Question 1 of Evaluation
March 2013
Question 1: In what ways does your media product use, develop or challenge forms and conventions of real media products?
Within this page I will explain how my film (media product) develops, uses and or challenges the forms and conventions of a real media product. I will compare my film to my three research films and explain how representation, narrative, ideology and media language uses, develops and or challenges forms and conventions of a particular genre/style and auteur.
In order to do this, I will identify and explain the typical conventions of poetic realism - as my genre and style - and Andrei Tarkovsky and Michael Gondry, as my auteurs. I will also identify and convey how my media product, being my five minuet film, utilises, challenges and or develops the typical conventions of poetic realism, Gondry and Tarkovsky.
Genre is a classification of artistic endeavour, having particular conventions that illustrate certain specification enabling an attachment to a category. In the case of my film, it comes under the genre of poetic realism. Poetic realism derived from a film movement that occurred in France during the 1930s. The typical conventions of poetic realism include; stylised, studio bound, utilising a narrative that involves the protagonist having a life of disappointment, receiving one last chance to change through love, then concluding in disillusionment or death. The protagonist is also portrayed as an outcast against society, supporting the minority. One of the main forerunners of this particular genre is Jean Gremillon who directed 'Le Petite Lise'.
An 'auteur' defines as a film makes whose individual style and complete dominance over all elements give a film its personal and unique essence. Auteur theory expresses that each film illustrates the director's personal creative intentions and ideas. Although the film would have major influence from the producing institution, the director's voiced concepts should still be clear to the audience. The theory is utilised as justification for the director's idiosyncratic and intensely personal films.
Andrei Tarkovsky is one of my chose auteurs, specifically referencing, 'Ivan's Childhood' and his short film, 'Memory'. Tarkovsky utilises the human memory as a way of presenting his ideas. He does this because they cannot be challenged or branded incorrect. Having the films clearly from one point of view, allows the director's voice to be expressed. Tarkovsky made seven films in his time, all of which explored what it means to be human. His films were made up of extreme long takes, metaphysical themes and memorable images. It is also notable that while Tarkovsky began with extreme long takes, his later films - such as 'Memory' - he incorporated traveling camera, which Tarkovsky classes as montage. There were also many reoccurring themes such as: dreams, memories, childhood, rain indoors and reflections. One personnel characteristic of Tarkovsky's films is that he frequently works with the same cinematographer, Vadim Yusov. Thus, making the films more identifiable.
Within this page I will explain how my film (media product) develops, uses and or challenges the forms and conventions of a real media product. I will compare my film to my three research films and explain how representation, narrative, ideology and media language uses, develops and or challenges forms and conventions of a particular genre/style and auteur.
In order to do this, I will identify and explain the typical conventions of poetic realism - as my genre and style - and Andrei Tarkovsky and Michael Gondry, as my auteurs. I will also identify and convey how my media product, being my five minuet film, utilises, challenges and or develops the typical conventions of poetic realism, Gondry and Tarkovsky.
Genre is a classification of artistic endeavour, having particular conventions that illustrate certain specification enabling an attachment to a category. In the case of my film, it comes under the genre of poetic realism. Poetic realism derived from a film movement that occurred in France during the 1930s. The typical conventions of poetic realism include; stylised, studio bound, utilising a narrative that involves the protagonist having a life of disappointment, receiving one last chance to change through love, then concluding in disillusionment or death. The protagonist is also portrayed as an outcast against society, supporting the minority. One of the main forerunners of this particular genre is Jean Gremillon who directed 'Le Petite Lise'.
An 'auteur' defines as a film makes whose individual style and complete dominance over all elements give a film its personal and unique essence. Auteur theory expresses that each film illustrates the director's personal creative intentions and ideas. Although the film would have major influence from the producing institution, the director's voiced concepts should still be clear to the audience. The theory is utilised as justification for the director's idiosyncratic and intensely personal films.
