurely at the feather and slowly puts it in his old, retro suitcase, which is perfectly packed. This shows he obviously is very personal and likes everything to be perfect. He places the feather into an book from his case, and places it carefully into a picture of a sky. This picture could mean that this is the end of his story and journey, he needed the feather to be the last detail in the book.
Because the camera tracks alongside the feather, I’m going to use this as inspiration for my film opening title, as we will have the couple moving boxes and objects so the camera (similar to feather) can track alongside the boxes as there being moved with titles edited on to the boxes. Just giving a symbolic section, as then later in the movie when the couple break up, the boxes will be moved again. Following a similar affect.

Film Classification: 18

18

 

 

Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

• where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
• where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
• where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.

In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

Sex education at ‘18’

Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Sex works at ‘18’

Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

Film Classification: 15

 

15 (Suitable only for 15 years and over)

 

 

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Strong threat and menace are permitted unless sadistic or sexualised.

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification

Film Classification: 12

12A (Suitable for 12 years and over)

 

 

Suitable for 12 years and over Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Discrimination
Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
Drugs
Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free. Easily accessible weapons should not be glamorised.
Language
Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.
Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.
Sex
Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.
Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.
Violence
Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

Film Classification: PG

 

PG (Parental Guidance)

 

 

General viewing, but some scenes may be unsuitable for young childrenUnaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.
Discrimination
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context. Discrimination by a character with which children can readily identify is unlikely to be acceptable.
Drugs
References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.
Horror
Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.
Imitable behaviour
No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.
Language
Mild bad language only.
Nudity
Natural nudity, with no sexual context.
Sex
Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.
Theme
Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.
Violence
Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy). 

Film classification U

Universal

 

 

 

Suitable for all is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.
Discrimination

No discriminatory language or behaviour unless clearly disapproved of.
Drugs

No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.
Horror

Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
Imitable behaviour

No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.
Language

Infrequent use only of very mild bad language.
Nudity

Occasional natural nudity, with no sexual context.
Sex

Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’).
Theme

While problematic themes may be present, their treatment must be sensitive and appropriate for young children.
Violence

Mild violence only. Occasional mild threat or menace only.

Love story opening analysis

 

'Love Story' is a classic love story with a very interesting opening, full of enigmas! The film is a great, critically acclaimed film that won an oscar for Best Original Score and was nominated for another six, including Best Lead Actor, Actress, Supporting Actor, Director, Writing and most prominently Best Picture. In other words, it was nominated for all the biggest awards, but only won one of the lesser ones.

The opening scene to 'Love Story' is beautiful and touching. The dialogue is emotive and pulls at all the heartstrings. The camera-work is smooth and simple. The narration is tear-jerking and brilliant, the setting picturesque and reminiscent, and the music is outstanding. 'Love Story' shows how such a simple scene is so effective and beautiful, and by the end of the first scene the audience is already attached to the lovers through sympathy and an understanding that they do not have. It is so connectable and yet so distant. The audience long to have an understanding of the pain; in a strange way they almost long for something so dramatic to happen in their life, yet at the same time they hate the thought of it happening. This is the impact of the opening to 'Love Story'.

The music is very very beautiful, and one of the big factors in the success of this scene. It is classical piano music accompanied by an orchestra, and it adopts the minor key in order to evoke a feeling of melancholy and reminiscence. Being classical music, it relates to the line of dialogue 'she loved Mozart and Bach', and it also foreshadows one of the main features of the film - Jenny's musical talent. It is filled with passion, and really brings the scene forward in it's beauty and effectiveness. The pianist plays with true emotion as if they are one of the lovers, and this shows through in the soundtrack. You can see why it won the award for Best Original Score!

Cinematography-wise, the camera work is kept very simple, so it does not intrude in the scene or the story. It is all one shot, panning down from a town in the snow to a man sitting on the floor facing away. This keeps an element of continuity about the scene, and is the best way to present the scene, as fancy cinematography would take away the raw emotion of the scene.

The acting is incredible. So much passion is put into the voice-over, and you can hear that the character is struggling to retell a story with so much pain in it. There are pauses in just the right places, and you hear the character talk as if talking through tears. It hits it's high point right on the pause before he says '...and me', which is simply beautiful.

'What can you say about a 25 year old girl who died, that she was beautiful and brilliant, that she loved Mozart and Bach, the Beatles...and me'

It is also successful as it presents the audience with a number of enigmas. They want to know why she dies, who she was, what their story was, and what course the film is going to take next. These make the audience want to watch on, if only to find out the answers to these questions. The opening obeys a few of the conventions of the romance genre, such as the idea of 'doomed love', which is used in many romance films such as 'Titanic' and 'A Walk to Remember'.

