Thriller 1:
The first thriller we saw was Room to Breath. There was a grammatical error in the spelling of the title which was a vital error as the title is one of the most importaint elements. However, the group used a variation of camera angles and shots which was good.
Tuesday 12 October 2010
Sunday 3 October 2010
Thriller 5: Panic Room
Camera - The opening titles of 'Panic Room' are all long shots of an city which establishes the location and introduces the audience to the setting and where all the action will be happening. The camera uses a range of panning and tracking shots throughout which are filming the city building and the titles which are positioned in the foreground over the city buildings which could signify symbolically, the sense of being trapped between two objects.
Editing - The scene starts at a slow pace which enables the audience to engage in the sequence quickly. As the editing increases throughout the titles, the audience feels more and more on edge and they quickly start to become panicked, much like the title of the film represents. Transitions such as fade in/out are used in the scene.
Sound - Non-diegetic sound is used in the opening through music and other sounds such as police sirens. Police sirens are symbolic to danger and crime which makes the audience create a sense of danger in their minds. The music is slow paced but feels edgy and continues to make the audience feel on edge and in suspense.
Mise-en-scene - Lighting is low key and reflects on the dark and sinister feel that the director is creating which is symbolic to danger and indicates the the audience that something bad is going to happen. The scene then carries into the opening of the characters which centralizes the male female protagonist. This is a common convention of a thriller when the director focuses on the victim.
Editing - The scene starts at a slow pace which enables the audience to engage in the sequence quickly. As the editing increases throughout the titles, the audience feels more and more on edge and they quickly start to become panicked, much like the title of the film represents. Transitions such as fade in/out are used in the scene.
Sound - Non-diegetic sound is used in the opening through music and other sounds such as police sirens. Police sirens are symbolic to danger and crime which makes the audience create a sense of danger in their minds. The music is slow paced but feels edgy and continues to make the audience feel on edge and in suspense.
Mise-en-scene - Lighting is low key and reflects on the dark and sinister feel that the director is creating which is symbolic to danger and indicates the the audience that something bad is going to happen. The scene then carries into the opening of the characters which centralizes the male female protagonist. This is a common convention of a thriller when the director focuses on the victim.
Thriller 4: 28 Days Later
Camera - The camera stays in the same positioning throughout the opening which allows the graphics to merge in and out. The cameras stillness and the theme of blood could be symbolic to the state your body is in once dead which is chilling for the audience.
Editing - The editing is slow which contrapuntal to the pace and intensity of the music. The use of graphics and the spreading of blood could be symbolic to the spread of infection which is what the film is based around. The director has used the idea of blood throughout the film and this effects the audience from using this theme feel on edge and intense.
Sound - The scene opens with screeching violins which is symbolic to the protagonist's emotional state. The music the director has chosen has a eerie feel to it which is a common convention in a horror or thriller film.
Mise-en-scene - There are several images of blood shown in the opening which again reflects on the horror conventions and gives the audience an insight that the film will be gory and plays on the idea of death and torment. Special effects are shown creating the effect of cells and how they are mutating is eerie and makes the audience question and become on edge. The use of medical references also could tell us this is a science fiction film too. The titles are in a random arrangement which also makes the audience feel this strange layout is unnatural.
Editing - The editing is slow which contrapuntal to the pace and intensity of the music. The use of graphics and the spreading of blood could be symbolic to the spread of infection which is what the film is based around. The director has used the idea of blood throughout the film and this effects the audience from using this theme feel on edge and intense.
Sound - The scene opens with screeching violins which is symbolic to the protagonist's emotional state. The music the director has chosen has a eerie feel to it which is a common convention in a horror or thriller film.
Mise-en-scene - There are several images of blood shown in the opening which again reflects on the horror conventions and gives the audience an insight that the film will be gory and plays on the idea of death and torment. Special effects are shown creating the effect of cells and how they are mutating is eerie and makes the audience question and become on edge. The use of medical references also could tell us this is a science fiction film too. The titles are in a random arrangement which also makes the audience feel this strange layout is unnatural.
