movie review conventions

How to Analyse Movies #2: Signs, Codes & Conventions

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In this chapter, we’ll cover the signs, codes and conventions in a film that can tell you a lot about the messages that the creators are trying to convey. Some filmmakers are aware of the use of signs, codes and conventions in their work, though some are not. In that case the symbolism may be there, but not on the surface, which makes it a little harder to interpret.

The study of these signs, codes and conventions in film is called  semiotics , or semiotic analysis . Semiotic analysis is a way to explain how an audience makes meaning from codes. All meaning is encoded in that which  creates  the meaning. No object or word is without meaning – one cannot read or see something without associating it to a certain idea, the meaning. Growing up, everyone has been taught how to decode what they see, read and hear. We have all learned to decode meaning: it’s how we make sense of our surroundings, essentially, of the world.

However, what’s important to realise is that the decoded meaning wasn’t created by the person decoding it, in a vacuum; instead, the meaning already existed. They merely took the signs and applied their pre-existing knowledge. For example, if you read the word “failure”, you decode it by relating it to the value your culture assigns to the concept of failure and its antonym, success. This is why someone from a Western culture might interpret it very differently to someone from an Eastern culture. Although this doesn’t mean we cannot create meaning on our own, but 99% percent of the time, the meaning comes from some pre-established (cultural) notion.

Semiotic analysis is used to “read” (and better understand) a film and its text. It’s mostly used in academic study of film, and dozens of books have been published on the topic, though they’re often pretty dense, and for the casual film viewer, a bit much. The below is a short summary of what semiotics entail, and will help you take the first steps into film analysis.

Semiotic Analysis

The study of these signs, codes and conventions in movies is called  semiotics . Semiotic analysis is a way to explain how we make meaning from codes – all meaning is encoded in that which creates the meaning. No object or word goes without a meaning – we cannot read or see something without associating it to a certain idea – the meaning. In our youths, we have all been taught how to decode what we see, read and hear, we have all learned to decode meaning.

However, what we should realize is that the decoded meaning is not our own idea, but somebody else’s. For example. If you read the word “failure”, you decode it by relating it to the value your culture adheres to the concept of failure and its antonym – success. Although it’s not said we cannot create meaning on our own, 99% percent of the time, the meaning comes from some pre-established (cultural) idea.

Signs and Codes

In semiotic analysis, the smallest units of meaning are  signs .  For example, the way someone dresses is a collection of signs that informs others about the person; clothing encodes the smallest of signs, e.g. a popped collar means preppy. A black band t-shirt and over-sized pants signal a music fan, but together they can create a collection of signs, a code . For example, a band shirt + baggy pants + black nail polish + dyed hair, could signal a rebel, or even a goth.

You could say meaning has two “levels”. On its most basic level, there is the sign : the denotation, which is the  literal meaning. But when a sign occurs in a group, or in a particular context, it becomes a code , and it can suggest or connote extra meaning.

For instance, the colour red simply denotes a colour, but in a certain context it can connote emotion, like anger, or love. These codes are often used in media to reinforce, subtly, the way audiences should think about certain things or how they should behave. These are a culture’s dominant ideologies. For instance, a long-standing cultural ideology is that diamonds (or chocolate) symbolise love and that people should give this to your significant other as proof of their love for the other.

These codes are groups of signs that seem to fit together naturally. Together, they create meaning. To stick to the signs and codes of romance: the sign of a broken heart means lost love, and if you add the broken heart to the signs of two people, the three signs together, the code, anyone will read into it that the couple has broken off their relationship.

Filmic Code

Four types of signs and codes exist in semiotic analysis of film:

Indexical Signs

These are the most basic of signs in film. Indexical signs indirectly point to a certain meaning – they act as cues to existing knowledge. For example, smoke means fire, panting means exercise, a ringing bell means end of class. This type of signs is constantly used in (all types of) media and are very common.

Symbolic Code

Symbolic codes often denote something they have nothing to do with at first glance, but only because the code exists and because we use them society-wide. For instance, the red heart symbolises love, the white dove symbolises peace, the colour green symbolises jealousy.

Iconic Signs and Code

These are the literal signs and codes: a cop means a cop. They are meant to appear like the thing itself. However, they always represent  more  than just the thing itself. When we see a cop, we also associate this with our cultural ideas of “justice” or “the law”, or even masculinity or toughness. These codes also reinforce the ideas we have about these concepts in our culture, it reinforces the ideological meaning of those concepts.

Enigma Code

This is an important type of code used in film: it creates a question which the film “text” will then go on to answer. This is often used in trailers of movies as well as posters. They make people wonder. For example, “who murdered the protagonist”, or “how will they survive the apocalypse”. They pique curiosity and intrigue the viewers, with the intention of making them go see the movie.

Convention is another important concept that you’ll see discussed frequently in film analysis. It indicates the “establishment”, the established way of doing something, or understanding something, or presenting something.

They are the generally accepted norms. It’s behaviour and ideas that we see as natural; they’re so deeply embedded in culture that we’re generally not aware of them, and definitely don’t realise what their effect is, or how they affect us.

In film, conventions are used to represent certain topics, characters and events, and more. When you start to scrutinise these conventions, you’ll find that, often, they are used to shape how we think about a character or event. When it comes to characters, conventions can easily turn into stereotypes.

You’ll find that they don’t always represent reality, and can even be harmful to how audiences perceive the world. A common convention, for instance, is how Muslims are always terrorists, and to state the obvious, that’s not the case in reality. Indians don’t always have thick Indian accents, especially when they were born outside of India. Nonetheless, these are stereotypes you will find in film abundantly.

Other common conventions can be found in how women are portrayed in film. For instance, in film noir , female leads are either the helpless dame in distress, or the femme fatale – there is rarely an in-between.

Nowadays, women are still frequently portrayed as damsels in distress, though while we see more female superheroes, they are generally clad in tight outfits, and their characters are underdeveloped; they are just there to serve the male main character’s plot.

Furthermore, women in film are substantially less frequently portrayed as having a job. These are all conventions that reinforce the convention that women are helpless, frail, and need to be protected by the masculine male. There are exceptions, of course, but you’ll generally have to delve into the realm of indie film to find them.

Another common convention is how the portrayal of good and bad guys. Cops can often get away with killing bad guys without consequences. Or, even more typical, Batman and Superman (in Batman v Superman: Dawn of Justice ) can lay waste to an entire city and kill thousands of innocents, but they’ll still be considered heroes.

Villains, however, are so villainous that they’re evil through and through. These are very black and white conventions and don’t properly represent the great variety of greys in the real world.

Moreover, genre and narrative can add to the sense of convention, like action film or romance, or film noir and superhero as discussed, but a film’s editing or certain shot types too can reinforce conventions (e.g. a close-up of the poor damsel in distress). We’ll discuss these topics in later chapters.

Lastly, I’ll say it again – culture is very important in the way we interpret signs and codes. It is important to realise that culture always determines the meaning a sign or code communicates. Your interpretation of Bollywood film, if you’re from the West, will likely be different to the interpretation of someone from that area of the world.

As with so many things, practicing will make you better at whatever you’re doing. It’s the same for film analysis.

At first, when you’re going to watch a movie with the intention of keeping track of all the signs, codes and symbolism, you’ll be very overwhelmed. There’s so much to keep track of. Instead, why don’t you first watch a movie in its entirety, and try to study its thematic symbolism? This type of symbolism is more overarching and you’ll find the film tries to deliver a “hidden” message as a whole. What is the filmmaker trying to tell you?

As you get better at distilling a film’s overarching message, you can start looking at how they deliver the message, scene by scene. Start looking at more than just the characters -where are they? A movie that may initially be boring to you may get whole new dimensions purely because you are learning to understand it better and differently.

You can go even deeper than that and analyse a film’s semiotics shot by shot, and that leads me to what we’ll cover in the next chapter: mise-en-scène, everything that’s presented in one shot.

What are some of your favorite codes or symbols? Do you often pick up on them or are you usually unaware of them? If you have any questions at all, please let me know in the comments!

Next in How To Analyse Movies:

You’re currently on part 2: Signs, Codes & Conventions Part 1: Introduction Part 3: Mise-en-Scene & Editing Part 4: Considering the Camera Part 5: Lighting, Sound & Score Part 6: Story & Genre Part 7: Iconography & Realisticness Part 8: Putting it into Practice

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Genre Conventions — The Building Blocks of Genre Storytelling

M ost movies can be characterized as being one genre or the other. If the plot involves a love triangle, that’s most likely romance. If the plot is about a space marine, it’s most likely science-fiction. If the plot involves a group of kids running away from a monster, that’s probably horror. The things that make up the conventions of a genre, also known as genre conventions. What are genre conventions, you ask? You’ll soon be getting an answer via definition, along with plenty of examples.

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Genre Conventions Definition

Defining genre conventions.

We want to provide a brief genre conventions definition before really digging into what they mean and how they are utilized. Conventions of a genre can be used in a lot of different ways, so a straightforward understanding of the basic concept is a must.

GENRE CONVENTIONS DEFINITION

What are genre conventions.

Genre conventions are elements, themes, topics, tropes, characters, situations, and plot beats that are common in specific genres. Genre conventions are what make certain stories the genre that they are. This is why conventions of a genre are made up of specific elements, as these are used to create and identify the genres in question.

What are genre conventions characteristics:

• Plot beats and narrative turns that must almost always occur in the genre the story is set in.
• Characters and settings that are staples of the genre (either directly or subtly).
• Tropes and themes that are almost always part of the genre they are being featured and used in.

What are Conventions in Film

Explaining genre conventions.

Genre conventions work best when you are working exclusively inside the genre you have chosen. This means no mixing or blending of other genres and just focusing on what works for the genre you have chosen. A fantasy story will have a dragon, a knight, a princess, a wizard, and more. A romance story will have a person in love with someone, along with a competing suitor for the protagonist’s love, and a happy ending.

Conventions of a genre do not have to be a checklist, but rather a group of themes and topics that make the genre what it is. For example, a romance story must always have a romance at its center, otherwise it isn’t a romance. And if your romance does not end with the couple living happily ever after, you might alienate the very audience you were writing for. Same if you write a Western that isn’t set in the West, doesn’t have a gunslinger, a showdown, or a sunset; you might upset some, if not all, Western fans.

In many ways, genre conventions exist to give the people what they want. Dragons in fantasy, shootouts in Westerns, monsters in horror, and so on. This is also why plenty of writers have made a living making stories in the same genre, as they know what their audience wants. It’s like the old Greek comedies and tragedies; the genre alone should give you the gist of what you’re about to read or watch.

That said, plenty of movies set in specific genres have broke with convention in one way or another, while still clearly being that genre. A tragic romance can still be a success, as can a Western set in a not-so-Western location. And of course, a horror story can be realistic, so long as there are still victims to terrorize. It’s a careful balancing act, but it’s been done before.

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Genre Conventions List

Obeying and defying conventions.

Some classic and well-known movies have played genre conventions straight, while others have successfully defied them.

The Friday the 13th series as a whole has maintained horror genre conventions to the point of parody (as seen in Jason X ). Each film involves a killer coming after a group of youngsters, successfully killing off a lot of them before being defeated by someone (most often the Final Girl who has survived the killer’s attacks).

Where are conventions in film?  •  Friday the 13th

Alien is a classic film that, while mostly horror, is set in outer space. So aside from the setting, its horror genre conventions are played completely straight. There’s a group of people on an isolated freighter who are hunted down by an unknown and frightening monster. In the end, only one crew member remains, and it is up to them to take this monster out for good. You can read our Alien script breakdown for more in-depth analysis on how it balanced sci-fi with horror.

Crime films tend to follow certain paths that cover similar beats and end results. Many of these are either noir , neo-noir, or noir influenced, like Chinatown. One of the very best neo-noirs of all-time , Chinatown follows a detective investigating a mysterious murder. Like all crime stories, he follows clues before falling into serious danger himself, culminating in his discovery of who was behind it all. And since it’s noir, the ending is usually a downer, even if the detective was able to solve the crime.

