(As with all my 'Thoughts' postings, these are my ramblings 'out loud' - as I think through particular problems.) 

Exercise 4 [In brief]: Write a case study of a 10 minute segment of a film, identifying genre and genre conventions and assessing what effects these have on the audience. 

If you are a A Level Film Studies student in full time education, this post may hold less significance. But if, like me, you have been out of full-time education for some time and are studying part-time or as part of a distance course, then you might be dreading the idea of writing your first essay.

For me it's been nearly 10 years since I had to write an essay! So I have real trepidations about undertaking this project.

A helpful adage to remember if you are in this situation is 'preparation is everything'. The more background work you do before you actually put pen to paper (or cursor to screen) the easier the task will be. I may be stating the obvious, but nervousness can often make you forget the lessons you learned when in formal education.

'Read the question'

Oh yes, this old chestnut. But it remains ever relevant and one of the greatest reasons why so many essays go wrong. People (and I include myself) simply do not take in quite what the exercise intends you to produce. Luckily, the A Level course book I have goes as far as giving you two example case study essays on which to base your own.

'Write what you know'

Obviously, you can't always choose what the subject matter of your course essay - but in this case you are permitted to pick the film on which you will base your case study. This is a great way to get into essay writing, as there is extra confidence to be had writing about familiar topics.

Choice of film? 

The fact that the course work allows you to choose which film on which you will base your case study is of particular advantage with this exercise, as you have to identify a specific 10 minute segment within the film which includes topics that support your case. In other words, you have to be familiar enough with a particular film to know that there is 10 minutes that will have the sort of narrative and associated scene material that will be relevant to the questions asked.

Now get on with it!

This is the worst bit - actually getting down to it! So far I have whizzed through the first three discussion based exercises, but now have floundered on this fourth. Having now written down my 'strategy' for writing the essay I no longer have an excuse for putting the work off...

I guess after two or three essays I will wonder what all the fuss was about - but one things is for sure, it's better to get the first essay out the way, even if it's bad, just to break the ice.

(Part 2 of this post will be a 'debrief' of the actual essay writing process. It will be interesting to see whether I will feel it was a bit of a doddle after all...I suspect not!) 

I do, however, have time to mull over the exercises after completing them, and I would like to keep a record of some of the things that come to me after particular tasks are complete. I also wanted to keep these thoughts as separate items from my task answers, as I have a tendency to ramble and may divert from the point of the course exercise.

The following thoughts go beyond the scope of the questions posed in Exercise 3 of the A Level course book that I am studying, but are just the sort of issues that would probably have been raised in the post-exercise classroom discussion.

Hybrid and sub-genre confusion

Exercise 3 of the course book asked the student to decide - from the evidence of two film stills - which of the sample films could be categorized as being of the hybrid genre and which was a sub genre movie. However, having completed the primary aim of the task it did become apparent that this exercise was perhaps not as clear cut as it first appeared.

For example, while 'Day of the Dead' is obviously a sub-archetype of the Horror genre (a 'Zombie' movie), it could also be described as a 'Hybrid' movie as it includes element of Action and Science Fiction conventions. Likewise, 'The Lord of the Rings' is, on the face of it, a Hybrid film - including as it does aspects of several different genres - but it could as easily be categorized as a sub-type of the Fantasy genre, having many attributes which would identify it as 'Sword and Sorcery'. 

So, categorizing films into specific classifications within the genre system isn't straight forward, although it is apparent that there is usually some sort of pecking order into which a film's genre classifications can be arranged. I have decided to call this process GENRE PROMINENCE (there is probably a correct term for it).

'The Lord of the Rings', for example, can be given the following genre prominence:-

> FANTASY (Principle genre)
- > SWORD & SORCERY (Sub-genre)
-- > ACTION
-- > HORROR
-- > ROMANCE -- (Hybrid genre attributes)

 
The task presents us with two film stills; one photo is of a hoard of Orcs from 'The Lord of the Rings' trilogy and the other is a picture of a group of zombies from (I think) 'The Day of the Dead'. The student is then asked to categorize each of the films - based on what conventions one can gleam from the pictures - as either being a hybrid or sub genre movie.