Thriller 3: Dark Knight
Camera - The directors establishes a setting for the audience by using a range of long shots and extreme long shots; he also uses a birds eye view when filming the zip wire section of the scene. This helps give the audience a perspective on Gotham City and the characteristics of the location. The director also uses close up shots of different props; this method is used to create suspense and tension, for example, the close up of the joker and the mask he is holding is mysterious and we wouldn't normally expect this much suspense in the opening scene which puts the audience on edge and question what is happening. The audience also, instantly recognises the character and that he is a criminal which allows the audience to connect to the character making the scene more personal and tense. In addition, the director uses a point of view shot by placing the camera in the car and uses a range of mid shots and close ups which connotes the characters are discussing and communicating in the scene. As the location changes, the director uses mainly close up and mid shots compared to other camera angles.
Editing - The choice of fast, rapid and sudden editing makes the audience feel on edge and more intense as the action continues to increase and quicken. The audience feels involved and cutting from one location to the other also gives the impression of the mystery and makes the viewers question what is happening. Alternatively this could be symbolic to the way a criminals mind works and how many different people involved in making the plot happen are in a range of different locations or places in a specific location.
Sound - The non-diegetic music builds throughout the scene which creates the tension and suspense in the opening. It fits in with the conventions of a thriller well as it builds throughout the scene to it's final point. The diegetic voice keeps the audience informed on what the scene is telling us and what is happening.
Mise-en-scene -The use of masks are a significant prop used throughout the opening sequence and they connote the use of hidden identity and double personalities. The lighting is a combination of high and low key as the bank uses different lighting to in the car section etc. The location is a city scape where there is a range of different people and buildings used in the shots. The use of weapons in the scene enables the audience to become worried and feel the suspense and tension in the scene that the director was trying to create.
Editing - The choice of fast, rapid and sudden editing makes the audience feel on edge and more intense as the action continues to increase and quicken. The audience feels involved and cutting from one location to the other also gives the impression of the mystery and makes the viewers question what is happening. Alternatively this could be symbolic to the way a criminals mind works and how many different people involved in making the plot happen are in a range of different locations or places in a specific location.
Sound - The non-diegetic music builds throughout the scene which creates the tension and suspense in the opening. It fits in with the conventions of a thriller well as it builds throughout the scene to it's final point. The diegetic voice keeps the audience informed on what the scene is telling us and what is happening.
Mise-en-scene -The use of masks are a significant prop used throughout the opening sequence and they connote the use of hidden identity and double personalities. The lighting is a combination of high and low key as the bank uses different lighting to in the car section etc. The location is a city scape where there is a range of different people and buildings used in the shots. The use of weapons in the scene enables the audience to become worried and feel the suspense and tension in the scene that the director was trying to create.
Thriller 2: Psycho
Camera:
A steady shot of graphics is used in the opening scene instead of camera. The simplistic graphics are used to create a sense of suspense to the audience as they don not know what will happen next. Hitchcock uses simplistic graphics in many of his opening films.
Editing:
The graphic sequence opens with a black screen which then turns to green.
Editing
In the opening scene, the first thing the audience sees is a black screen which turns green. It is then split by parallel, horizontal lines which enter from the right hand side of the screen. The colours and words on the screen which appear are always followed by the split down the middle using the different colours apart from the directors name whicvh is used in contrast and left on the screen for a lot longer than the rest of the opening titles. The splitting of colours in the opening title sequence connotes the idea of a split personality linking in the with what is usually thought to be a 'pyscho'. The simple method used by Hitchcock enforces and re-enforces the idea of the film without having to show any images or characters of the film.
Sound
The non-diegetic music used in the opening of the film is parallel and fits in with the images shown on the screen. The music has a harsh tone with connotes danger and panic. The music enables us to think this by the quick pace and particular instruments which create a certain gripping tone to the sound. The music in the opening, fits into the conventions of a thriller.
Mise-en-scene
There are only graphics shown throughout the scene which have the connotations of split personalities.
A steady shot of graphics is used in the opening scene instead of camera. The simplistic graphics are used to create a sense of suspense to the audience as they don not know what will happen next. Hitchcock uses simplistic graphics in many of his opening films.
Editing:
The graphic sequence opens with a black screen which then turns to green.
Editing
In the opening scene, the first thing the audience sees is a black screen which turns green. It is then split by parallel, horizontal lines which enter from the right hand side of the screen. The colours and words on the screen which appear are always followed by the split down the middle using the different colours apart from the directors name whicvh is used in contrast and left on the screen for a lot longer than the rest of the opening titles. The splitting of colours in the opening title sequence connotes the idea of a split personality linking in the with what is usually thought to be a 'pyscho'. The simple method used by Hitchcock enforces and re-enforces the idea of the film without having to show any images or characters of the film.