Then you have Memento , a noir-influenced crime movie unlike any other. The protagonist suffers from memory loss and there are two parallel storylines; one told chronologically, the other reverse-chronological. A risky move, but it paid off for director Christopher Nolan , as it is considered one of Nolan’s best films , along with having one of the best plot twists in recent memory.

Genre conventions list  •  Memento

Romance movies tend to be among the most conventional with their stories and plots, but some movies manage to shake things up. One of the best romantic comedies of all time is (500) Days of Summer , a rom-com that says outright it is “not a love story.” The film is told out of order as it follows our male lead and how he fell too hard for the titular Summer, how his expectations got the better of him, and how he eventually learned to move on.

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Then you have Edgar Wright’s Scott Pilgrim vs. the World , the definition of a movie that defies genre categorization. Video game references, musical fight scenes, and wild visual effects helped make this movie into the cult sensation it is today. That said, the main plot is still very much a romance: boy meets girl, boy has to fight for girl, boy loses girl, boy comes back stronger than ever for girl, boy and girl try again.

These are just some examples of movies that obey or defy genre conventions in their own special ways. There’s no shortage of scripts you can read online that follow the familiar path, go in a totally different direction, or do something in-between. Following conventions of a genre is more than okay, as many other successful films have proven, but sometimes going off the beaten path pays off, too.

Ultimate Movie Genre Guide

Now that we’ve gone over genre conventions, we can look at the many genres that make up the cinema landscape. Our ultimate guide covers nearly every genre out there, from general well-known genres to smaller sub-genres, all with plenty of examples.

Up Next: Ultimate Movie Genre Guide →

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7.3 Glance at Genre: Criteria, Evidence, Evaluation

Learning outcomes.

By the end of this section, you will be able to:

• Identify and define common characteristics, mediums, key terms, and features of the review genre.
• Identify criteria and evidence to support reviews of different primary sources.

Reviews vary in style and content according to the subject, the writer, and the medium. The following are characteristics most frequently found in reviews:

• Focused subject : The subject of the review is specific and focuses on one item or idea. For example, a review of all Marvel Cinematic Universe movies could not be contained in the scope of a single essay or published review not only because of length but also because of the differences among them. Choosing one specific item to review—a single film or single topic across films, for instance—will allow you to provide a thorough evaluation of the subject.
• Judgment or evaluation: Reviewers need to deliver a clear judgment or evaluation to share with readers their thoughts on the subject and why they would or would not recommend it. An evaluation can be direct and explicit, or it can be indirect and subtle.
• Specific evidence : All reviews need specific evidence to support the evaluation. Typically, this evidence comes in the form of quotations and vivid descriptions from the primary source, or subject of the review. Reviewers often use secondary sources —works about the primary source — to support their claims or provide context.
• Context : Reviewers provide context, such as relevant historical or cultural background, current events, or short biographical sketches, that help readers understand both the primary source and the review.
• Tone : Writers of effective reviews tend to maintain a professional, unbiased tone—attitude toward the subject. Although many reviewers try to avoid sarcasm and dismissiveness, you will find these elements present in professional reviews, especially those in which critics pan the primary source.

These are some key terms to know and use when writing a review:

• Analysis : detailed examination of the parts of a whole or of the whole itself.
• Connotation: implied feelings or thoughts associated with a word. Connotations can be positive or negative. Reviewers often use words with strong positive or negative connotations that support their praise or criticism. For example, a writer may refer to a small space positively as “cozy” instead of negatively as “cramped.”
• Criteria : standards by which something is judged. Reviewers generally make their evaluation criteria clear by listing and explaining what they are basing their review on. Each type of primary source has its set of standards, some or all of which reviewers address.
• Critics : professional reviewer who typically publishes reviews in well-known publications.
• Denotation : the literal or dictionary definition of a word.
• Evaluation : judgment based on analysis.
• Fandom : community of admirers who follow their favorite works and discuss them online as a group.
• Genre : broad category of artistic compositions that share similar characteristics such as form, subject matter, or style. For example, horror, suspense, and drama are common film and literary genres. Hip hop and reggae are common music genres.
• Medium : way in which a work is created or delivered (DVD, streaming, book, vinyl, etc.). Works can appear in more than one medium.
• Mode : sensory method through which a person interacts with a work. Modes include linguistic, visual, audio, spatial, and gestural.
• Primary Sources : in the context of reviewing, the original work or item being reviewed, whether a film, book, performance, business, or product. In the context of research, primary sources are items of firsthand, or original, evidence, such as interviews, court records, diaries, letters, surveys, or photographs.
• Recap : summary of an individual episode of a television series.
• Review : genre that evaluates performances, exhibitions, works of art (books, movies, visual arts), services, and products
• Secondary source: source that contains the analysis or synthesis of someone else, such as opinion pieces, newspaper and magazine articles, and academic journal articles.
• Subgenre : category within a genre. For example, subgenres of drama include various types of drama: courtroom drama, historical/costume drama, and family drama.

Establishing Criteria

All reviewers and readers alike rely on evidence to support an evaluation. When you review a primary source, the evidence you use depends on the subject of your evaluation, your audience, and how your audience will use your evaluation. You will need to determine the criteria on which to base your evaluation. In some cases, you will also need to consider the genre and subgenre of your subject to determine evaluation criteria. In your review, you will need to clarify your evaluation criteria and the way in which specific evidence related to those criteria have led you to your judgment. Table 7.1 illustrates evaluation criteria in four different primary source types.

Even within the same subject, however, evaluation criteria may differ according to the genre and subgenre of the film. Audiences have different expectations for a horror movie than they do for a romantic comedy, for example. For your subject, select the evaluation criteria on the basis of your knowledge of audience expectations. Table 7.2 shows how the evaluation criteria might be different in film reviews of different genres.

Providing Objective Evidence

You will use your established evaluation criteria to gather specific evidence to support your judgment. Remember, too, that criteria are fluid; no reviewer will always use the same criteria for all works, even those in the same genre or subgenre.

Whether or not the criteria are unique to the particular task, a reviewer must look closely at the subject and note specific details from the primary source or sources. If you are evaluating a product, look at the product specifications and evaluate product performance according to them, noting details as evidence. When evaluating a film, select either quotations from the dialogue or detailed, vivid descriptions of scenes. If you are evaluating an employee’s performance, observe the employee performing their job and take notes. These are examples of primary source evidence: raw information you have gathered and will analyze to make a judgment.

Gathering evidence is a process that requires you to look closely at your subject. If you are reviewing a film, you certainly will have to view the film several times, focusing on only one or two elements of the evaluation criteria at a time. If you are evaluating an employee, you might have to observe that employee on several occasions and in a variety of situations to gather enough evidence to complete your evaluation. If you are evaluating a written argument, you might have to reread the text several times and annotate or highlight key evidence. It is better to gather more evidence than you think you need and choose the best examples rather than try to base your evaluation on insufficient or irrelevant evidence.

Modes of Reviews

Not all reviews have to be written; sometimes a video or an audio review can be more engaging than a written review. YouTube has become a popular destination for project reviews, creating minor celebrities out of popular reviewers. However, a written review of a movie might work well because the reviewer can provide just enough information to avoid spoiling the movie, whereas some reviews require more visual interaction to understand.

Take reviewer Doug DeMuro ’s popular YouTube channel. DeMuro reviews cars—everything from sports cars to sedans to vintage cars. Car buyers need to interact with a car to want to buy it, and YouTube provides the next best thing by giving viewers an up-close look.

Technology is another popular type of review on YouTube. YouTube creators like Marques Brownlee discuss rumors about the next Apple iPhone or Samsung Galaxy and provide unboxing videos to record their reactions to the latest phones and laptops. Like DeMuro’s viewers, Brownlee’s audience can get up close to the product. Seeing a phone in Brownlee’s hands helps audience members imagine it in their hands.

On the other hand, reviews don’t always need to be about products you can touch, as Paul Lucas demonstrates on his YouTube channel “Wingin’ It!” Lucas reviews travel experiences (mainly airlines and sometimes trains), evaluating the service of airlines around the world and in various ticket classes.

What do these reviews have in common? First, they are all in the video medium. YouTube ’s medium is video; a podcast’s medium is audio. They also share a mode. YouTube ’s mode is viewing or watching; a podcast’s mode is listening.

These examples all use the genre conventions of reviews discussed in this chapter. The reviewers present a clear evaluation: should you buy this car, phone, or airline ticket? They base their evaluation on evidence that fits a set of evaluation criteria. Doug DeMuro might evaluate a family sedan on the basis of seating, trunk storage, and ride comfort. Marques Brownlee might judge a phone on the basis of battery life, design, and camera quality. Paul Lucas might grade an airline on service, schedules, and seat comfort. While the product or service being reviewed might be different, all three reviewers use similar frameworks.

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Genre Conventions: Essential Guide [With Examples & Tips]

In the world of film, genre conventions are the secret ingredients that shape our viewing experience.

They’re the familiar patterns and tropes that help us navigate through a story, setting expectations for what’s to come.

Whether it’s the eerie silence before a jump scare in horror or the grand romantic gesture in a love story, these conventions are storytelling’s universal language.

We’ll dive deep into how these unwritten rules guide film makers and audiences alike.

From the spine-chilling halls of horror to the explosive battlegrounds of action, we’ll explore the defining features that make each genre unique.

Stick with us as we unravel the magic behind the scenes and discover how genre conventions influence the movies we love.

Horror: The Art Of Suspense And Fear

When we jump into the realm of horror, there’s an unmistakable emphasis on creating an atmosphere flooded with suspense and fear.

As filmmakers, we’re tasked with conjuring up the eerie and the unsettling, often utilizing a toolkit of genre-specific conventions to grip our audience.

The horror genre thrives on anticipatory dread, the looming sense that something menacing is about to occur.

The Shining exemplifies this through slow-burning tension and a claustrophobic setting that keeps viewers on the edge of their seats.

We harness a variety of auditory and visual tricks to amplify the horror experience.

Psycho ‘s sharp, piercing strings and The Conjuring ‘s masterful use of shadows serve not just as stylistic choices, but as integral components of the storytelling.

Integral to the genre are certain narrative elements that form the backbone of many horror films:

• A menacing antagonist with a haunting backstory,
• Isolated, often claustrophobic environments,
• The strategic delay of the monster or threat’s full reveal.

These elements play with the viewer’s mind, often leaving the most gruesome aspects to their imagination.

The power of what we don’t see often outweighs what we do, a technique masterfully employed in movies like Jaws .

also, the use of shock and surprise remains a staple of horror.

We cut together jump scares and sudden plot twists that disrupt the anticipated narrative flow.

Take Alien – its infamous chestburster scene remains one of the most shocking moments in film history.

As we craft these films, we’re acutely aware that the audience’s physiological reactions are just as important as their emotional ones.

Racing hearts and clenched fists signal the success of our horror techniques.

Action: Explosions, Excitement, And Epic Battles

In action films, adrenaline is currency, and we spare no expense.

High-stakes car chases, daring escapes, and colossal explosions are the hallmarks of this electrifying genre.

The meticulous crafting of these sequences is critical – each frame must be a crescendo of tension and spectacle.

We recognize that audiences seek more than just visual thrills.

They crave a narrative that drives the action forward, making every leap and every punch a crucial turn in the story.

Figures like John McClane in Die Hard or Jason Bourne in The Bourne Identity aren’t just skilled in combat; they’re compelling characters whose physical feats are matched by their strategic acumen.

Let’s not forget the choreography that turns fights into ballets of brutality.

We pay attention to how professional stunt coordinators design battle scenes that are both realistic and visually stunning.

The dance of combat is a symphony – every move, a note; every impact, a beat.

To achieve authenticity, we tap into the expertise of military consultants and martial arts specialists.

They bring invaluable insight that elevates our action sequences to new heights:

• They ensure that tactical operations look and feel genuine,
• They advise on the intricacies of hand-to-hand combat, lending credibility to our heroes’ skills.

Advancements in visual effects have revolutionized action scenes.

Computer-generated imagery (CGI) allows us to push the envelope, creating worlds that defy gravity and imagination.

Yet, we strive to balance digital art istry with raw, practical effects.