Film still 1: 'The Lord of the Rings'

Principal genre: FANTASY
Hybrid genre: HORROR

Because of the grotesque special effects make-up of the Orcs, far more realistic than 'fairy tale', this film has elements typical of the Horror genre, as these creature characters as designed to instill a sence of fear in the audience (taking into consideration the age groups which this film is targeted at).

While Horror - as a term - is usually associated with movies who's audiences are (in the UK) of the 15/18 certification, Horror themes are evident in teen and even 'Kids' movies - if only in a far more sanitied or 'comic book' way.

Film still 2: 'Day of the Dead' (?)

Principal genre: HORROR
Sub genre: ZOMBIE

This still depicts a group of human looking creatures, apparently in varying sates of decay and decomposition, but obiviouly - and unexplicably - animated. Films the main theme of which portays  'Living dead' or zombies are such popular and distint arm of the Horror genre that they are generally recognised as a micro-genre in their own right.

There are other specific horror character lead film types that are likewise instantly recognizable as a class of their own under the general Horror genre. Vampire and Werewolf movies are other examples of this Horror sub-genre classification.

The evolution of film genres - Westerns

In exercise 2 of the A Level Film Studies textbook the task is to identify how genre conventions have changed over time. Again, this is a classroom discussion activity intended to be carried out with a partner, and to make it just that little more difficult you must also list specific films to support your answers. Bad news for someone like me who has a terrible memory for titles!

I will have a bash at remembering the titles of the examples I use, but as the references are fairly important (and I can't rely on a partner to help remember them) I will conclude this task by researching my film titles properly. So forgive any incorrectly remembered or mis-spelt titles in the meantime.

(The textbook requires that you pick one genre, and I have decided to look at Westerns as I feel there are some interesting cultural and social issues which have influenced changes in the key conventions of this film genre.)

1. Realism

The 'mise en scene', costume and demeanor of characters has become more historically accurate as Westerns have evolved.

 Example comparison: 'The Searchers' (1940s) and 'The Unforgiven' (1990s)

'The Searchers' depicts an idealized, almost pastoral, life of the settlers in the 1800s, simple and uncomplicated (until the intervention of the 'savage Indian' raid). Dress and characters are less historically accurate and more stereotypical. While 'The Unforgiven' shows a much more gritty and unsavoury life in the West, including a frank portrayal of such subjects as prostitution, racism and violence among white settlers.

2. The depiction of 'heroes'

The simple division between the 'good guy' and the bad guy' become more blurred over time. While in the time of the silent movies the distinct difference between the hero and the villain may have been crudely denoted simply by the colour of their hats (white hat for the hero and a black hat for the villain), today the line is less clear or may be nonexistent.

Example comparisons: 'High Noon' (1940s) and '3.10 to Yuma' (2000+) 

'High Noon' is a story of the archetypal hero versus villain, and it leaves the audience with no doubt whom they are intended to sympathise with. On the other hand, in '3.10 to Yuma' one finds it hard at time to sympathise with the 'hero' and the 'villain' is by far the more likable character.

(Although this is a problematic convention, as there is a part of Western Lore that idolizes the 'outlaw' as a sort of Robin Hood type of folk hero; e.g. Jesse James or Butch Cassidy. See example 4.)

3.  'Red Indians' to Native Americans

Over time the native American peoples have begun to get a lot more sympathetic treatment in Westerns.  Since the beginning of Western movies 'Red Indians' (as they were dubbed by the white settlers) have been little more than rather insulting stereotypes, which have simply repeated the propaganda of the 1800s that was used as a pretext for the white man to make war on them.

The realities of life for the indigenous peoples were seldom tackled and their representation in earlier Westerns was by and large as 'savages' who were the sworn enemy of the white man. The whites being portrayed as the civilizing influence, who did little to provoke the native American tribes - nothing could have been farther from the truth.

