Wednesday, 8 July 2015

Task 7 - Theorist and Terminology


BLOG 7 – Theorist and Terminology



Propp and Todorov

Vladimir Propp had a theory that all characters could be resolved 7 broad character tropes and functions. These tropes are

The Villain – Antagonises the protagonist. For example, Scar from the Lion King

The Dispatcher- Is used in the beginning of the story to drive the plot forward; will send the hero off in his/hers quest. For example, Uncle Ben in Spider Man

The Helper – Helps the hero. Usually comic relief. For example, Robin from Batman

The Princess/ Prize – The “goal” of the hero. For example, Sleeping Beauty

The Donor – Prepares the hero for his quest. For example, Obi Wan

The Hero – primary protagonist. For example, Frodo

The False Hero – secondary antagonist and rival to the hero. For example, Draco Malfoy

These character tropes can be subverted and deconstructed. A great example of this would be the majority of the characters from the Shrek franchise; almost every character subverts the connotations/expectations of the fairy tale cliché. Shrek the ogre living in the swamp, is our main protagonist, and Prince Charming is our antagonist.

 

Todorov proposed that the narrative itself could be resolved in a 5 part pattern.

  • A state of equilibrium (All is as it should be.)
  • 2. A disruption of that order by an event.
  • 3. A recognition that the disorder has occurred.
  • 4. An attempt to repair the damage of the disruption.
  • 5. A return or restoration of a NEW equilibrium
     
     
    Barthes’ Code

    The Hermeneutic Code – the way the story avoids telling the truth or revealing the facts, in order to provide clues to develop the narrative enigma

    The Enigma/ Proairetic Code – The way tension is built up and the audience is left guessing what happens next

    The Semantic Code – Any element in a text that suggests a particular often additional meaning by way of connotations which the story suggests.

    The symbolic code – Like the semantic code, but acts a wider level, organising meanings into a larger scale meaning,

    The Cultural Code – looks at the audience’s morality, culture and technology.
     
    Time and Narrative Structure –
     
    Narrative structure is the structural framework that underlies the order and manner in which the narrative is presented to the audience. The narrative text structures are the plot and the setting.
     
    Usually the narrative structure of any work contains a plot, theme and resolution. It can be divided into three sections: setup, conflict and resolution.
     
    A good example of this would be Scott Pilgrim Versus the World (2010), the setup is that Scott ends up on a date with Ramona, the conflict is in order to go out without her he has to defeat her “7 evil exes”, and the resolution is that after deafting the exes, Scott starts his relationship with Ramona.
     
    A non-linear narrative is one which is composed with a branching structure where a single starting point may lead to multiple developments and outcomes. This is the typical narrative approach of most modern video games and hearkens back to a minor genre, "books where you are the hero", sometimes referred to as "gamebooks".

 

 

 

 

 

 

Tuesday, 7 July 2015

Task 3 - Genres


BLOG POST 3

GENRES

A genre is a style or category of art, music, film and literature. Over the years films have adopted multiple genres catering to different audiences such as:
• Action ( Indiana Jones)
• Horror (Nightmare on Elm Street)
• Romance (Titanic)
• Comedy ( 21 Jump Street)
• Sci-fi ( Terminator)
• Western ( A Fistful of Dollars)




  
I am going to focus on the superhero genre for this blog post, as it is one that has drastically increased in popularity over the recent years. The three main factors that resulted in the increase of popularity in superhero movies are in my opinion the technology used for special effects has advanced to the point where it studios now have the means to create a believable and good super hero movie thanks to the use of cgi. Another factor is that comic book storylines have matured with its audience, so the potential for more mature and adult themes are viable now, as evident by the success of the Dark Knight Trilogy. Another factor is that superhero movies already have an established audience, so there is already a financial incentive to produce one.
The superhero genre is older than one would think. The mark of Zorro was the first “superhero” movie, and it was created in 1920. During the 1940s some emergence of now considered “mainstream superhero” films were made such as Batman and Robin and Superman. However, the genre took off in the 1970s with the classic Superman film produced in 1978. However during the 1990s the genre declined with box office bombs such as Batman Forever and Daredevil. It was only the success of the Spiderman films and the Dark Knight trilogy that caused a revival in the superhero genre. The genre is now going extremely well thanks to marvels “Avengers” project.

 Common conventions and tropes in superhero genres include:
• A coming of age story
• Binary opposite - “Good versus Evil”
• Story is about opposing forces battling
• Common character tropes – anti-hero, snarky comic relief, “card-carrying” villain”, love interest.
•  Elements of fantasy and sci-fi
• Set in New York

Sometimes the superhero genre takes a more realistic approach to the story and characters. A good example would be Watchmen and The Dark Knight Saga. Tropes in these “grittier” types of superheroes include more anti-heroes and villains; the good versus evil is more “grey versus grey” rather than “white versus black”.
The Superhero genre sometimes has a hybrid with other genre in which conventions are shared. For example, Guardians of the Galaxy combines some sci-fi tropes such as star ships and alien worlds along with the established super hero conventions. In addition, Thor combines the superhero genre with high fantasy and it Norse mythos are featured prominently in the film.



 Thomas Schratz composed a theory that there are only two types of genres; Genres of Order and Genres of Integration.

Genres of Order (Western, Gangster, Sci-fi etc.)
Hero Individual - Male dominant
Setting Congested space - fighting for territory (ideology unstable)
Conflict Externalised - against others. Expressed via action codes; conflicting ideologies
Resolution/ Ending Elimination (death)
Thematic (narrative themes) The hero takes the problems upon himself, contradictions to his society and saves us from them- protecting audience. Macho code of behaviour, isolated self-reliance

Genres of Integration (Musicals, comedies, domestic melodramas etc)
 Hero - Couple or collective e.g. family
 Setting - Civilised space (ideologically stable)
 Conflict - Internalised - between themselves (expressed through emotion)
 Resolution/ending - embrace (love)
 Thematics - The romantic couple or family are integrated into the wider community, their personal antagonists resolved
                   - Maternal, familiar code
                   - Community co-operation

Another Theorist, Bucking, states 
'Genre is not simply "given" by the culture: rather, it is in a constant process of negotiation and change.'


◦ Pastiche – uses/copies stylistic features/iconography with no mocking intent; often it can be a mosaic of different genres creating a hybrid
◦ Homage – deliberately imitating the characteristics of another text as an indication of that texts importance e.g. What Lies Beneath contains homage to Psycho.
◦ Parody/Spoof – usually a playful treatment of the genre e.g. Shaun of the Dead is a parody of Dawn of the Dead (even the title!)