The weight of real explosions and the grit of live stunts contribute to an immersive experience that CGI alone can’t replicate.

Every clash, every collision, every narrow escape is a testament to the precise coordination between directors, actors, and the special effects team.

In our world, action is not just about high-octane thrills; it’s about weaving a narrative that resonates with the viewer long after the credits roll.

We design our epic battles to be both a visual feast and a narrative vehicle, gripping our audience from the first explosion to the final standoff.

Romance: From Meet-cute To Happily Ever After

Within the domain of romance in film, the journey from a chance encounter to the final affirmation of love is a time-honored storyline.

It’s the adherence to this arc that draws viewers into the dance of courtship and connection that unfolds on screen.

The “meet-cute” is a quintessential moment where potential love interests encounter each other in an endearing or amusing way.

We often see unlikely scenarios that bring together characters like in When Harry Met Sally where a long car ride plants the seeds of a romance that blossoms over years.

From there, character development is woven through personal growth and interaction.

The Notebook stands as a testament to how individual struggles and growth can foster a deep and resilient connection.

Chemistry between the characters is palpable, creating an investment in their journey.

Through the middle of the narrative, audiences are treated to emotional highs and the inevitable lows – conflicts that threaten the budding romance.

This tension is skillfully constructed through:

• Misunderstandings and miscommunication,
• External forces like disapproving families or societal boundaries,
• Personal insecurities or past traumas The culmination of these films often brings an exhilarating payoff – the resolution of conflict and a return to equilibrium. In Pride & Prejudice, the societal divides and personal misunderstandings give way to a union that feels both hard-won and destined.

Soundtracks also play an integral role in crafting the viewer’s emotional experience.

They underscore moments of despair and triumph, serving as an emotional cue and intensifying the romantic narrative.

Films like La La Land demonstrate the power of music in conveying not just the tone but also the evolution of the relationship.

In constructing captivating romance films, it’s essential that we balance the elements of attraction, conflict, and resolution to show that love, Even though the challenges, is worth the pursuit.

Each frame, each line of dialogue, and each musical note guides the audience closer to the lovers’ fate, leaving them hopeful for the moment of resolution that ties everything together.

Romance in film is a dance, and we are the choreographers of every nuanced step.

Comedy: Laughter Is The Best Medicine

In comedy films, timing is everything.

Just a few seconds can make the difference between a joke that lands and one that flops.

The key ingredients in a successful comedy are often character eccentricities and unexpected outcomes .

These factors work in tandem to create situations that defy norms, surprising and delighting audiences.

We recognize that physical comedy plays a substantial role in the genre.

Slapstick moments in The Three Stooges or the exaggerated mishaps in Home Alone have cemented themselves in comedic lore.

In contrast to some genres, improvization can be an especially valuable tool in comedy.

It allows for spontaneous moments that often capture pure hilarity, as seen in films like Bridesmaids and The Hangover .

The relatability of the scenarios presented also contributes greatly to a comedy’s appeal.

Audiences often see parts of their own lives exaggerated to the point of humor in movies such as Meet the Parents .

Here are some of the elements we find vital to crafting a memorable comedy:

• A relatable premise – offering a sense of familiarity to the audience,
• Timing and pacing – ensuring laughs are well-distributed throughout the film,
• Chemistry between characters – often driving the humor forward,
• Unique comedic voices – providing a fresh approach to humor.

We’ve also observed how comedies have evolved to include a blend of genres.

Romantic comedies combine the quest for love with humor, while action-comedies mix stunts with laughs, broadening their appeal.

Recognizing the cultural impact of comedies, they often serve as social commentaries.

Satirical works such as Dr.

Strangelove illustrate how comedy can provide a powerful critique of societal issues, while still eliciting a laugh.

As we jump deeper into the intricacies of comedy, we’ll uncover more on how this genre holds up a mirror to society, all while keeping us chuckling along the way.

Sci-fi: A Glimpse Into The Future

Sci-fi films offer us more than just entertainment – they present a canvas for examining our society and its potential evolution.

Through futuristic settings, advanced technology, and often complex philosophical questions, they challenge our perception of the future and its myriad possibilities.

Not only do these films contemplate what’s on the horizon, they also set new standards in filmmaking technique and visual effects.

Blade Runner and The Matrix have become benchmarks for cinematography and special effects within the genre.

Within this dynamic genre, certain conventions are key to crafting a believable and compelling sci-fi narrative:

• Intricate world-building that immerses viewers in the universe of the film,
• The use of speculative technology that stretches our current understanding,
• A blend of scientific principles with creative license to expand the story’s horizon.

Filmmakers employ these tropes to construct narratives that are as plausible as they are astonishing.

Sci-fi often serves as a mirror, reflecting cultural and ethical concerns through allegorical storytelling – Minority Report tackles pre-crime and free will while Arrival deals with language and time.

The genre has also become a vehicle for social commentary , examining themes of identity, humanity, and morality.

Titles like Ex Machina and Her explore our relationship with artificial intelligence and probe the essence of consciousness.

Sci-fi gives us the unique opportunity to address the ‘what ifs’ in a setting detached from our current reality.

As such, it empowers us to imagine the trajectory of mankind amidst technological advancements and to question the ethical boundaries of our innovations.

By preserving the core elements of a great story – compelling characters, an engaging plot, and a profound message – sci-fi maintains its position as a genre that captivates and informs.

Our foray into the unknown reaches new heights as we continue to create films that not only entertain but also resonate with audiences on a deeper level.

Genre Conventions In Film – Wrap Up

We’ve journeyed through the cinematic realms of horror action comedy and sci-fi witnessing how genre conventions guide filmmakers and audiences alike.

By adhering to these unwritten rules directors craft experiences that resonate with our expectations while still leaving room for innovation.

Whether it’s the chilling suspense of horror the high-octane thrills of action films the heartfelt narratives of romance or the speculative wonders of sci-fi these elements are the backbone of storytelling in cinema.

They’re not just guidelines but tools that enrich our understanding and enjoyment of the films we love.

As we continue to watch and appreciate movies let’s remember that genre conventions are the threads weaving together the fabric of these captivating visual tales.

Frequently Asked Questions

What role do genre conventions play in film.

Genre conventions shape the viewer’s experience by providing a framework of recognizable elements that cue the audience into what to expect, whether it’s suspense in horror, adrenaline in action, laughter in comedy, or speculative wonder in sci-fi.

How Do Horror Films Create An Atmosphere Of Fear?

Horror films use genre-specific conventions like suspenseful music , jump scares, dark visuals, and unsettling storylines to create an atmosphere of fear and tension.

What Makes Action Sequences Thrilling?

The thrill in action sequences comes from a mix of fast-paced narrative, meticulous choreography, authentic stunt work, and the ability to keep the audience invested in the outcome.

What Are Key Elements Of A Captivating Romance Film?

Captivating romance films hinge on character development, realistic conflicts, emotional depth, and satisfying resolutions that resonate with the viewer’s experiences and expectations.

How Do Soundtracks Contribute To Romance Narratives?

Soundtracks intensify romantic narratives by heightening emotions and accentuating critical moments, making scenes more memorable and impactful.

How Does The Sci-fi Genre Offer A Glimpse Into The Future?

Sci-fi films offer a glimpse into the future by extrapolating current technological trends and imagining how they might evolve, often serving as a commentary on contemporary societal issues.

What Conventions Define The Sci-fi Genre?

The sci-fi genre is defined by conventions such as intricate world-building, speculative future technology, and blending scientific principles with creative storytelling to broaden narrative possibilities.

How Does Sci-fi Serve As Social Commentary?

Sci-fi serves as social commentary by reflecting cultural and ethical concerns, questioning the impacts of innovation, and exploring potential societal evolutions, often prompting audiences to reassess their views on present-day dilemmas.

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What is a Genre Convention in Film? Definition explained

Welcome to our comprehensive guide to understanding genre conventions in film. In this article, we will delve into the essential elements of genre conventions, exploring their definition, significance, and role in shaping the narrative and visual language of cinema. By grasping the intricacies of genre conventions, writers and filmmakers gain a powerful framework for crafting compelling stories, while audiences find guidance and comfort in the familiar patterns and tropes that define their favorite genres .

We will dissect the key elements of genre conventions, shedding light on how these established norms and expectations form the backbone of storytelling across various genres such as gothic fiction, film noir, and epic fantasy. We will unravel the selective and enabling constraints that genre conventions offer to writers, enabling them to navigate the creative process within established boundaries while also challenging and subverting these norms to create innovative and thought-provoking narratives.

As we navigate through the article, we will examine the ways in which genre conventions serve as both a roadmap for writers and a source of comfort for audiences, providing a rich tapestry of storytelling possibilities while also allowing for creative expression and exploration. By the end of our exploration, you will have gained a deep understanding of how genre conventions shape the cinematic landscape and how they can be both honored and challenged to create captivating and original film experiences.

So, buckle up and join us on this enlightening journey into the captivating world of genre conventions in film. Whether you are a budding filmmaker, a seasoned writer, or simply an avid movie enthusiast, this article promises to offer valuable insights and a fresh perspective on the role of genre conventions in shaping the stories that captivate and inspire us.

Key Takeaways:

• Genre conventions are the established and common elements within a particular film genre, such as gothic fiction, film noir, or epic fantasy.
• Understanding genre conventions is important for both writers and audiences, as they provide a framework for storytelling and create a sense of familiarity and comfort.
• While genre conventions can be seen as constraints, they can also be used creatively to challenge and subvert expectations in film.

Introduction to Genre Conventions in Film

Genre conventions in film encompass the established norms and patterns that define specific categories or types of storytelling within the cinematic realm, shaping the narrative structure and thematic elements present in various films across different genres.

These conventions play a fundamental role in not only providing a framework for filmmakers to work within but also in influencing audience expectations and emotional engagement.

For instance, the horror genre often utilizes jump scares and eerie soundtracks to evoke fear, while romantic comedies typically feature a predictable yet heartwarming storyline.

Genre conventions help viewers anticipate certain tropes, making way for both adherence to tradition and innovative storytelling techniques within a familiar framework, ultimately contributing to the rich diversity and evolution of the cinematic experience.

Definition of Genre Conventions

The definition of genre conventions in film refers to the specific attributes, themes, and structural elements that collectively define a particular genre, providing a framework for filmmakers to create and audiences to engage with distinct cinematic experiences.

The genre conventions play a pivotal role in categorizing and defining different film genres. They encompass the recognizable characteristics and narrative structures that distinguish one genre from another. By adhering to these conventions, filmmakers can effectively communicate the intended mood, tone, and style of a specific genre to the audience. These conventions guide viewers in understanding and appreciating the underlying patterns and expectations inherent to each genre, contributing to the evolution and diversification of cinematic forms and styles.

Importance of Understanding Genre Conventions

Understanding genre conventions is vital for filmmakers and audiences alike, as it enables a deeper appreciation of storytelling techniques, thematic explorations, and the enabling constraints that shape the cinematic landscape.

When creators and viewers comprehend the genre conventions, it provides a framework for understanding the narrative expectations, visual styles, and emotional resonance specific to different genres. Whether it’s the suspenseful tension of a thriller, the gripping action sequences of an adventure film, or the heartfelt connections in a romance, genre conventions serve as guideposts for effective storytelling.

By embracing these conventions, filmmakers can tap into audience expectations while also finding creative ways to subvert or reimagine established norms, thereby engaging viewers in distinct and captivating ways.

Elements of Genre Conventions

The elements of genre conventions encompass the fundamental components that contribute to the development of plot, thematic resonance, and overall storytelling within specific cinematic genres, reflecting the unique characteristics and expectations inherent to each genre.

These conventions are pivotal in influencing the narrative coherence and emotional impact of a film. For instance, in the science fiction genre , futuristic settings and advanced technologies are integral to the plot dynamics, shaping the thematic exploration of human existence and progress.

Conversely, in horror films, conventions such as suspenseful pacing and eerie soundtracks not only drive the plot, but also enhance the thematic depth by tapping into primal fears.