Example comparisons: 'Geronimo' and 'The Little Big Man'

'Little Big Man'  not only did a lot to show a much more realistic and sympathetic picture of the 'Indians', but also went as far as to include scenes where the white man acts of cruelty and arrogance sought to destroy the largely peaceful tribes people. This was exactly the opposite to early movies like 'Geronimo' which depicted a aggressive and war-like chief who attacked the 'harmless' white man.

However, even while saying that, it is interesting to note that both 'Little Big Man' and another movie about the native Americans called 'A Man called Horse' still could not altogether break with tradition and have an indigenous American hero, but instead had a main character who was white and who lived with the 'Indians'.

 4. Changes in the depiction of outlaws

As mentioned in example 2, early Westerns used the convention whereby there was a clear delineation between the hero and the villain, the lawman and the outlaw. However, the exception to this was where - in line with Western folk lore - certain outlaws, like Jesse James and Billy the Kid, were seen as cultural heroes.

In order to resolve this conflict early Hollywood made these 'good bad guys' likeable rouges whose crimes invariably were ones which were forced upon them by circumstance (off times completely flying in the face of historical fact). As with John Wayne's outlaw character in the movie 'Stagecoach', these sort of off beat heroes would in the course of the narrative redeem themselves by showing a heroic or virtuous side to their character.

Today, however, audiences are much more accepting of a 'bad guy' having committed some truly bad thing, but still be willing to have them cast as the 'hero'. Examples of this 'bad good bad guy' (!) are Clint Eastwoods character in 'The Unforgiven', or Russel Crowes character in '3.10 to Yuma'.

Both these characters were self-confessed mass murderers who showed little mercy, broke the 'Law of the West' by killing women and children, and yet were still the subject of our admiration and idolization! 

‘A’ Level coursework exercise 1 – Genre ‘key conventions’, conclusions

First of all, I should reiterate that my answers to this exercise were composed ‘off the top of my head’. Each list was done in a relatively short time and without recourse to reference material. This was because this exercise was intended, according to the textbook, to be a quick classroom group task – so I tried to reflect this.

I mention this so that the reader does not go under the impression that my answers are comprehensive nor necessarily correct. My answers did not benefit from the input and refinement of a partner or class discussion. They are just raw and intuitive responses to the exercise.

(However, I hope to later investigate genre key conventions in more depth and clarify the nature and definitions of film genres.)

A little confusion…

In the course of developing my ideas about these conventions I did come across a couple of issues which did puzzle me.

First of all, I found it a little difficult to understand the difference between a ‘key convention’ and a ‘typical plot’. Many of my answers to the exercise seemed to me to be plot related, and I’m not sure if this was altogether the point of the task. For, while I understand that a ‘convention’ might include a ‘emblematic narrative scenario’; it goes beyond this to also include typical character types, environments, directorial techniques, cinematography and ‘mise en scene’.

Additionally, it seemed to me that certain key conventions were somewhat generic and common not just to one genre, but several different genres. For example, when one talks of the character convention of ‘a hero with a ‘flaw’ or vulnerability that can be exploited by the villain of the film’*, that particular description may apply to multiple genres as a typical central character.

Though this notion of shared concepts or conventions leads us nicely into exercise 3 of the A Level textbook, which is an analysis of ‘hybrid’ genres.

* Page 15, ‘A Level Film Studies for WJEC’, Tanya Jones, Hodder Arnold 2005.

Fantasy - 'Key conventions'

Elements and conventions which are typical of the 'fantasy' genre.

• Mythological themes brought into existence as if real by means of special effects
• Heroes of legend who must perform some form of quest
• The slaying of some form of fantastic creature or being of great power
• The creation of creatures, environments and peoples which are thought of as 'magical'
• The use of 'magic' as a means by which the central character/s attain their goal

Science Fiction - 'Key conventions'

Elements and conventions which are typical of the 'science fiction' genre.