Sound
The non-diegetic music used in the opening of the film is parallel and fits in with the images shown on the screen. The music has a harsh tone with connotes danger and panic. The music enables us to think this by the quick pace and particular instruments which create a certain gripping tone to the sound. The music in the opening, fits into the conventions of a thriller.
Mise-en-scene
There are only graphics shown throughout the scene which have the connotations of split personalities.
Thriller 1: Sin City
Camera:
Opens with an establishing shot of the women on balcony, overlooking the city establishing the setting. A high angle is used which suggests the character is being looked down on and something is sinister. The director then uses a 180 degrees mid shot coming towards the women and now the other character is not in the shot. A variety of mid shots and close ups are used which are used to connect the two characters. This connotes a connection between the two protagonists being of a close relationship or an attraction. Through the use of facial expressions and body language, the audience are able to see what the characters are like.
Editing:
Miller uses a combination of white black and red in the opening extract. The colour of the setting is black and white which contrasts with the female protagonists' dress which is a brightly coloured red. This connotes a sense of importance as she is made to stand out. A bright light has been used within the scene to draw attention to the male and female protagonists standing on the balcony as well as to highlight the city surrounding them.
Sound:
The director has used parallel music within the scene, its slow, calm and matches the atmosphere. Diegetic sound is also used which adds a sense of realism to the scene, for example the sound of the lighter being lit.
Mise-en-scene:
By not using many props, the director is trying to establish the importance of the two characters. The only props used are the cigarettes and lighter both characters use. Smoking is used to make the characters appear 'cool' which the director has used to show as well as the fact that during the time period in which this film is set, smoking was a big fashion.
Camera Codes - Distance, Angles and Movement
Camera: There are different types of camera shots which are used in order to give different meanings and create different effects depending on what the audience are able to see through the shot.
ELU: Extreme long shot - this kind of shot will be used to show the surroundings usually at the start of a film so the audience understand the setting on the film.
ECU: Extreme close ups - This shot shows something in extreme detail for exam you can have an extreme close up of an eye so that the only thing the audience are able to see in that shot is that one things.
LS: Long shot - this show also the whole body for head to feet to be shown with some of the background visible.
MS: Mid shot - this usually shows from the lower torso up to the top of the head of a person on screen.
CU: Close up - this shot like an extreme close up shows one things however usually will focus on something like a face or an object instead of one small object in extreme detail.
Camera Angles are also used to give effect to the audience
Camera Angles are also used to give effect to the audience
Eye Level: This shot is straight at the eye level of both the audience and character.
Point of view: This angle shows an event happening for the characters point of view to the audience.Bird’s-eye view: This angle shows events happening straight above.
High Angle: This angle shows the insignificance of certain characters as they are viewed being looked down on.
Low Angle: This angle looks up from a low angle increasing the height of a certain character and allows them to appear superior to the audience.
Camera Movement
Zoom: This is when an object or a person in magnified for effect in order to show a certain feature or to emphasize a point.
High Angle: This angle shows the insignificance of certain characters as they are viewed being looked down on.
Low Angle: This angle looks up from a low angle increasing the height of a certain character and allows them to appear superior to the audience.
Camera Movement
Zoom: This is when an object or a person in magnified for effect in order to show a certain feature or to emphasize a point.
Pan: A pan is usually used along side an extreme long shot this use of movement allows the audience along with the shot to see a certain scene of a greater scale and give the audience an understanding of the setting.
Tilt: When the Camera is moved up and down to show height of something usually increasing the power or feelings of a character.
Tracking: Tracking is used to follow an object. During tracking the camera itself is moved along. This sort of movement is often used in a scene which needs to show the speed or movement of a certain character or object.
Tilt: When the Camera is moved up and down to show height of something usually increasing the power or feelings of a character.
Tracking: Tracking is used to follow an object. During tracking the camera itself is moved along. This sort of movement is often used in a scene which needs to show the speed or movement of a certain character or object.
Editing
Editing:
Cutting rate: Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.
Cross-cut: A cut from one line of action to another.