Role and Purpose of Genre Conventions

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Genre conventions play a crucial role in providing a framework for filmmakers to craft compelling narratives while offering audiences a sense of comfort and guidance through familiar themes, character archetypes, and plot structures, thereby enhancing the overall cinematic experience.

By adhering to established genre conventions, filmmakers are able to establish a sense of coherence and predictability within their storytelling, allowing audiences to immerse themselves more deeply into the world of the film. The use of recognizable tropes and motifs serves to create a shared language between the creators and viewers, fostering a sense of engagement and connection. Genre conventions act as a roadmap, leading audiences through the narrative journey while still allowing for unique and innovative interpretations within the familiar framework.

Framework for Writers

For writers, genre conventions serve as a valuable framework that informs the crafting of narrative arcs, character development, and genre-specific plot structures, enabling them to navigate the complexities of genre forms and story structures with clarity and purpose.

Within different genres such as mystery, romance, science fiction, or historical fiction, these conventions establish the expectations and boundaries that shape the trajectory of the story.

For example, in a mystery novel, the conventions may dictate the inclusion of red herrings, unexpected plot twists, and the eventual revelation of the culprit. Meanwhile, in a romance story, the conventions may outline the progression of the central relationship, obstacles to be overcome, and the promise of a satisfying emotional conclusion.

By understanding and integrating these genre conventions, writers can effectively engage their audience and deliver narratives that resonate within the established genre framework.

Guidance and Comfort for Audience

Audiences benefit from genre conventions by receiving guidance and a sense of comfort through the familiar tropes, themes, and narrative patterns present in cinematic genres, allowing them to engage with and appreciate the nuances of genre films more effectively.

Through the predictable yet satisfying elements in genre films , viewers can anticipate certain story arcs, character archetypes, and visual motifs, which creates a comforting familiarity in their cinematic experiences. These conventions offer a frame of reference for audience members, enabling them to compare and contrast different works within the same genre. This not only fosters a deeper appreciation for the genre itself but also encourages a more critical and analytical approach to film consumption.

Genre Conventions Examples

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Genre conventions find expression in various cinematic genres, such as the atmospheric and macabre world of Gothic fiction , the gritty and stylized narratives of Film Noir , and the expansive realms of Epic Fantasy , showcasing the diverse manifestations of genre characteristics and storytelling within the film medium.

One of the defining features of Gothic fiction in film lies in its dark, foreboding settings, haunted castles, and brooding characters that explore the supernatural and psychological horrors. On the other hand, Film Noir captivates audiences with its gritty urban landscapes, complex anti-heroes, and femme fatales, emphasizing moral ambiguity and fatalism. Meanwhile, Epic Fantasy transports viewers into fantastical worlds, brimming with mythical creatures, epic quests, and the timeless battle between good and evil. Each of these genres offers a unique cinematic experience, weaving together distinct thematic elements and narrative structures.

Gothic Fiction

Gothic fiction embodies genre conventions through its evocative themes, ominous settings, and the distinct narrative voice that captures the eerie and mysterious essence of this genre, offering a compelling exploration of genre characteristics and storytelling dynamics.

One of the defining characteristics of Gothic fiction is its preoccupation with the supernatural, macabre, and grotesque, often incorporating elements of horror and romance to create a sense of heightened drama and suspense. It frequently explores themes of isolation, madness, and the uncanny, diving into the darker aspects of human psychology and emotions.

Gothic fiction showcases a penchant for atmospheric settings, such as decaying castles, mist-shrouded graveyards, and labyrinthine corridors, drawing readers into a world tinged with foreboding and unease. The use of intricate, ornate language and vivid imagery contributes to the rich, immersive experience that defines this genre.

Film Noir exemplifies genre conventions through its selective constraints, evocative visual language, and the postmodernist undertones that permeate its narratives, showcasing the interplay of enabling constraints and genre-specific elements within this iconic cinematic genre.

Film Noir thrives on the enigmatic interplay of light and shadow, accentuating the clandestine nature of its characters’ motives. The selective constraints in Film Noir dictate the thematic exploration of moral ambiguity, existential angst, and the fatalistic allure of the human psyche. The compelling visual aesthetics, characterized by stark compositions and chiaroscuro lighting, create an atmosphere of palpable tension and intrigue, intensifying the narrative allure of the genre.

Amidst these enabling constraints , Film Noir weaves a tapestry of femme fatales, cynical detectives, and labyrinthine plotlines, shaping its distinctive identity. The postmodernist influences in Film Noir infuse meta-narratives and self-reflexive storytelling, challenging traditional cinematic norms and engaging audiences in a resonant dialogue about the nature of storytelling itself.

Epic Fantasy

Epic Fantasy embraces genre conventions through its expansive world-building, archetypal characters, and intricate story structures, exemplifying the grandeur and imaginative scope inherent to this genre, while adhering to its distinctive genre forms and story structures.

The genre often features epic quests, mythical creatures, and legendary battles, serving as the backdrop for the hero’s journey. This compelling narrative tradition captivates readers and viewers alike, as they are transported to well-crafted realms brimming with magic, mythical realms, and intricate societies. The interplay between good and evil, the depth of character development, and the exploration of ethical dilemmas are a testament to the genre’s enduring appeal.

Selective and Enabling Constraints for Genre Writers

Genre writers navigate the dual landscapes of selective constraints and enabling constraints, harnessing these narrative tools to craft compelling and thematically rich stories within the framework of genre conventions, thereby offering insightful film and theme analysis that enhances the overall cinematic experience.

The interplay of selective constraints, characterized by genre-specific conventions and expectations, shapes the narrative depth and structure of the story. Simultaneously, the enabling constraints provide the creative freedom for writers to explore and delve into thematic elements, adding layers of complexity to the narrative. Through a careful balance of these constraints, genre writers intricately weave together plotlines, character arcs, and thematic explorations, enhancing the audience’s engagement and understanding of the depicted worlds.

Explanation of Selective Constraints

Selective constraints within genre conventions are determinants of the genre-specific narrative elements and conventional forms that shape the thematic and structural coherence of cinematic storytelling, providing a framework for genre writers to navigate and innovate within established genre boundaries.

These constraints serve as the underlying threads that weave together the fabric of storytelling, influencing the development of characters, plot trajectories, and visual aesthetics unique to each genre. The constraints not only define the boundaries within which the story unfolds but also offer a roadmap for creators to effectively communicate the intended emotional and thematic resonance with the audience. By understanding and leveraging the capabilities of these constraints, filmmakers can craft narratives that resonate deeply with the genre’s audience, thereby perpetuating the evolution and vitality of genre-specific storytelling.

Explanation of Enabling Constraints

Enabling constraints operate as catalysts for genre forms and conventions, enableing genre writers to infuse innovative elements, thematic depth, and genre-specific nuances into their storytelling, thereby exemplifying the dynamic interplay of enabling constraints and the evolution of genre characteristics within cinematic narratives.

These constraints serve as the creative framework within which genres are defined, providing a set of parameters and limitations that guide the development of narrative structures, character dynamics, and thematic explorations.

By imposing boundaries while allowing for creative maneuverability, enabling constraints stimulate narrative ingenuity and breed inventive storytelling approaches.

Challenging Genre Conventions in Film

Challenging genre conventions in film involves the exploration of postmodern literature and the deconstructive aspects of genre theory , enabling filmmakers and audiences to engage with narratives that subvert traditional genre boundaries and offer innovative perspectives on storytelling and thematic exploration.

Postmodern literature has profoundly influenced cinematic narratives, infusing them with an emphasis on self-reflexivity, intertextuality, and metafictional elements. This influence has led to the emergence of films that blur the distinctions between genres, creating narratives that defy rigid categorization.

The deconstructive aspects of genre theory encourage filmmakers to challenge established tropes and conventions, fostering narratives that critique and subvert traditional genre expectations. By embracing narrative innovation , these films push the boundaries of storytelling, provoking audiences to reassess their preconceived notions of genre dynamics and thematic exploration.

References and Further Reading

For in-depth exploration of genre conventions in film , references and further reading materials provided by esteemed scholars such as Christine Nord, Gina Macdonald, and renowned publishers including Bloomsbury Academic and Cambridge Scholars Publishing offer valuable insights into the diverse facets of cinematic genre exploration and analysis.

Christine Nord’s work, ‘Text Analysis in Translation’, delves into the intricacies of genre analysis, shedding light on the evolving nature of genres in cinematic representation.

Gina Macdonald’s ‘Genre and Hollywood ‘ presents a comprehensive examination of genre conventions and their impact on cinematic storytelling.

Extending the discourse, publications from Bloomsbury Academic and Cambridge Scholars Publishing, such as ‘Genre in Media and Visual Culture’ and ‘Cinematic Genres in Contemporary Post-Soviet Cinema’, serve as critical resources for scholars, educators, and enthusiasts keen on gaining a deeper understanding of the nuanced aspects of genre analysis in film.

Frequently Asked Questions

What does the term “genre convention” refer to in the context of film? Genre convention in film refers to the specific elements, themes, and techniques that are commonly used within a particular genre of film. These conventions help to define and distinguish different genres, such as horror, comedy, or drama.

How do genre conventions shape the overall narrative of a film?

How do genre conventions shape the overall narrative of a film? Genre conventions heavily influence the plot, characters, and themes of a film. For example, a romantic comedy will typically feature a love story, humorous situations, and a happy ending, while a horror film will often have a suspenseful plot, dark setting, and a sense of fear or dread.

Why are genre conventions important for filmmakers to understand?

Why are genre conventions important for filmmakers to understand? Genre conventions provide a framework for filmmakers to work within, allowing them to create a film that will appeal to a specific audience. Understanding these conventions can help filmmakers to effectively convey their intended message and evoke the desired emotions from the audience.

Can genre conventions change over time?

Can genre conventions change over time? Yes, genre conventions can evolve and change over time as audience preferences and societal norms shift. For example, the horror genre has seen changes in popular themes and techniques throughout the decades, with new conventions emerging as audience tastes change.

Are genre conventions strictly followed by filmmakers?

Are genre conventions strictly followed by filmmakers? No, filmmakers often play with and subvert genre conventions in order to create something new and unique. While some conventions are commonly used and expected by audiences, others can be broken or twisted to create a fresh and innovative film.

How can understanding genre conventions benefit film viewers?

How can understanding genre conventions benefit film viewers? Understanding genre conventions can help viewers to better appreciate and analyze films, as they can recognize the common elements and themes within a particular genre. This can also aid in predicting the plot or understanding the director’s intentions, enhancing the viewing experience.

Being an avid film buff and a content marketer, I started this blog to provide the best information on screenwriting and filmmaking. Screenplays is certainly where it all begins. However, I also provide writing and advertising tips regularly through my articles.

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1.3: Reviewing Conventions

Learning objectives.

• Identify writing conventions for journalistic and academic writing
• Examine conventions for technical communication

What are Writing Conventions?

Every genre of writing has unique characteristics and rules, called conventions, that help readers classify a document as belonging to a particular genre. This also applies to film and music. Think about the last movie you saw. What type of movie was it? What about that movie gave you that impression? Did the characters wear Stetson hats, ride horses, and carry guns? Did they fly in space ships, encounter alien beings, and use futuristic technology? Those elements are typical conventions of Western and Science Fiction genres.

Non-fiction is a category that can be broken into various genres and sub-genres. The main types of non-fiction that are relevant to us are journalism (newspaper writing), academic writing (written by scholars and published in peer-reviewed academic journals or books), and technical writing. Before we get into the specific conventions that characterize technical writing, take a moment to think back to your academic writing courses and list some conventions typical of journalism (popular press) and academic writing for the criteria listed in Table 1.3.A.

What are Writing Conventions for Technical Communications?

Like journalism and scholarly writing, technical writing also has distinct features that readers expect to see in documents that fall within this genre. These include (a) use of headings to organize information into coherent sections, (b) use of lists to present information concisely, (c) use of figures and tables to present data and information visually, and (d) use of visual design to enhance readability.

In addition, technical documentation is intended to communicate information in a way that is clear and easy to read. Designing technical communication is like designing any other product for an intended user:  the ultimate goal is to make it “user friendly.”