Overall the opening scene was truly brilliant, and would make some people cry before they even see the film. Right from the first piece of dialogue the film has connected the audience to the characters, and they already empathise with them.

Both films had strong beginnings, and both gave the audience something to think about. 'Love Actually' starts the audience off with a positive, happy frame of mind, whereas 'Love Story' starts them off in tears! Both techniques work well for the films they are a part of, and both set up the mood of the film very clearly.

Crime cliches

Every genre has its cliches and convention which make it distinctly the genre which it aims to be. In this post I shall be assessing some of the cliches associated with the crime genre:

The Don
- Merciless
- Handy with a baseball bat.
- Tends to kill his friends for no particular reason eg: calling him a boy instead of a man.
- Either laid back yet dangerous, or just plain crazy...or a mixture.
- Strokes small pets such as kittens.
- Smokes a humungous cigarette.
- Italian-American.
- Inherited title.
- Calls his gang a family - in italics.
- Has a moral code, such as wont kill children.
- Is blessed with the coolest lines in cinema history: 'I'll give him an offer he can't refuse', 'Say hello to my little friend', 'keep your friends close and your enemies closer'.

The Story
- Police as bad as gangsters.
- The rat.
- Undercover cop.
- Trilbies
- Cuban Cigars
- Comb overs.
- 'Hit's'
- Corrupt courtroom scenes.
- Corrupt doctor.
- Drugs.
- Voiceover.
- Experienced cop and young, eager cop.
- Inventive murder technique.
- Symbolic gestures such as horses heads in beds.
- Swear words.
- Catholic gangsters.
- Bank Robberies.
- Extravagant heists.
- Prison comforts.
- Ingenius torture methods.
- Awesome accents.
- Business in nightclubs
- Mysterious drug dealers
- The names 'Jimmy' and 'Tony'

Codes and conventions of Comedy films

The comedy film genre belongs to the groups of films that evoke laughter/humor from the audience. 'Comedy' is the most important category in cinema, present in every national film culture and dominant in many. But much of the time comedy is enjoyed by audiences as an element across many films rather than as a distinct genre.

Comedy films fall into two main sub-groupings: a) the comedian-led film, structured through gags and sketches; and b) the comedy situation film with a more coherent narrative. These two groups can sometimes overlap and indeed the 'pure' comedy film of any kind is a fairly rare animal. Most so-called comedy films are in reality hybrids, 'comedy hyphenates' such as comedy-horror, comedy-thriller, comedy-musical etc.

In contemporary cinema, critics and theorists have been mostly concerned with defining specific hybrids, which draw on the broader repertoire of 'comedy elements' in easily recognizable ways:

'teen comedy' - often set in high school and involving adolescent sexual adventure and conflicts with authority;

'romantic comedy' - a popular hybrid, targeted at women and couples, especially in the 25-35 age group;

'social comedy' - 'situational comedies' drawing on class conflict and social realism, a feature of British cinema;

'gross-out comedy' - a currently successful cycle which may involve any of the above, but pushed more towards outrageous gags.

Theoretical work has focused on particular forms such as 'screwball comedy', the first great cycle of which appeared in the 1930s and 1940s with performers such as Carole Lombard, Barbara Stanwyck and Katherine Hepburn. The subversive nature of this cycle and its structural similarity to horror are just two of its critical attractions.

In a comedy film, audiences respond to two different comedy elements:

The Gag - visual, aural, verbal jokes, carefully timed and delivered for maximum impact;

Comic situation - 'narrative comedy' in which it is the developing relationships between characters and the social environment that causes us to laugh.

These two elements make a volatile combination since the performance of gags is often highly disruptive of the progression of the narrative. In most comedy films there is a tension between the gag and the narrative situation and between the comedian and the comic actor.

The pedagogic problem with comedy seems to be that it is very difficult to pin down. As well as the tension between the gag and the narrative, there is a further set of categorizations which refer to the purposes of comedy and, linked to this, the status of the comedy form. I've called these 'types' of comedy, but I'm sure there is a better term.

