For the chosen brief, a two minutes opening scene and a title sequence are done for a TV programme named “Superhero High School”, along with a teaser ad campaign for the show to generate discussion before the premier. Superhero High School is an action, dramatic, sci-fi comedy TV series following a group of students in a school for individuals with special abnormal abilities struggling to maintain the balance between precarious friendships, young loves and saving chaotic world. The show is targeted toward a relatively young demographic between 15 and 35 and will be suitable for all ages. To satisfy Silver Lining Production’s ideology, the text is trying to push the boundaries of the format through hybridisation of multiple genres, including documentary.
SHHS adopts many recognisable codes and iconography to convey the designated film and TV genres by the means of numerous cinematic non-diegetic sound effects and percussion used throughout the text. Alongside with that, the colour scheme appears as bright blue or the Hollywood summer blockbuster look of teal and orange. Furthermore, in term of the mise-en-scene, the characters’ clothing is dark coloured winter theme to signify coldness, stealth and isolation. In addition, quick cutting, camera movement action was made, suggesting a conflict is going on and put the text into the action genre.
The cold opening follows the traditional Todorovian narrative structure with the calm sci-fi establishing shots and soundtrack started as equilibrium. Quickly, loud ambient background music with percussion disturbs peace and fragmentation of the fallen poster signifies disequilibrium. The main two characters then go on, literally, breaking boundaries in attempt to repair the damage, which goes...
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... colour matching, thus causing blending flaws. The poster shows Alex’s attraction toward Liana but she’s ignoring it. At the same time, Ethan is despising and Vanessa is unhappy with this relationship. These denotations refer to the representation of character above and back up the dramatic theme.
The third poster is utilised with a graphic pen filter to make intertextual links to the popular hero comic books, interpolating the very large demographic of such texts.
All of the print pieces provide links to the e-media platform, which is not done in this coursework, but will act as fan sites for the show and encourage audience interactivity to again emphasise the market liberalism perspective. The key word #shhs is used in the three social media websites since it is short for quick access and signifies secrecy as the school is hidden out of space.
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Not only educational shows accomplish these goals, but fictional television programs can often incorporate information that requires viewers to grapple with a topic using logical reasoning and a global consciousness. In addition, not to diminish the importance of reading, television reaches those who may never pick up a book or who might struggle with reading problems, enabling a broader spectrum of people to interact with cognitive topics. Veith has committed the error of making generalizations about two forms of media when, in truth, the situation varies depending on quality and content. However, what follows these statements is not just fallacious, but
Younger generations and the more vulnerable in society can be influenced in avoiding peer pressure, but for the individuals filled with wisdom, the shows can reflect based on American modern society. Everybody Loves Raymond and Full House are great shows who faces similar life obstacles a typical person living in the US has today. As a result, most modern family comedy sit-coms are reflecting our society’s generations and the more vulnerable. Based on the success of early family sit coms, American’s adapted to a fast pace lifestyle with the help of modern
What components make a movie successful in cinema? Filmmakers have crafted a formula to successfully deliver the hero narrative. This formula consists of the hero’s journey and archetypes. Hero films typically follow a ten-step sequence to properly set up and execute the hero’s journey. These movies range from stories of transformations, searches, or a journey back home. Archetypes are used to employ character profile as well as add variety and depth to these stories. Ridley Scott directed Alien, in which Ellen Ripley embarks on a journey where she must survive an alien who is out on a murderous rampage and return back to Earth. Alien adds originality to its storyline by choosing a female lead instead of a male, but the film still incorporates the same heroic attributes that make a story successful. In this “going home journey” film, Scott is able to incorporate the hero’s journey and the official hero archetype towards the heroine Ellen Ripley.
When a novel is adapted into a graphic novel, a spectrum of possible interpretations allows for new meanings. Due to the intermedial character of the graphic novel, the translation from text into a graphic novel differs from an adaptation from text to text. Graphic novels have a medium-specific language that consists of a combination of words and images, both following their own rules and conventions. These two channels of the graphic novel, the visual and the textual, enable the author of the adaptation to express her- or himself not only through words but also through images and make them decide what is expressed in images, what is left in words, and what is left out altogether.