Buffer shot: A bridging shot - taken with separate cameras - are two different shots which show the continuity of movement.
Superimpositions: Images placed directly on top of each other usually to show a visual metaphor.
Buffer shot: A bridging shot - taken with separate cameras - are two different shots which show the continuity of movement.
Superimpositions: Images placed directly on top of each other usually to show a visual metaphor.
Split screen: The division of the screen into parts which can show the viewer several images at the same time. This can be used in order to show different view points and show the excitement or terror of characters.
Stock shot: Footage already available and used for another purpose than the one for which it was originally filmed.
Cutaway/cutaway shot (CA): Usually used to show the passing of time.
Cut: Sudden change of shot from one character or location to another
Jump cut: Switch from one scene to another usually used to great a more dramatic and significant effect.
Fade: A fade the picture slowly appears from or disappears to a blank screen.
Jump cut: Switch from one scene to another usually used to great a more dramatic and significant effect.
Fade: A fade the picture slowly appears from or disappears to a blank screen.
Wipe: The effect of an image being wiped in order to change scene.
Sound
Sound:
Direct sound: Sounds which are made on the set and are kept within the film for effects of realism.
Direct sound: Sounds which are made on the set and are kept within the film for effects of realism.
Studio sound: Sound recorded in the studio to improve the quality and also to remove unwanted sounds that may have been picked up in the filming.
Music: The music within a scene helps the scene pick up a certain pace or allows the audience to understand the emotions within the scene. A slow song may show strong upsetting emotions whereas a fast piece of music is more likely to show a happy excited time.
Silence: This can also be used to have the same effect as music by creating a tense atmosphere but also the silence can cause an un-nerving scene leaving the audience clueless of what is to come next.
Sound bridge: Adding to continuity through a scene with music linking the events within a scene together.
Commentary: Usually a voice of one the characters saying something which is unheard by other characters only giving the audience direction of the events happening.
Commentary: Usually a voice of one the characters saying something which is unheard by other characters only giving the audience direction of the events happening.
Sound effects: Any sound that is not narration or music.
Dubbed dialogue: Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements.
Parallel sound: Sound which match the actions or pace on screen.
Conventions of a Thriller Genre
Narrative :
Another word for 'story', conventions and structures of stories within the media.
Most narratives are organised in ways that reflect patterns of the 'real lives'. Patterns also allow a chronological order and casually, likewise to that of our lives.
Plot narrative can be less straight forward, therefore our reading of the text beocmes more complicated.
Combinations of codes that make up a narrative, in semiotic terms they are sets of menaings with their own conventions and sets of possible combinations.
For exmaple:
- Code of dimensions - setting imagery and atmosphere
- Code of action and change - includes the plot, subplot and turning points
- Code of character - interest in the character beacuse of their relation to real people, for instance, main character called protagonist - character the audience can idnetify with. The protagonist is usually driven by at least two desires, concious and unconcious.
Narrative is from two character points of view. First being that of the protagonist, which involves the audience more in the events and creates empathy for the character. The story is occasionally told from the view of the villain also at their twisted understanding or perhaps disturbing past that has lead to the present. Although it can also be told from the point of view of an onlooker, detaching the audience from events so they perhaps are more observant.
Events in the storyline enable the film to progress, and allow the audience to second guess what will happen next. In many films this will be wrong so it adds to the suspense.
The dialogue in thrillers never contains a complete explanation of events or plot to give it pace and maintain the mystery, which is essential in building suspense.
Characters :
Character dress code: Commonly characters appear smartly and well dressed with dark colours in spy based thrillers e.g. James Bond - dress codes differ depending on the context of the plot, for example in Running Scared the protagonist Joey Gazelle is not smartly dressed, but is in casual dress in non expensive clothing. Similar to dress codes for an action thriller like Die Hard for which Bruce Willis wears casual, masculine clothing, which helps empower his characters appearance. Gangster thrillers almost always have sharp, smart suits. Whereas dress codes for slasher thrillers especially for female characters is sexy. or revealing.
Character parts: Often in thriller films, there is one character who plays the role of a helpless innocent female in need of rescue. Who does however become brave when her help is needed and often aids or saves the male hero/protagonist. There is therefore normally a male hero who battles the injustice and ultimately aims to defeat the residing evil of the situation to allow good to prosper. The residing evil in thriller films can be a vast majority of charachters from a monster to a twisted boy next door. There are however some common charchterisitcs which include solituryness, revenge, anger, or a skewed view on events, as well as distorted social skills and understanding.