Here are four distinct types:

Slapstick is 'visual and vulgar'. It is in one sense primitive and universal, relying on our almost instinctive reaction to characters assailed by danger, pain etc. At the same time it requires great timing and all round performance skills. And in the form of the traditional cinema cartoon it can become a highly sophisticated exploration of human behavior (think Roadrunner and Wile E. Coyote).

Observational comedy is gentler and more subtle and presents everyday life as quirky with unusual behavior in a realist context. Parody mocks existing forms, requiring audiences to have specific knowledge of media texts, although in its current incarnation as the 'spoof', this knowledge could be limited to what is available on mainstream television.

Satire is comedy used to make political and social commentary. This requires analysis of the whole social context, implying an educated audience. These different types can be mixed together. (Monty Python's Life of Brian arguably displays elements of all the types.)

Codes and Conventions of Comedy

1. Film Language
The secret of comedy is timing and performance. A person could analyse routines, gags etc. and see how they are used within a narrative feature. It would be interesting to compare a visual gag with a classic suspense sequence. Both involve a careful playoff between what we know as the audience and the awareness displayed by the character. Our pleasure comes from the gleeful anticipation of the humiliation of the comic character or our fear for the hero.

2. Representation

Possibly the most productive approach, analysis of character 'types' and situations should open up comedy films for student analysis. Comedy, like drama, depends on conflicts, in particular between weak and strong characters. Much comedy arises from the success of the weak in deflating the powerful. On the other hand, comedy is also a weapon against fear of the unknown or 'the Other', so that the basis for comedy becomes racism, sexism etc.

3. Audience

The advantage of comedy to producers is that it appeals across all audience groups. However, there are distinct differences in audiences for certain types of comedy. In the UK these are often class differences and age differences. The distinctions were particularly strong in earlier periods when genre production was still possible in British Cinema - e.g. the 1950s with Norman Wisdom (working class) v. the Doctor series (middle class).

4 Institutions

Comedy films may be quite good for studying institution. Historically, various cycles of films can be traced back to their origins in other forms such as music hall, radio and television and in the last twenty years, from club 'stand-up'.

Codes and conventions of Romance genre

Sound

Sound

Sound is a very important generic convention when making a film, the use or non-use of sound is able to enhance on how the audience interpret certain ideas and distribute emotions. Sound can give a different meaning to a scene or explain what action cannot.

 

Sound Code:

Music is a sound code. The type of music in a text can convey a great deal of information, about the mood and tone of text, such as tension and emotions can be helped by the music.

Psycho – (Shower scene): High pitch instrumental, slightly eerie, yet calm to build suspense for future scenes. Follows, immediate shower scene, where the sudden screeching noise arises, symbolising potential danger, death. Constant deep rhythmic beat with the use of particular instruments such as cello and base to create this.

Diegetic Sound:

Music or sound that belongs with the frame and what you would expect to hear following the narration or action in that scene. For example a door being opened may consist of the door creaking.

 Kidulthood- (Off licence scene): Bottles being brought to pay point, clanging together as placed down, when bottle is thrown, smashing noise against walls. When leaving store throwing down the card holders, shouting and swearing between two characters. When exiting the shop onto high road, noise from cars and traffic.

Non Diegetic Sound:
Sound or music that has been edited into the frame after the scene has been created. Usually to emphasise, exaggerate or make louder on what would have been a diegetic sound.

 X- men evolution ( Fighting scene ) : When fighting, punches and kicks have been enhanced to exaggerate the fighting. The sound track itself of the opera music is laid out throughout the whole scene as back ground music for dramatic effect.

Rhythm:
Rhythm of the music can dictate the rhythm of cuts, such as in the fight scenes to create tension.

Charlie’s Angels (Fighting scene) – consistent rhythmic beat of both music and footsteps keep up the suspense throughout the scene. The beat picks up as the scene develops to the actual fighting, making it demanding with a quicker pace sound , this in turn is able to draw the audience to the excitement and thrill of the scene.

Silence:
When a scene is edited so that no sound is displayed. Silence is able to create tension and suspense or even dramatic effect.

Crash ( little girl gets shot Scene) - Although when the little girl is shot music is played their cries and screams are in silence this is extremely dramatic as the audience is able to focus on the expression of their faces rather than the noise they make.

Voice over Narration:
When dialogue is added on in the editing stage and is usually used to explain things that have already happen or will happen throughout the narrative.

 Stand By Me (Opening scene) : There is a narrative of a character who explains at the beginning of the scene his journey, description of his friends and how his life was when he was 12 years old.