In the 40s, comic books had a large audience. There would have been at least a dozen people in your class who read comics, claims Chabon. A few years later in the 70s, there would have been less than a dozen but more than one or two people who read comics. Now, it is hard to find more than a few people that you know who actually read comics. If you read comics today, you are considered unique. Children are loosing interest in everything that stimulates the mind in a positive way. Chabon claims that the obvious decline in interest in comic books should make authors want to take initiative and fix the
Mise-en-scene includes everything that appears in front of the camera. The director generally controls these elements. The mise-en-scene affects if the audience perceives the degree of realism or fantasy in the film. Broken Blossoms clearly aims for realism, however, the actors needed a more expressive style in order to portray their characters without sound.
Though graphic novels are not recognized as literature by many literary critics, they have the distinction of communicating with pictures in a way that may not be possible with words alone. Themes that would be lost if they were merely sentences on a page are highlighted when set to a graphic novel’s illustration, and graphic novels can connect deeply with the reader through images of war and suffering, such as in the graphic novels Persepolis and Fables.
Through the use of complementary colors, she achieves great contrast. Contrasting hues develop a theme of light vs. dark, or in Liu’s case, expectations vs. reality. Dark colors are used to suggest the harsh, chaotic conditions experienced by the workers; while light, less saturated colors illustrate the calm passivity of traditional Chinese customs and ideas. The sky surrounding the stylized women contrasts greatly with the surroundings of the exhausted men. The dark hues establish heavy visual weight below the figures and the light tones of the sky create a sensation of weightlessness and help to further distinguish the fantasy like qualities. Liu also includes the application of analogous colors, primarily to make the traditional figures less dramatic and to help unify the surrounding
This information was presented in form of a movie in a campaign dabbed “Make a Movie, Make a Difference”. This information was enlightening as high school students engaged in movie production to addre...
Visually the film captures the bleak tone of the script. The coloring in the scenes are dark and blue with the characters wearing dark clothing. This demonstrates the serious nature of the subject matter, while also setting the tone. The performances in the film helps to create tension.
Lefevre, Pascal. “Incompatible Visual Ontologies? – The Problematic Adaptation of Drawn Images. In Film and Comic Books, edited by Mark Jancovich, Matthew P McAllister and Ian Gordan, Jackson: University Press of Mississippi, 2007, 1 – 13.
Throughout history the human race has sought forms of entertainment. Whether it be in the form of a simple game, a grandiose tournament or a simple play production, we have always sought to entertain ourselves. In recent years as the film industry has continued to grow and evolve a new genre has emerged the mainstream popular culture. One big idea changed the course of a genre and an entire Industry. That would be comic book movies.
One element of mise-en-scene, also known as the lighting, was one of the elements of mise-en-scene that stood out to the audience and was also relevant to the narrative structure of the film. Ward’s use of lighting, whether it was high-key lighting or low-key lighting, sets the mood
Originally published in Cinema Journal 40, No. 3, Spring 2001, Jason Mittell’s “A Cultural Approach to Television Genre Theory” conceives of television genre as a cultural category rather than merely a textual component. In the decade since the original publishing of the article, television has evolved out of the multi-channel era and into the post-network era. In this new television landscape, genres are no longer a fixed entity1, and there is great academic potential in the in the study of television genres. The text, Thinking Outside the Box: A Contemporary Television Genre Reader, aims to explore and analyze genre in the current television landscape, and the Mittell article, republished in the book, serves as an entry point to such scholarship.
In applying genre theory, I will proceed to analyse how the television series, The Big Bang Theory falls into the situation comedy as a genre. Firstly an understanding of genre is needed before an analysis can begin. ‘Genre derives from the French word meaning type’ (Bignell 2008: 116). Broadly used in, literary and media, more recently linguistics, to referring to a distinctive type of 'text'. (Chandler 1997). The term ‘Can be defined as patterns/ forms/ styles/ structures which transcend individual art products, and which supervise both their construction by artists and their reading by audiences.’ (Ryall, 1975: 28). Genres allow us to organise material into smaller categories, identify the ‘artistic product we want’ (Creeber, 2008). Having begun with the Greek philosopher Aristotle when he began to outline different works in to categories the term is still in use today and, now in television genres are used to differentiate a number of diverse television shows from each other, distinguish the comparisons between them in the content, style, and format of the show. Genre in television has become a sign...