 

• The use of speculative technologies and how they might be used in the future as a central vehicle for the plot
• Space, time or dimensional travel is used to introduce alternative worlds, realities or possibilities
• Alien beings travel to our world, or 'we' travel to alien planets
• Technology turns against it's makers or malfunctions with dire consequences (and the central character must then regain control or destroy the 'machine' or technology concerned)
• Human or biological evolution mutates in some unforeseen way - perhaps by means of an outside influence - and then poses a threat to the central characters or humanity as a whole
• The use of technology, or an outside influence, gives a central character super-human abilities, which then are used for good or bad
• Speculation about how natural disasters - based on current scientific research - might have catastrophic consequences, which the central character/s must then avert or reversed 

Action - 'Key conventions'

Elements and conventions which are typical of the 'action' genre. This is probably my weakest area, as I am not a big 'action' fan, unless it is in combination with one of my other favourite genres, like sci-fi or war, but here goes...

• An unlikely or flawed hero or heroine who overcomes some villain or force by force rather than guile
• A percieved weakness or relationship may be utilized by a villain to force the hero to undertake some mission
  
• A central character who defies death while performing some extreme form of sport or job is put to their 'ultimate' challenge
• Central character is induced to perform some sort of near impossible task, against their wishes, in order to save others
• A plot line which intermittently changes pace between sequences of inactivity (where the story is driven forward) to short periods of extreme excitement; these may be car chases, intricate and violent fight scenes or scenes which include complicated and terrifying stunts
• The level of action gradually escalates to a set-piece finale which incorporates the most dangerous, exciting and/or ingenious stunt

As I say, 'action' movies are not exactly my favourite genre - but more worryingly is that I managed to outline more key convensions for 'romantic comedy' than I did for this genre!  

Horror - 'Key conventions'

Elements and conventions which are typical of the 'horror' genre:

• Central hero (or heroine) with a particular weakness that will be exploited later
• A theme that might include elements of the supernatural, occult, urban mythology or extreme human villainy or a combination of all of these
  
• A central character with a secret past, that will later be revealed (may be hero or 'villain')
• A situation which forces the hero (or group of central characters) into a location that they would normally avoid
• The exploitation of a common phobia which the hero must overcome to escape the situation, location or villain
• The retelling of a cultural myth or urban legend which initially draws skepticism from the central characters
• The uncovering of a 'secret' which reveals the nature or origins of the 'horror'
• The discovery of a weakness that the hero or central characters can use to destroy the 'horror'
• The destruction or overcoming of the the horror invariably  means that the hero must confront their own fears
• The location in which the horror exists may be a place that would normally be considered comforting, innocent, safe or familiar 
• During the course of the narrative the true nature of the 'horror' is gradually revealed - metaphorically and literally - until it is eventually completely unmasked in the climax of the film
• The climactic confrontation of the hero and the 'horror'
• The apparent disposal or overcoming of the horror by the hero, only to have the horror return (either to then be completely destroyed by the hero, or as a device preempting a sequel) 

Romantic comedy - 'Key conventions'

Elements and conventions which are typical of the 'romantic comedy' genre:

• Two opposite characters which initially do not seem like a likely match
• A central character with whom we can identify or sympathise as being an 'ordinary person'
• An 'ugly duckling' who is enamoured with a person who would be considered beautiful
• The 'hero' or 'heroine' hatches a strategy with which they plan to win the heart of the person they desire
• The failure of their strategy, which initially hinders their relationship with the person they desire
• There is a competitor for the attentions of the person that the 'hero' desires, who initially seems like a better match for object of the hero's desire
• A perceived superficial flaw in the hero's looks or character which they feel they must surmount to win the heart of the person they desire
• The inherent underlying goodness of the 'hero' which they do not recognize as their own best attribute
• During the course of the plot the competitor is unmasked as a villain and the hero is vindicated
• Resolution of the plot where the hero finally wins the object of their desire - perhaps only to find that this person was not whom they were really searching for
• Realization that the hero's true love is a person from whom their true feelings were overlooked or hidden 
• Application of the moral 'it's what is inside that counts' (or 'beauty is only skin deep')