Keywords here are accessible , usable, clear, goal-oriented , effective , and reader-centred .  The characteristics of technical writing support these goals and concepts.

If we filled in Table 1.3.A. with typical characteristics of technical writing, it might look something like Table 1.3.B:

Exercise 1.3.A:  Examine the Conventions of Technical Writing

Read this technical writing piece and answer/discuss the questions that follow.

Brine Drainage Tube Modifications

During this period, we have continued to work on problems associated with the brine drainage tubes.

Previous Period: After minor adjustments during a month of operation, the drainage tubes and the counter-washer have performed better but still not completely satisfactorily. The screen sections of these tubes, as you know, are located at variable distances along the height of the washer.

Current Period: The screen portion of the brine drainage tubes have been moved to within 5 feet of the top of the pack. So far, no change in counter-washer performance has been observed. Production statistics at the end of this month (February) should give us a clearer idea of the effect of this modification.

Next Period: Depending on the continued performance of the screen in its current position in relation to the top of the pack, we may move the screen to within 3 feet of the top of the pack in the next period of testing. Although the wash ratio was greater with greater screen height, the washing efficiency seems to remain relatively constant; the production vs. compressor KW data for all screen locations so far has seemed to follow the same linear curve.

• What is the purpose of this piece of technical writing?
• Who is the intended audience?
• What writing style is it using?
• What tone does it have?
• What structure does it have?
• What formatting does it use?
• Are there any other features you notice about it?

References & Attributions

Attributions

Content on this page is adapted from Technical Writing Essentials by Suzan Last, which is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

Progress Report in exercise is taken from Progress Reports (from Online Technical Writing: Examples, Cases & Models ) by David McMurrey, which is licensed under  CC-BY 4.0 International License .

Writing in a Technical Environment (First Edition) Copyright © 2022 by Centennial College is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Making Sense of Film Genres

Although film genres have changed and spread considerably since the 1930s, they remain a critical measure of audience expectations as well as of a film’s ability to satisfy or disappoint, and surprise or bore, the movie viewer.

Film genres classify viewers’ experience and understanding of a movie. A generic perspective on a movie can be either prescriptive or descriptive. Both prescriptive and descriptive approaches can point viewers to particular ways of understanding a film.

Prescriptive approaches assume that 1) a model for a genre preexists any particular films in that genre; 2) a successful genre film deviates as little as possible from that model; and 3) a viewer can and should be objective in determining a genre.

Descriptive approaches assume that 1) a genre develops and changes over time; 2) a successful genre film builds on older films and develops in new ways; 3) a viewer can and should acknowledge that his or her subjectivity helps determine a genre.

The significance of a particular film’s engagement with genre conventions and histories is also shaped by its situation within classical or revisionist traditions. Related to prescriptive values, classical generic traditions establish relatively fixed sets of formulas and conventions associated with certain films or with specific places in history. Stemming from descriptive approaches, revisionist genre traditions see films as functions of changing historical and cultural contexts that modify the conventions and formulas of specific genres.

Additionally, classical genres can be viewed as both historical and structural paradigms. A historical paradigm presumes that a genre evolved to a point of perfection at some point in history and that one or more films at that point describe the generic ideal. A structural paradigm relies less on historical precedent than on a formal or structural ideal that may or may not be actually seen, in a complete or pure form, in any specific film.

In contrast, generic revisionism assumes genres continually change; films within a genre adapt their conventions and formulas to reflect different times and places. Some modern films exhibit generic reflexivity , that is, they are self-conscious about their generic identity and visibly comment on generic paradigms.

Although major Hollywood genres may be the most recognizable, we also notice generic patterns in films connected to more specific times, places, events, and cultures—what we might call “local” genres. These include such culturally specific genres such as Japanese jidai-geki films and the Austrian and German heimat films.

10 Genre Conventions, Explained

Genre conventions are established rules, traits, characteristics, and elements that are commonly associated with and accepted within a particular genre of art, literature, film, or other forms of media.

A simple definition comes from Christine Nord (2018):

“Genre conventions are the result of the standardization of communication practices. As certain kinds of text are used repeatedly in certain situations with more or less the same function or functions, these texts acquire conventional forms.” (Nord, 2018)

These conventions help both creators and audiences identify and categorize a work within its specific genre. Conventions might include specific themes, styles, structures, or motifs that are often repeated within works of the same genre.

10 Elements of Genre Conventions

There are many elements of a genre that combine to create conventional forms and tropes within cultural texts. These can include theme, setting, character, iconography, tone, and so on.

Below are just a few of the many elements of genre:

• Themes and Topics : This refers to the central ideas or subjects that are recurrent within a specific genre. For example, redemption is a common theme in Western films, the overwhelming power of love is recurrent in romances, and moral dilemmas are common in science fiction films.
• Setting : This refers to the time and place in which the story occurs. Fantasy genres often employ a medieval Europe setting, and science fiction films often take place in space.
• Characters: This refers to the specific types and archetypes of protagonists, antagonists, and supporting roles commonly found in a particular genre. For instance, detective noir films often have a hard-boiled private investigator, while fairy tales might have a damsel in distress and a gallant knight.
• Plot Structure: This pertains to the way the narrative is constructed and unfolds. Mystery genres often have complex plots with unexpected twists, while hero’s journey narratives are structured around a character’s personal growth and challenges.
• Tone and Mood: This refers to the emotional atmosphere of the story. Horror films create a mood of suspense and dread, while comedies aim for a light-hearted, humorous tone.
• Narrative Voice: This relates to the perspective from which the story is told. First-person narratives are common in memoirs and autobiographies, while omniscient narrators might be found in epic fantasies.
• Iconography: This pertains to the recurring symbolic images that represent certain themes or ideas within a genre. Gothic novels, for example, might use dark castles and stormy nights to symbolize danger and the unknown.
• Conflict and Resolution: This refers to the challenges faced by the protagonists and how they overcome them. Adventure genres may focus on physical challenges and battles, while dramas may center on emotional or relational conflicts.
• Style and Pacing: This relates to how the story is presented in terms of language, cinematography, or other artistic choices. Action films often have fast pacing with quick cuts, while period dramas might be slower and more focused on detailed settings and dialogues.
• Moral and Philosophical Underpinnings: This refers to the deeper messages or lessons that a genre might aim to convey. Dystopian novels often question societal norms and values, while parables convey moral lessons through allegorical tales.

The Purpose of Genre Conventions

While genre conventions are oftentimes arbitrary social constructs, they also serve important purposes, which is why societies have developed them.

According to Gina Macdonald, genre conventions serve two purposes:

1. A framework for writers

Writers often appreciate genre convention because they help guide the writers on their journey.

As Macdonald (1997) notes: “they provide writers a ready-made framework of plot schemes, conflicts, values, and patterns on which to build their individual concerns.”

Similarly, Nord (2018) notes that writers can benefit from genre-conventions because it allows them to communicate their meaning in an agreed-upon fashion that readers can quickly understand: “authors have to comply with the conventions if they want to carry out their communicative intentions” (Nord, 2018).

Take an essay, for example. It is conventional to have an introduction that signposts the author’s thesis. This helps the writer remember to include helpful elements at the beginning of the text, which the writer knows their audience will be expecting.

2. Guidance and comfort for readers

Readers often enjoy when texts follow genre forms because genre conventions provide readers with “the security and pleasure of familiar patterns” (Macdonald, 1997).

When readers consume a text that contains genre conventions, they will be able to infer familiar plotlines, character relationships, and so on, which make the readers feel well-oriented and clear about what the text is doing.

As Ornia (2016) argues: “Genre conventions are signs for the reader, which allow for distinctions between different genres and trigger users’ expectations, helping them to understand a text” (Ornia, 2016).

To take the previous example about an essay, the inclusion of an introduction that signposts the author’s thesis helps the reader to understand what the essay is about from the outset, which makes them feel oriented and fends off potential confusion.

Genre Conventions Examples

1. gothic fiction.

Gothic fiction, sometimes referred to as Gothic horror, is a genre that combines elements of horror and romance, and it emerged in the late 18th century.

Here are some of its conventions:

• Setting: Gothic fiction predominantly takes place in isolated, decrepit, and often antiquated settings. Common locales include old castles, mansions, and abbeys that carry a haunting, mysterious atmosphere. These settings frequently feature labyrinths, secret passages, and dungeons.
• Atmosphere: The mood in Gothic fiction is one of brooding and melancholy. There’s a prevalent sense of foreboding, heightened by elements such as inclement weather, darkness, or eerie landscapes.
• Characters: Central characters in Gothic fiction often include a virtuous heroine, a Byronic hero with a dark past, and malevolent villains. Supernatural entities, like ghosts, vampires, or otherworldly creatures, are also commonplace.
• Themes: Themes of confinement, persecution, and the supernatural are recurrent. There’s often a blurring line between reality and the supernatural, leading to ambiguity about whether supernatural occurrences are real or imagined.

2. Film Noir

Film noir is a cinematic genre that emerged in the 1940s and 1950s, known for its dark and moody atmosphere.

Here are four of its conventions:

• Visual Style: One of the most distinctive features of film noir is its high-contrast lighting, known as chiaroscuro. Scenes are often drenched in shadows, with sharp angles and interplays of light and dark, creating a sense of mystery and foreboding. This technique is used to emphasize the moral ambiguity and the dual nature of characters.
• Femme Fatale: A recurring character in film noir is the femme fatale, a seductive and mysterious woman. She often leads the protagonist into danger or acts as an antagonist. She is characterized by her wit, allure, and often duplicitous nature, representing both desire and danger.
• Themes of Fate and Moral Ambiguity: Film noir frequently delves into themes of destiny, existentialism, and the inescapability of fate. Characters often find themselves in situations beyond their control, trapped by circumstances or past decisions. The line between right and wrong is blurred, with characters making morally ambiguous choices, reflecting the complexities of human nature.

3. Epic Fantasy

Epic fantasy, often simply referred to as “high fantasy,” is a subgenre of fantasy fiction characterized by grand scale, intricate plots, and a vast, often invented, world.

• Expansive World-Building: One of the hallmarks of epic fantasy is its vast and detailed world-building. The setting often includes multiple kingdoms or realms, each with its own history, culture, languages, and politics. These worlds are frequently enriched with detailed maps, ancient prophecies, and complex mythologies.
• Grand Quests: Central to many epic fantasy narratives is a grand quest or mission. This quest, often undertaken by a group of diverse characters, is of paramount importance, with the fate of the world or its inhabitants hanging in the balance. It’s not uncommon for this journey to span continents and face numerous challenges, from deadly creatures to intricate riddles.
• Moral Dichotomy: Epic fantasy often portrays a clear distinction between good and evil. While there may be morally ambiguous characters, there’s usually a discernible difference between the forces of light and darkness. This dichotomy is often embodied in epic battles, magical artifacts, or prophesied heroes and villains.

Selective and Enabling Constraints for Genre Writers

In the context of genre conventions, “Selective Constraints” and “Enabling Constraints” refer to the limitations and possibilities that are inherent in a specific genre.

Both types of constraints play a role in guiding and shaping the creation of works within a genre.

1. Selective Constraints

Selective constraints are the specific rules, conventions, and expectations that a creator must adhere to when working within a particular genre (Kessler & Watts, 2020).

They help in defining and maintaining the identity of the genre. By adhering to these constraints, creators ensure that their work is recognizable and categorizable within the specific genre.

For example:

• In a classic detective mystery, the crime (often a murder) must be solved by the end of the story.
• In a traditional romance novel, there’s an expectation of a happy ending for the main characters.
• In a western film, settings like the American frontier and character archetypes like cowboys and outlaws are expected.

2. Enabling Constraints

While they may seem like limitations at first, enabling constraints are elements that open up possibilities for creativity and innovation within the boundaries of the genre (Kessler & Watts, 2020).

Enabling constraints provide a framework or structure that creators can play with, subvert, or reinterpret to bring freshness to the genre (Kessler & Watts, 2020). They challenge creators to think innovatively and offer unique contributions while still staying true to the essence of the genre.

Enabling constraints can lead to the evolution of a genre or the creation of subgenres.