Sound Bridge:

This uses sound to link two scenes, by having the picture and the diegetic sound change at different points. Usually the sound from the second scene is heard before we start to see the picture from that scene.

Parallel sound:

When the sound and the image complement each other so the action and sound display similar aspects.

 Scar Face Ending: Images of a shooting and the sound emerging together creating in the audience being able to relate and feel a sense of realisation because the scene is so life like and poses all the factors both in sound and image to create a good fight scene.

Contrapuntal Sound:
The sound and image do not complement each other, for example happy music playing over a sad scene.

Clockwork Orange: Clowns joyfully singing show tunes, while attempting to rape and burgle the homeowner, the sounds from the music did not match the scene.

 

Conventions Of The Horror Genre

 

The horror genre, ever since the early 20th century, has a number of conventions that make it distinct from others, and are now popular clichés that attract audiences. Across most horror films, the protagonist and other victims tend to be young attractive women, or unlikable youths, who mostly deserve to die. The conventions of mainstream horror include the supernatural, suspense, and jump scares. Creepy young children tend to fulfil a villain capacity, as well as old women, and demonic possession is a major theme in films such as The Exorcist. Ancient curses and angry ghosts often feature as a plot line.

 

The sub genres, such as slasher, zombie and the suitably dubbed 'torture porn', tend to feature extreme amounts of gore and violence, while vampire films usually feature erotic elements. These can some of the more popular horror films, as evidenced by the sequel after sequel of Saw.

Some of the more popular horror films of recent years, such as Paranormal Activity and REC feature a found-footage style, providing a modicum of realism which seems to attract the masses. These films attempt to portray the events as being 'real'.

 

conventions of action films

codes and conventions of crime films

Opening Analysis: Children of men

Another film with a strong and interesting opening is the Alfonso Cuaron film "Children of Men". This also features the appearance of a single take sequence, but this is one of only a few similarities, as this opening focuses less on the characters at the heart of the picture, but the situation that they are in - with story and exposition at the forefront. A television newscast introduces the audience to the world in which these people live, a society on the brink of collapse. The central character, Theo, (Clive Owen), is identifiable by the lack of interest and emotion he displays in response to the news on the television that has everyone else in the cafe (people of all backgrounds) distraught, the way in which he goes about the day like it's any other. A tracking shot then follows him out of the cafe, revealing a futuristic central London, different - but instantly recognizable. A title card identifies the date as 2027, before continuing behind Theo, as the director makes good use of this sequence to absorb the viewer into this world that is so similar to ours but also a far cry from it. As he pauses to drink his coffee, a bomb explodes, tearing apart the cafe he had just left - an injured woman stumbles out, carrying her dismembered arm. This shocking end to the opening ushers in the grittiness and intensity of the film to follow.

 

What Children Of Men's opening shares with Boogie Nights is that is relies a lot on visual imagery and indications rather than just dialogue, in order to evoke the themes of the film to the audience. Both openings are memorable and very well done as they set up each film perfectly, establishing the general premise while not getting ahead of itself and alienating viewers.

Opening Analysis: Boogie Nights

The opening to the highly acclaimed Paul Thomas Anderson picture "Boogie Nights" features an almost three-minute sequence that takes us through a nightclub and introduces us to each of the major players in the film.

The film opens in 1977 with a shot of the title's namesake, the neon sign of the "Boogie Nights" club, and swoops down to street level to follow Burt Reynolds' director and Julianne Moore's actress as they enter the club, and take their seats. The tracking shit at the centre of this sequence then follows characters around the dance floor, constantly joining different conversations, establishing each characters' status and distinguishable persona, moving onto another character, before returning to Reynolds and Moore, and culminating with a shot of the main protagonist, 'Dirk Diggler', portrayed by Mark Wahlberg, in what appears to be a single take.

 

The camera slows down and takes a moment to focus on him, inaugurating him as the character at the centre of the film. However this sequence also shows that this film is very much an ensemble piece, through introducing a large number of characters, and establishing the central premise of the film - the relationships between this wide array of roles, the conflicts that drive the story, and their goals that reveal their true intentions. The utilisation of the long take ensures that the audience can digest and explore the environment and its inhabitants as if they were actually in the scene. Viewers feel the rush and excitement of the nightclub as they attempt to absorb all the information that Anderson presents us with in this sequence. Production of such a scene is a very complex, lengthy process which is only possible after heavy rehearsal, especially of timing, and Anderson cleverly hides any crew or film equipment from view.