Andrei Tarkovsky is one of my chose auteurs, specifically referencing, 'Ivan's Childhood' and his short film, 'Memory'. Tarkovsky utilises the human memory as a way of presenting his ideas. He does this because they cannot be challenged or branded incorrect. Having the films clearly from one point of view, allows the director's voice to be expressed. Tarkovsky made seven films in his time, all of which explored what it means to be human. His films were made up of extreme long takes, metaphysical themes and memorable images. It is also notable that while Tarkovsky began with extreme long takes, his later films - such as 'Memory' - he incorporated traveling camera, which Tarkovsky classes as montage. There were also many reoccurring themes such as: dreams, memories, childhood, rain indoors and reflections. One personnel characteristic of Tarkovsky's films is that he frequently works with the same cinematographer, Vadim Yusov. Thus, making the films more identifiable.
Within my own media product I used the concept of the human memory as a way of presenting my ideas. I also technically followed Tarkovsky through using extreme long takes and keeping camera movement to a minimum. My film contains reference to reflections; with the shots of the river and streams and memories; as the character Kay is constantly trying to recall her memory.
Michael Gondry is the other auteur I explored, in particular focusing on his film, 'Eternal Sunshine of the Spotless Mind'. Gondry gained his auteur status from other videos and films; there is a recurring theme of nature that applies to them all. He also evokes a sense of the unknown and explores things that are partially out of this world, for example in the film, 'Eternal Sunshine of the Spotless Mind', there is an exploration in to eliminating parts of memory through scientific technology. Similarly to Tarkovsky, Gondry places the film from one point of view, allowing his opinions as the director to be expressed. Again like Tarkovsky, Gondry commonly worked with the same cinematographer, Ellen Kuras. This repeats the sense of style most of his films entail.
When producing my own product, I implemented a sense of the unknown and the idea of memory being eliminated. I also included a theme of nature as a way of expressing the character's memory recall, however I do not utilise the idea of scientific technology as a way of gaining one's memory back.
Typically within the genre of poetic realism, Roland Barthes' narrative theory is prominent and can be identified within the films, 'Ivan's Childhood', 'Eternal Sunshine of the Spotless Mind' and 'Memory'. Barthes' theory mainly focuses on the enigma code, which establishes a mystery for the audience, and will be resolved through the narrative. 'Ivan's Childhood' includes an enigma of the character Ivan, which like the code expresses is not revealed until the end of the film. Differing from 'Ivan's Childhood', in 'Eternal Sunshine of the Spotless Mind', the enigma does not follow one character, but the uncoding of events, which result in the unusual relationship between the male and female protagonists. Similary to those films, the short film, 'Memory' also expresses an enigma through the editorial, cinematic and audio styles.
Typically within the genre of poetic realism, Roland Barthes' narrative theory is prominent and can be identified within the films, 'Ivan's Childhood', 'Eternal Sunshine of the Spotless Mind' and 'Memory'. Barthes' theory mainly focuses on the enigma code, which establishes a mystery for the audience, and will be resolved through the narrative. 'Ivan's Childhood' includes an enigma of the character Ivan, which like the code expresses is not revealed until the end of the film. Differing from 'Ivan's Childhood', in 'Eternal Sunshine of the Spotless Mind', the enigma does not follow one character, but the uncoding of events, which result in the unusual relationship between the male and female protagonists. Similary to those films, the short film, 'Memory' also expresses an enigma through the editorial, cinematic and audio styles.
Within my own five-minute film, I followed Barthes' narrative theory and throughout set up an enigma, which was not revealed until the end. Although mainly using the narrative, my choice of editing and sound assisted in the portrayal of the enigma The main aid was implementing shots of nature, including a flowing stream and a stage beetle as a way of illustrating the protagonist's memory recall.
A film under the genre of poetic realism usually recreates a reality. It is typical within the genre to see the film having a fatalistic view (the acceptance of all things and events being inevitable) with the protagonist generally living on the margins of society, as an outcast. The protagonist, prior to the films the beginning, would have experienced a life of disappointment and the film will usually explore the one last chance the protagonist has of love. There is also a typical convention of a heightened aestheticism - which is the emphasis of artistic beauty.