• The fixed structure of a sonnet in poetry can be seen as an enabling constraint. While poets must adhere to a specific rhyme scheme and meter, they have the freedom to explore diverse themes and expressions within that structure.
• The foundational rules of a fairy tale (e.g., the presence of magic, clear delineation of good vs. evil) can be played with to create retellings, parodies, or darker interpretations.
• The setting of a confined spaceship in science fiction can be an enabling constraint, pushing writers to delve deeply into character dynamics and psychological tensions.

Overall, while selective constraints help maintain the identity and consistency of a genre, enabling constraints offer avenues for exploration, innovation, and growth within the genre’s framework.

Playing with Genre: How Authors Undermine our Expectations

The rise of postmodernism since the 1980s has been accompanied with a push to challenge and undermine genre-convention in order to shock consumers and ask them to re-imagine the metanarratives in their minds.

The postmodern perspective highlights that genres are there to be broken and changed over time:

“Genre conventions are not totally stable throughout time; on the contrary, they evolve and change. So translators need to be aware of this possible evolution both in time and space” (Jimenez-Crespo, 2013)

Postmodern literature and art often embraces a fragmented narrative structure as a way to challenge the idea of the “grand metanarrative”. Post-modernists reject the idea that one coherent narrative can explain the world and instead embraces plurality and  contradiction .

As a result, you may find postmodern literature to be active in attempting to play with new genre forms and undermine consumers’ expectations. For some examples, see my article: examples of postmodernism .

Jimenez-Crespo, M. A. (2013). Translation and Web Localization. Taylor & Francis.

Kessler, K., & Watts, L. (2020). Conventions and Obligatory Moments: The Must-Haves to Meet Audience Expectations. Story Grid Publishing LLC.

Macdonald, G. (1997). Robert Ludlum: A Critical Companion. Bloomsbury Academic.

Nord, C. (2018). Translating as a Purposeful Activity: Functionalist Approaches Explained. Taylor & Francis.

Ornia, G. F. (2016). Medical brochure as a textual genre. Cambridge Scholars Publishing.

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DANIEL MONUMENT

Film review conventions

                A typical film review in a newspaper, magazine or online gives the film a rating to determine how good it is and helps the audience to compare it with other films. A very big website called Rotten Tomatoes rates the films that they watch in a percentage, if the film is rated under 60% then it is considered ‘rotten’ and if it is over 60% then it is considered as being fresh. Another film review giant Metacritic follows a similar rule. They rate the film out of 100 and if it is under 40 then it is considered as being not good enough, over 40 but under 60 is mediocre and over 60 is considered as being good.

Rotten Tomatoes                                                                      Metacritic

                These are film reviews taken from

magazines. They have a similar design as they

both have the main picture at the top of the

page, a big bold title just underneath and the

actual textunderneath both of these. Another

convention that is obvious when looking at film

reviews ishow the article is presented: the text

is in 4 columns. Both of these reviews have a

verdict and a star rating of the film at the end of

the article.

                The review for ‘Deadline’ has more

colour than the ‘Remember Me’ review which

makes it slightly more presentable. Also there

are subtle decorations like the red lines which

act to separate the paragraphs and also to

add some aesthetic value to the article.

                Looking at the actual writing in the

article, it seems that a lot of film reviews are split into 4 main sections: concept, direction, acting and conclusion. The review of the short film ‘Black Hole’ ( http://shortfilmtalks.blogspot.co.uk/2010/08/black-hole.html) is a great example of this and also it is a review of a short film so it is more like what I will write in my review. There is not a lot of writing in this review compared to the two pictured above because of the length of the film.

                Most film reviews have these elements within them: a main image dominating the page; description of the image; name of the film being reviewed in bold writing (normally in capitals); film tagline (if it has one); important details and information about the film such as the release date, certificate, director, cast, running time and plot; highlighted parts of article; main article (review) and overall view and star rating.

                In conclusion I think that my review should include all of the important features that I mentioned before and it will have to be quite detailed as it has to take up quite a large amount of space. I also need to create synergy with my film and also the poster to create a design that is present across all three products.  

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The Ultimate Film Techniques List [2022 UPDATE]

Guide Chapters

• 1. Literary Techniques Toolkit
• 2. Visual Techniques Toolkit
• 3. Film Techniques Toolkit
• 4. English Grammar Toolkit

Looking for a comprehensive list of film techniques and a breakdown of how they create meaning? Well, this is it. In this searchable guide, you’ll find all the important film techniques you need to discuss in your essays.

All about the Ultimate Film Techniques List

Films take us on journeys; we become immersed in worlds beyond our own. The best films lead us to ask questions about our world as well as ourselves. However, sometimes it can be difficult to translate our reactions to film into meaningful English analysis.

We’ve put this list together to help you make sense of these choices and analyse films more effectively.

When filmmakers construct their films, they combine multiple techniques together to develop meaning. Film combines visual elements with auditory elements to develop meaning.

To understand how the various techniques combine to create meaning, watch the following video we have put together that lists the techniques employed in various film scenes.

Film Techniques Toolkit from Matrix Education on Vimeo

The list below provides some of the key film techniques for writing about cinematic texts.

Ultimate Film Techniques List

Go to technique: a    b   c   d   e   f   g  h  i   j   k  l   m   n  o   p   q  r   s   t   u  v  w  x  y  z.

There are a huge number of techniques that are used in films to convey meaning. Below are some of the must-know techniques that are included in the glossaries of Matrix English Theory Books.

Camera angles refer to the tilt of the camera in relation to the scene and the characters. Unusual camera angles can emphasise an action sequence, disorientate the audience, and suggest the relationship between characters.

The main angles are:

• Low  – Establishes the power of the character or object
• Eye-Level  – Allows the audience to get personal with the character(s)
• High – Presents the subject as vulnerable or lacking in power
• Worm’s Eye – Presents the figure as very large and/or powerful
• Canted (also known as a  Dutch Angle )- Develops psychological unease or tension.
• Bird’s Eye – Often used to establish a shot and characters’ relationship to it

2. Bridging Shot

A shot that marks the passage of time in a film. This is sometimes a series of newspaper headlines, a calendar, tress going through seasonal changes, or the hands turning on a clock.

This bridging shot marks the passing of evening. Note the fast turning of the clock hands and rapid melting of the candle.

Colour, especially the choice of colour palette or scheme, can reflect the mood of the piece. Colour in a scene can also be enhanced through lighting.

For example, in The Great Gatsby (2013), the use of a vibrant colour scheme reflects the opulent lifestyle of New York elites in the 1920s.

You can learn more about colour symbolism at Studio Binder .

4. Cucoloris

Cucoloris is a lighting technique where an object is placed between the light source and the subject in order to create a patterned shadow. A staple of film noir .

5. Cross-Cutting

Cross-cutting is an editing technique where actions are established as occurring at the same time. The camera will cut away from one action to another action elsewhere to suggest these things are occurring at the same moment.

Cross cutting is used in Christopher Nolan’s Inception (2010) to build tension in a crucial action scene.

6. Dialogue

A conversation between two characters is called dialogue. Written by scriptwriters to convey the film’s plot, dialogue is also useful in conveying character .

7. Dissolve

A transition that moves between one shot and another by overlaying one shot and fading the first image out while strengthening the second shot. This can denote daydreams, memories, the passing of time, or signify phone conversations and long-distance communication.

Consider this example from Paul Thomas Anderson’s Inherent Vice (2014):

In this dissolve, we are taken to one of Larry “Doc” Sportello’s memories that are triggered during a phone call.

8. Dolly Shot

A dolly is a wheeled cart that the camera and operator are seated on. A dolly shot is a shot where the dolly is pushed along to move with the action. This is similar to a tracking shot, but without the tracks so that the camera can have a broader range of motion.

The video below discusses the difference between dolly shots and zooms and how they can be used (or even combined) to create effects and meaning.

9. Editing Sequence

The order of each shot and how they have been put together to create a scene. This is usually based upon the storyboard used by the director.

However, some directors such as Werner Herzog refused to use storyboards, and shoot many scenes which they edit together by trial and error.

10. Editing Wipes

In editing, wipes are used to transition between scenes in a variety of ways rather than just cutting. Types of wipes include:

• Horizontal wipe – the wipe moves horizontally across the screen
• Vertical wipe – The wipe moves vertically across the screen
• Diagonal wipe – The wipe moves diagonally across the screen
• Star wipe  – The wipe is the shape of an expanding star to demonstrate something special happening
• Heart Wipe – The wipe takes the shape of a heart expanding or contracting to illustrate romance or friendship
• Clock Wipe – The wipe is a circular motion like a clock arm to illustrate the passage of time
• Matrix wipe – a patterned transition between scenes

In this scene of Mark Waters’ Mean Girls (2004), we see a horizontal wipe being used to draw emphasis to Karen’s appalled facial expression.

11. Establishing Shot

A type of extreme long-shot that establish the context – time and setting – of a scene or film. Often establishing shots use famous landmarks or places, like the Sydney Harbour Bridge.

12. Eyeline Match

A type of cut where the shot of a character looking at something cuts to a shot of the thing they were looking at the same level. This type of cut is used to show the audience what they were looking at.

It’s used in Stephen Daldry’s  The Hours (2003) to capture Clarissa’s fearful expression as she watches Richard perched on the window sill.

13. Fade In/Out

An editing technique where the shot fades out from one shot going to black before fading into a new shot.

This scene from Mark Waters’ Mean Girls (2004) fades out, as Cady processes how Regina was just hit by a bus.

14. Flashback

Images that refer to previous events in the characters` lives. Flashbacks can be used to foreshadow future events.

15. Intertitle

Text which is printed on a background and placed between filmed scenes through editing. In silent films, intertitles can convey dialogue and exposition.

Similar to other editing wipes , this is a type of transition where the screen irises closed around a particular thing on screen. These can be used to signify daydreams, provide a dramatic transition, or signify the end of a scene.

17. Jump Cut

A cut that moves fractionally forward in time. These shots focus on the same subject but either use a different angle or have the subject in a different position to illustrate that time has moved forward in time. Jump cuts are usually used to show time passing forward.

Below is an instance of jump cuts in Frank Oz’s Little Shop of Horrors (1987).

18. Lighting

Lighting contributes to the mood of a film and suggests interpretations of a character . Are they good? Are they nefarious?

Low key lighting emphasises the shadows in a shot, while lighting from above or below can suggest that a character possesses sinister qualities.

19. Long Take

Also called a sequence shot (and occasionally referred to as a one-shot )

20. Match Cut

Jumps from one shot to another similar shot that matches the composition of the first shot.

Here’s an example of a match cut in the opening of Taylor Swift’s Style music video.

21. Mise en scène

Mise en scène translates as ‘what is put into a scene’. This French expression refers to the composition of a scene, including placement of characters, costume , make – up and setting .

22. Montage

A montage is a type of editing sequence where a series of shots play rapidly to create a narrative. Often a montage will be accompanied by a unifying piece of music to convey the dominant mood connected with the sequence.

Animated GIF: A montage from Fritz Lang’s Metropolis (1927)

Mood refers to the feelings suggested by the combination of all the elements on the screen and the accompanying sound. Another way to refer to the mood is to discuss atmosphere .

Music can convey the theme , mood and atmosphere . There are different types of music in films.

• The score is extra-diegetic music composed for the film, designed to evoke the film’s desired mood for the audience.
• Music heard by the characters in the film is called diegetic music.

25. Over the Shoulder (OTS)

A type of sequence shot or tracking shot where the camera follows a character by following them and shooting over their shoulder. Like a Point of View shot, an over the shoulder shot focalises (that is, focuses in on) on the characters experience.

Stephen Daldry’s  The Hours (2003) utilises an over the shoulder shot of Virginia frustratedly speaking to Leonard.

26. One-Shot

Also referred to as a Long Take or Sequence Shot . A one-shot is actually a type of long-take or sequence shot where the effect of being one shot is created through editing. For example, Alejandro G. Iñárritu’s 2014 film, Birdman uses careful editing to give the appearance of a single take.