The typical conventions of that are represented through the genre of poetic realism can be found within my own media product. With the protagonist being in a coma, this segregates her from society and places her as an outcast. My film does deviate from the conventions, with her not experiencing a chance at love. However, that is the only deviation.
Classic cinematographic conventions within the style of poetic realism include, frequent use of the long take, minimal camera movement and wide framing. In the style poetic realism, editing is commonly long take to assist in the reinforcement to the audience that it is a reflection of realism. Montage can also be quite frequent in order to decorate what is seen as reality and aid the atmosphere that is intended on being emitted to the audience. Mise-en-scene within the style of poetic realism is kept to a minimal. The lighting is natural, the set design and costumes are true to the location, characters and narrative. As a way of maintaining the realistic style, generally poetic realism consists of diegetic sound. Some non-diegetic may be used, but as a way of transition or a notification of time passing. Mostly, if there is non-diegetic sound, it occurs after it has previously been diegetic and is now used as a bridge between two scenes.
While my film mostly meets the conventions for poetic realism in a cinematic, editorial, sound and mise-en-scene respect, I took most of my inspiration from my three research films, 'Ivan's Childhood', 'Eternal Sunshine of the Spotless Mind' and 'Memory'. Tarkovsky uses a lot of long takes with wide framing in his film, 'Ivan's Childhood' and I wanted to mimic this. I particularly liked how the actors moved around the space and came into the framing instead of the camera moving towards the action. Therefore, some of my shots utilise this technique. In Gondry's 'Eternal Sunshine of the Spotless Mind', I like the fast rhythmic editing style that maintains the pace and still is able to express the full narrative. It keeps the audience focused but because the camera is static, it doesn't confuse them. Throughout Tarkovsky's short film, 'Memory' there is a single non-diegetic soundtrack playing. This assists with the creation of an enigma. In my own media product I chose to follow this particular characteristic and used one soundtrack throughout my film to aid in providing an essence of an enigma.
The typical conventions of that are represented through the genre of poetic realism can be found within my own media product. With the protagonist being in a coma, this segregates her from society and places her as an outcast. My film does deviate from the conventions, with her not experiencing a chance at love. However, that is the only deviation.
Classic cinematographic conventions within the style of poetic realism include, frequent use of the long take, minimal camera movement and wide framing. In the style poetic realism, editing is commonly long take to assist in the reinforcement to the audience that it is a reflection of realism. Montage can also be quite frequent in order to decorate what is seen as reality and aid the atmosphere that is intended on being emitted to the audience. Mise-en-scene within the style of poetic realism is kept to a minimal. The lighting is natural, the set design and costumes are true to the location, characters and narrative. As a way of maintaining the realistic style, generally poetic realism consists of diegetic sound. Some non-diegetic may be used, but as a way of transition or a notification of time passing. Mostly, if there is non-diegetic sound, it occurs after it has previously been diegetic and is now used as a bridge between two scenes.
While my film mostly meets the conventions for poetic realism in a cinematic, editorial, sound and mise-en-scene respect, I took most of my inspiration from my three research films, 'Ivan's Childhood', 'Eternal Sunshine of the Spotless Mind' and 'Memory'. Tarkovsky uses a lot of long takes with wide framing in his film, 'Ivan's Childhood' and I wanted to mimic this. I particularly liked how the actors moved around the space and came into the framing instead of the camera moving towards the action. Therefore, some of my shots utilise this technique. In Gondry's 'Eternal Sunshine of the Spotless Mind', I like the fast rhythmic editing style that maintains the pace and still is able to express the full narrative. It keeps the audience focused but because the camera is static, it doesn't confuse them. Throughout Tarkovsky's short film, 'Memory' there is a single non-diegetic soundtrack playing. This assists with the creation of an enigma. In my own media product I chose to follow this particular characteristic and used one soundtrack throughout my film to aid in providing an essence of an enigma.
Eleanor Evans 1263 G324 Media Evaluation Question 1 | |
File Size: | 36 kb |
File Type: | doc |