In some cases, a one-shot is used to refer to whole films made in one take, such as the 2015 film German film, Victoria.

27. Panning Shot

A shot where the camera swivels horizontally around a fixed point to follow the subject.

A panning shot is used in Amy Heckerling’s Clueless (1995) to show Cher chasing her father around the kitchen to give him a glass of orange juice.

28. Point Of View Shot (POV)

A shot that is taken from a character’s point of view, like a first-person video game. Point of View shots focalise (that is, focus in on) a character’s experience.

29. Rack Shot

A shot where the camera shifts the focus while holding the same shot to bring another object into focus. Rack shots change the depth of the shot.

The example below is from the TV series Sherlock. In it, the focus shifts from Sherlock to Watson.

Animated GIF: In this rack shot, the focus shifts from Sherlock in the foreground to Watson in the background.

A unit of narrative used to divide up a dramatic text or film. A scene usually takes place in a single location and focuses on a single action in one moment of varying length.

31. Setting

The place where the action of the film occurs.

32. Sequence Shot

A sequence shot is a single long take shows a series of actions happening one after another within the same shot. Sequence shots are occasionally called long takes and one-shots . Sequence shots are very hard to do and can develop quite a lot of meaning.

A famous example is Martin Scorses’s Copacabana shot from his 1990 film, Goodfellas.

This shot illustrates the Henry Hills’ wealth and connections while he shows off to his date. This take combines over the shoulder and point of view perspectives.

33. Shot Type

Shot types indicate how close or far the camera is from the characters. Shot types range from Extreme Long Shot (XLS), where the characters may be very small and embedded in a landscape, to Extreme Close Up (XCU), where part of the character’s face makes up the whole shot.

The shots are:

• Extreme Long Shot (XLS)
• Long Shot (LS)
• Medium Long Shot (MLS)
• Medium Shot (MS)
• Medium Close Up (MCU)
• Close Up (CU)
• Super Close Up (SCU)
• Extreme Close Up (XCU)

Image: Examples of various shot types

The sound of a film helps to create atmosphere – this can include:

• Sound effects
• Music (see above)
• Voice-overs

Like music, sound can be divided into:

• Diegetic :  occurring in the world of the film
• Extra-diegetic (occurring outside the world of the film)

35. Symbolism

An object used to suggest ideas in addition to, or beyond, their literal sense. For example, the glass slipper in Cinderella symbolises the opportunity that Cinderella has to live a different life. Watch films carefully to spot symbols and their potential meaning to the plot. If a symbol recurs throughout the film it is a motif.

Animated GIF: This GIF is from Sam Mendes’ American Beauty (1999). The dancing plastic bag symbolises how beauty is found in things that are often discarded. The bag is rubbish to many, but its dance in the wind is beautiful.

36. Steady Cam

A type of camera that is used in action sequences. A steady cam rig allows the camera to be worn by the operator so they can follow an action sequence without the shot become overly jerky.

This video shows examples of shots taken with the steady cam, explained from the perspective of a steady cam operator.

37. Transitions

A way to transition between shots. Transitions involve cuts , fades , and wipes (see above for specific definitions).

This is a good video that explains these various techniques.

When the camera tilts in shot to show the subject away from the horizontal axis.

Example: A tilt shot of Captain America

39. Title Card

See  intertitle

40. Tracking Shot

A shot that follows a subject as they move.

In Jane Campion’s Bright Star (2009), a tracking shot of Brawne is used to capture her grieving reaction to Keats’ death.

41. Two Shot

A shot that features two characters and is used to establish or develop their relationship.

The camera zooms in or out to focus on an object or to show how far away it is. Zooms can be used for dramatic effect or can be used to show objects in relation to each other for scale.

See Dolly Shot above for a video discussing the difference between Zooms and Dolly shots .

Thanks for reading the Ultimate Film Techniques List

We hope you found this ultimate film techniques list useful. Don’t forget to check the individual articles to broaden your knowledge of film like Matrix students do.

English Grammar Toolkit

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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Convention — film review.

A cinema verite-style documentary about the 2008 Democratic National Convention that seems almost as long as the proceedings themselves, "Convention" provides evidence that not everything needs to be captured on film.

By The Associated Press

The Associated Press

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NEW YORK — A cinema verite-style documentary about the 2008 Democratic National Convention that seems almost as long as the proceedings themselves, “Convention” provides evidence that not everything needs to be captured on film. Directed by AJ Schnack (“Kurt Cobain About a Son”) with footage provided by such notable documentarians as Laura Poitras (“My Country, My Country”), Daniel Junge (“They Killed Sister Dorothy”) and several others, the film is a tedious slog.

In terms of drama, 2008 Denver was not exactly 1968 Chicago, the result being that this effort — clearly inspired by the works of such predecessors as Pennebaker, the Maysles and Robert Drew, among others — instead concentrates on the behind-the-scenes minutiae attending the putting on of a large-scale event. Politics barely are mentioned, and political figures are seen only in onstage footage. This might as well be about the creation of a Super Bowl halftime show.

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Of course, most Super Bowls don’t include protesters, though the ragtag group caught on film here barely qualifies: “Worst protesters ever,” one unimpressed newspaper editor sniffs.

Most of the film’s running time features city officials attempting to cope with the massively complicated logistics attending such proceedings, and with the local newspaper reporters, urged by their editor to work hard to compete with the New York Times. The pressure clearly gets to one young journalist, who is seen breaking into tears over deadline pressures.

The filmmaker, clearly aware that most of the footage captured was less than momentous, employs a nicely tongue-in-cheek soundtrack featuring everything from Gilbert and Sullivan ditties to showtunes.

Interesting trivia note: John Hickenlooper, the Denver mayor seen frequently here, is the cousin of filmmaker George Hickenlooper (“Factory Girl”).

Opened: Friday, June 4 (IFC Films) Production: Bonfire Films of America, Unconventional Nonfiction Director: AJ Schnack Producers: Jennifer Chikes, Britta Erickson, Shirley Moyers, AJ Schnack, Nathan Truesdell Executive producers: Richard Turner, Heather Winters, Joe Morley, Peter G. Chikes, Nancy M. Chikes Directors of photography: Steven Bognar, Daniel Junge, Laura Poitras, Julia Reichert, Wayne Robbins, AJ Schnack, Paul Taylor, Nathan Truesdell, David Wilson Editors: AJ Schnack, Nathan Truesdell No rating, 95 minutes

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Review: In ‘Unsung Hero,’ a family’s musical success story comes to life via the clan itself

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Cinematic memoir can be a complex creative endeavor. Film is a collaborative medium and memoir requires a certain acknowledgment of the author’s creation. Without that self-reflection, it can slip into murky, confusing territory. This space is where the new film “Unsung Hero,” which is billed as a “For King & Country Film,” exists.

If you’re not yet aware of the Grammy-winning Christian pop duo For King & Country, comprising brothers Joel and Luke Smallbone, “Unsung Hero” will introduce you to their folksy family lore, if not their musical successes. The film is a biographical drama about the Smallbone family, a large brood from Australia who immigrated to Nashville in the early 1990s, following father David’s dreams of working as a promoter in the music industry.

“Unsung Hero” is co-written and co-directed by Joel Smallbone (with Richard L. Ramsey) and he also stars in the film playing his own father, who eventually managed the music careers of For King & Country, and Joel’s sister Rebecca St. James. Their siblings work in the family business as managers, lighting directors and documentarians (they all make cameos in the film), and there’s a sense of can-do collaboration among the tight-knit Smallbone family. This theme runs throughout the film and it makes sense that Joel would undertake the telling of his family’s own story in such an intimate way.

Therefore, “Unsung Hero” is like a much more expensive extension of the camcorder home movies that serve as a running motif throughout. This isn’t just a music biopic or a family drama — it’s a presentation of a family narrative as told and embodied by the family members themselves. A valid endeavor, to be sure, but important context when considering the work as a cultural product.

Joel Smallbone is an appealing actor, even if it is a bit distracting that he’s portraying his own father (he has described the experience as a “therapy session”). Joel is also a character in the film, as a child (Diesel La Torraca), while Daisy Betts plays Helen, the Smallbone matriarch and Joel’s mother. Helen is, of course, the unsung hero of this story, the heart and spine of the family who insists on keeping them together while David makes one last-ditch attempt to make it in the music industry in Nashville. Betts is the emotional center of this film, her character unflagging in her determination, keeping spirits up as David’s dreams are slowly crushed.

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The family of attractive Aussies arrive in the United States without a stick of furniture in their rental home, and they nest in beds of clothes while they get on their feet with the help of a couple from their church (Lucas Black and Candace Cameron Bure). They clean houses and landscape yards, clip coupons and accept the charity that comes their way, reluctantly, on David’s part.

While David struggles with the dampening of his dreams, his daughter Rebecca (Kirrilee Berger) is just starting to embrace her musical aspirations. But she can’t chase them until her father gets over his own deep hurt at being rejected by the industry. It takes him some time to understand the advice given to him by his own father, James (Terry O’Quinn), back in Australia, that his family isn’t in the way of what he wants. Rather, they are the way.

“Unsung Hero” follows a predictable narrative path of struggles and salvation, but it’s not a traditional music biopic — it doesn’t start with a record deal, it ends with one. The focus is on their hardships to get to that record deal, which is clearly what matters to filmmaker Joel Smallbone. It’s not the success, the Grammys, the stadium concerts, but the ways they stuck together, eked it out, allowed themselves to dream, all thanks to their mother, who never let David’s challenges get in the way of her kids’ imaginations.

It’s a humble story, one with the capacity to inspire in its simple message of perseverance. But the film itself, as an artistic product, feels limited in its observational scope, because the filmmaker doesn’t have any distance from the material. Smallbone is a fine actor, but alongside Ramsey, he’s a limited filmmaker. Their visual style is drab at best, and the storytelling lacks the kind of self-reflection that might elevate this project. As it is, “Unsung Hero” feels more like band merch than an insightful family portrait.

Katie Walsh is a Tribune News Service film critic.

'Unsung Hero'

Rating: PG, for thematic elements Running time: 1 hour, 52 minutes Playing: In wide release Friday, April 26

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Tv/streaming, collections, great movies, chaz's journal, contributors, the conference.

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Netflix has a slasher flick for you this "Friday the 13 th " that may not directly feature Jason Voorhees but was clearly inspired by the legend of the boy in the hockey mask. Patrick Eklund’s “The Conference” kind of unfolds like “ Triangle of Sadness ” meets “ I Know What You Did Last Summer ” as a group of (mostly) greedy capitalists reap what they sow at a work conference before the launch of a shopping mall that’s going to steal land from hard-working people before failing in spectacular ways. One of several clever things about Eklund’s film is that these monsters aren’t even very good at what they do. They’re fudging the books, lying about IKEA coming to the project, and growing more hateful of one another. What could go wrong at one of those corporate retreats with ziplines and trust exercises? More than they could have imagined.

Katia Winter (Nadia from “Dexter”) plays the most likable member of this crew of profit-driven lackeys, a woman named Lina, who has been away while the majority of the corporate malfeasance unfolded. So she’s startled to see the contracts don’t include compensation for the farmers whose land has been stolen from them and sets about trying to figure out who’s to blame while at a corporate retreat at what looks like an abandoned summer camp. She has a few allies—Eklund and co-writers Thomas Moldestad and Mats Strandberg are careful not to make all of the employees the same—but most of her colleagues follow the lead of the aggressively upbeat boss Ingela ( Maria Sid ), the kind of head of a department who believes she can motivate mostly through the sheer force of a creepy smile.

Eklund wastes little time getting to “the good stuff” as the film’s slasher works his way through the employees at the camp and the people who have come there to learn about the power of positive thinking. As they bicker and Lina tries to figure out what happened while she was on sick leave, a well-armed figure is in the woods driving his machete through people’s body parts. The camp mascot head that the killer dons here is both kinda goofy and terrifying at the same time, with its frozen visage and black eyes that make it look like a twisted member of the seven dwarves. Call this one Slashy.

Films have long explored the relative hollowness of corporate motivational sound bites, and this certainly isn’t the first to blend workplace comedy and horror—fans of “Severance” and “ Mayhem ” will note similarities to those two projects as well—but there’s an impressive economy to “The Conference” in how Eklund doesn’t waste time on speeches or slow burn his way to tension. He sets up his idiots in a trapped location and devises clever ways to pick them off one by one. The last few scenes really help the film land its blend of styles in that, without spoiling, they reveal how much these people don’t need a sociopath in the woods to be violent and destructive. 

On Netflix now.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Lily gladstone & bowen yang set for ‘the wedding banquet’ reimagining from filmmaker andrew ahn, as la bids farewell to afm, “new film market” american film convention hopes to take root this fall.

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With the AFM heading to Las Vegas, a group of indie filmmakers are aiming to launch a “new film market and entertainment industry convention” in LA this October.

Organizers say The American Film Convention (AFC) will take place October 15-17, 2024 at Magic Box in Downtown Los Angeles.

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The organizers are ambitious: “The event offers more than 100,000 square feet of exhibition space and has room for 400 exhibitors and participants. We expect the convention to draw about 5,000 delegates in its first year,” they said.

Indie filmmaker Jon Fitzgerald, who co-founded the Slamdance Festival and was Festival Director of AFI and Santa Barbara, will serve as Director of Workshops and Conferences.

The event’s website launches tomorrow and it already has a presence across major social media platforms. Organizers could not disclose budget or specific sources of funding but said backing is in place and comes from “industry sources, individuals, and producers” and that a deposit has been put down on the venue. It’s unclear if the event has buy-in from any major film companies so far.

Magic Box’s website says, “Our unique venue can accommodate large scale trade shows and conferences, fashion shows, galas, receptions, holiday parties, to intimate screening parties.” AFC organizers tell us they plan to “build out screening facilities” for the event. The Downtown location will host gaming brand IGN for a trade event this June.

Patel’s production credits include low-budget features Woman In The Maze , Bite The Dust and Instant Karma . He also founded and serves as CEO of the Chandler International Film Festival in Arizona.

He continued: “Whether you are a cinematographer, director, actor, writer, producer, or distributor, AFC is for you. All components of the film industry have a place at our convention. We encourage filmmakers to attend, regardless of their budget or stage of production. Whether you are a seasoned filmmaker, an aspiring or established talent, a technology enthusiast, or an industry-minded entrepreneur, our convention offers something extraordinary for all our delegates.”

As for pricing, the event’s press release says “early bird pass at $325 and exhibition space from $3,250”.

This year’s AFM will take place in early November at the Palms Casino Resort in Las Vegas. The AFM is backed by industry body IFTA, which is unlikely to be perturbed by today’s news.

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Convention Reviews

Ooh, will mayor's special assistant Chantal Unfug learn to ride a scooter? Will protestors spend less than half their time defending their right to protest?

Full Review | Original Score: 2/5 | Jul 6, 2010

While Convention may be more traditional documentary fare in content than his last film, A.J. Schnack is not without a new trick up his sleeve: a collaborative documentary made with a group of documentarians, each with his/her own assignment.

Full Review | Original Score: 6.7/10 | Jun 13, 2010

What Convention sets out to do, it does with understated candor.

Full Review | Original Score: 3/4 | Jun 11, 2010

Slickly produced but devoid of purpose, Convention tackles several storylines occurring at the 2008 Democratic National Convention.

Full Review | Jun 8, 2010

A tediously dull, facile and lazy documentary that fails to engage viewers intellectually. It offers too many potatoes and not nearly enough meat.

Full Review | Original Score: 4.42/10 | Jun 6, 2010

Dogged, but anti-climactic cinema vérité tribute to the increasingly irrelevant quadrennial political show.

Full Review | Original Score: 5/10 | Jun 5, 2010

Some of this is awfully pedestrian, but there are moments of both high comedy and high drama.

Full Review | Original Score: 2.5/5 | Jun 4, 2010

Cinma vrit? More like cinma banalit.

Full Review | Original Score: 1/4 | Jun 4, 2010

Convention plays like 11 cameras in search of drama.

Full Review | Original Score: 2/5 | Jun 2, 2010

The film's frustrating treatment is actually more like the local reporter who is shown struggling to stay in the loop.

Full Review | Jun 1, 2010

‘Unsung Hero’ Review: The Family That Prays Together, Plays Together in Uplifting Faith-Based Biopic

A father uproots his family, moving them halfway around the world to avoid professional and personal ruin in this heartening weepie.

By Courtney Howard

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David Smallbone (Joel Smallbone) is at the top of his game in early 1991. He’s got a great support system at work as one of Australia’s top Christian artist concert promoters, luring in such performers as the heavy metal hair band Stryper. His home life is also thriving, thanks to the efforts of his dedicated, loving wife Helen ( Daisy Betts ) and their burgeoning brood: Rebecca (Kirrilee Berger), Daniel (Paul Luke Bonenfant), Ben (Tenz McCall), Joel (Diesel La Torraca), Luke (JJ Pantano) and Josh (Angus K. Caldwell). His hard work has given them life’s luxuries, like fancy cars, a sprawling mansion and private schools for his kids. Yet their mettle is about to be tested.

After David fails to sell out an Amy Grant concert due in part to a devastating nationwide recession, he loses all their savings. His backup plan to bring Eddie DeGarmo (Jonathan Jackson) over from the States also vanishes overnight. With no other career options, and with another baby on the way, he comes up with a risky proposal: move the family to the U.S. in hopes of representing an artist friend of his in Nashville. Their journey is fraught with obstacles, from a stressful customs detention to the psychological toll of David’s struggles as a provider. While the Smallbones suck up their pride to courageously face dire situations, they’re only human and there’s always a breaking point — one they must work together to mend.

The film works best when trafficking in poignant subtleties that provide a cumulative tear-shedding experience rather than the overt schmaltz which occasionally appears. Lovely grace notes are peppered throughout, from some much-needed tension-release humor (not to be confused with the requisite Vegemite and “Crocodile Dundee” jokes) to the heart-in-throat moment that reveals how Rebecca St. James chose her stage name. (Take that, “Solo: A Star Wars Story”!) Eagle-eyed audiences will find fun spotting a few family members making cameo appearances.

Katherine Tucker’s production design reflects the Smallbones’ evolution — as their familial bonds flourish, their environments change for the better. Cinematographer Johnny Derango discreetly shifts lighting cues in concert with narrative overtones. The frequent golden hour glow represents the presence of David’s perpetually perky father (Terry O’Quinn) even when he’s not on screen, culminating in the genuinely emotional finale’s intersection of a trio of character arcs.

All the siblings offer contributions to their familial sustenance, yet a handful aren’t as fleshed out as they should be given their survival was a psychologically taxing team effort — especially for the younger members thrust into adulthood prematurely. The focus is not only on the parents’ problems, but also on their teenage daughter’s struggle with confidence as a performer and songwriter. And of course, young Luke and Joel, who later in life went on to form the duo For King + Country (and who also provide the heartfelt closing credits ballad), get significant attention, delivering a couple of funny, self-aware bits. However, Ben, Daniel and Josh are relegated to characters defined by their jobs and not by their personalities. They’re left aching for greater incorporation within this testimony.

A finer point could’ve been made about the two sides of the charity coin — the family’s Christmas is saved through the kindness of others, but David feels like a charity case when their wealthy neighbors Jed (Lucas Black) and Kay (Candace Cameron Bure) help out with hefty medical bills. Still, the filmmakers espouse reassuring commentary on achieving the American Dream. More films should acknowledge that throwing money at a problem isn’t always the solution. To glean the amount of meaningful insight as Smallbone clearly demonstrates with this feature, placing himself in his father’s shoes to fully understand a psyche in the throes of turmoil, is quite the dynamic feat. That’s especially important for a faith-based audience who need to see that flaws in our design are what make us human.

Reviewed online, April 23, 2024. MPA Rating: PG. Running time: 112 MIN.

• Production: A Lionsgate release of a Kingdom Story Company, Candy Rock Entertainment production of a For King + Country Film. Producers: Joshua Walsh, Luke Smallbone, Justin Tolley, Joel Smallbone. Executive producers: Candace Cameron Bure, Andrew Erwin, Tony Young, Kevin Downes, Jon Erwin, Mike Curb, Brian Mitchell, Bill Reeves, Jeffery Brooks, Gerald Webb, Ford Englerth.
• Crew: Directors, writers: Joel Smallbone, Richard L. Ramsey. Camera: Johnny Derango. Editor: Parker Adams. Music: Brent McCorkle.
• With: Joel Smallbone, Daisy Betts, Kirrilee Berger, Jonathan Jackson, Lucas Black, Candace Cameron Bure, Terry O’Quinn, Paul Luke Bonenfant, Diesel La Torraca, JJ Pantano, Tenz McCall, Angus K. Caldwell.

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New Industry Trade Show American Film Convention Sets Fall Premiere in LA

The event comes as the American Film Market leaves for Las Vegas this November

As the American Film Market departs Los Angeles for Las Vegas, a new industry trade show, the American Film Convention , could fill in the gap left behind as it prepares for a launch at the Magic Box in downtown Los Angeles this October.

CEO and founder Mitesh Patel, an independent filmmaker and producer, said the event will include “market, auction, conference, product and service showcase, workshop, talks and addresses, pitch fest, networking event and filmed and live entertainment.”

The inaugural convention is set to run from Oct. 15-17.

In his statement, Patel also distanced the American Film Convention from any notion that it is intended to be a direct competitor to the American Film Market, saying it is meant to “supplement rather than supplant the current industry gathering landscape and offerings.”

“We created the American Film Convention as an innovative entity that’s poised to vault to the forefront of the global film industry and return that focus to the entertainment epicenter of the world, Los Angeles, California,” Patel says. “AFC is dedicated to expanding the way industry professionals engage, collaborate and innovate within the filmed entertainment realm. We’re committed to creating some fresh and innovative programs and present a more all-inclusive forum.”

Slamdance cofounder Jon Fitzgerald will serve as director of workshops and conferences for AFC, which is expecting 5,000 delegates in its first year and is offering “more than 100,000 square feet of exhibition space.” Early bird passes are being priced at $325 with exhibition space starting at $3,250.

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Critic’s Pick

‘Nowhere Special’ Review: Old Bonds, New Family

This understated tear-jerker sees a dying single father making future family plans for his toddler son.

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By Glenn Kenny

“Nowhere Special” is an unusual, and unusually understated, parental tear-jerker in which a father prepares for the loss of his young son. The son isn’t going anywhere. But the father, a single dad, is dying, of an unspecified disease, and he’s at first eager, then later a little desperate, to get his boy placed with the right adoptive family.

The picture was written and directed by Uberto Pasolini, the Italian-born filmmaker who was the producer of the 1997 crowd-pleaser “The Full Monty.” Although he shares a surname with the acclaimed director Pier Paolo Pasolini, Uberto is in fact a nephew of the neorealist cinema giant Luchino Visconti. Pasolini doesn’t seem directly influenced by his actual relative or his namesake. But his movie does have a style: slow, quiet, measured. It takes its time before bringing the emotional hammer down.

Set and shot in Northern Ireland, the film focuses on a window cleaner, John (James Norton), the loving father to a very cute but often sulky 4-year-old, Michael (Daniel Lamont). We never see John at a doctor’s office, but we get a look at his packed medicine cabinet and we see him getting more ashen as the picture goes on. One location he does spend a lot of time in is a child placement agency, whose staffers escort him to speak with approved-to-adopt candidates. There are childless couples, intimidatingly big families and single aspiring parents to consider. John resists putting a “memory box” together for his boy. “I don’t want him to understand death,” he says.

After being admonished by a snotty rich client because of slow work, John, taking the adage “you only live once” to heart, eggs the fellow’s house. It’s one of the few moments when the movie deigns to deliver a conventional satisfaction. But the mostly low-key mode of “Nowhere Special” is the right one. Norton is spectacular, but little Lamont delivers one of those uncanny performances that doesn’t seem like acting, and makes you feel for the kid almost as much as his onscreen parent does.

Nowhere Special Not Rated. Running time: 1 hour 36 minutes. In theaters.

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