Iconography :
Setting: Can be urban, isolated surbuban settings, cities or quiet country villages.
Mise-en-scene: Normally dim lighting hiding parts to a charachter, large threatening weapons for props e.g. large knives, guns etc. Camera shots are normally point of view shots, frames within frames, or close ups. Often ther is also alot of camera movement. Colours are also used to signify different emotions like red connates blood or danger, blue cold mystery or death.
Themes :
Themes are commonly based around societies current fears and worries. They may be isolation, entrapment, murder, pain or terrorism.
Another word for 'story', conventions and structures of stories within the media.
Most narratives are organised in ways that reflect patterns of the 'real lives'. Patterns also allow a chronological order and casually, likewise to that of our lives.
Plot narrative can be less straight forward, therefore our reading of the text beocmes more complicated.
Combinations of codes that make up a narrative, in semiotic terms they are sets of menaings with their own conventions and sets of possible combinations.
For exmaple:
- Code of dimensions - setting imagery and atmosphere
- Code of action and change - includes the plot, subplot and turning points
- Code of character - interest in the character beacuse of their relation to real people, for instance, main character called protagonist - character the audience can idnetify with. The protagonist is usually driven by at least two desires, concious and unconcious.
Narrative is from two character points of view. First being that of the protagonist, which involves the audience more in the events and creates empathy for the character. The story is occasionally told from the view of the villain also at their twisted understanding or perhaps disturbing past that has lead to the present. Although it can also be told from the point of view of an onlooker, detaching the audience from events so they perhaps are more observant.
Events in the storyline enable the film to progress, and allow the audience to second guess what will happen next. In many films this will be wrong so it adds to the suspense.
The dialogue in thrillers never contains a complete explanation of events or plot to give it pace and maintain the mystery, which is essential in building suspense.
Characters :
Character dress code: Commonly characters appear smartly and well dressed with dark colours in spy based thrillers e.g. James Bond - dress codes differ depending on the context of the plot, for example in Running Scared the protagonist Joey Gazelle is not smartly dressed, but is in casual dress in non expensive clothing. Similar to dress codes for an action thriller like Die Hard for which Bruce Willis wears casual, masculine clothing, which helps empower his characters appearance. Gangster thrillers almost always have sharp, smart suits. Whereas dress codes for slasher thrillers especially for female characters is sexy. or revealing.
Character parts: Often in thriller films, there is one character who plays the role of a helpless innocent female in need of rescue. Who does however become brave when her help is needed and often aids or saves the male hero/protagonist. There is therefore normally a male hero who battles the injustice and ultimately aims to defeat the residing evil of the situation to allow good to prosper. The residing evil in thriller films can be a vast majority of charachters from a monster to a twisted boy next door. There are however some common charchterisitcs which include solituryness, revenge, anger, or a skewed view on events, as well as distorted social skills and understanding.
Iconography :
Setting: Can be urban, isolated surbuban settings, cities or quiet country villages.
Mise-en-scene: Normally dim lighting hiding parts to a charachter, large threatening weapons for props e.g. large knives, guns etc. Camera shots are normally point of view shots, frames within frames, or close ups. Often ther is also alot of camera movement. Colours are also used to signify different emotions like red connates blood or danger, blue cold mystery or death.
Themes :
Themes are commonly based around societies current fears and worries. They may be isolation, entrapment, murder, pain or terrorism.
Genre
Genre is the term used for the classification of media texts into groups with similar characteristics. The characteristics include: visual elements, editing styles, actors, props, costumes, lighting, music etc.
All films carry a generic look, however, contain individual aspects and themes wwhich distinguish them from other films of a similar genre.
The theory of genre was developed in the 1960s and 1970s. Early theories came from Andre Barzin - a french cinema critique that believed that there is more to genre than just a list of characteristics. It can be argued that audiences are reassured by the concept of genre as they like the 'familiar pattersn of representation and variation'.
• Genres are a set of conventions which are recognisable, usually through iconography, familliar narrative, mise-en-scene, actors and style of representation.
• They are not static but are consistantly renegotiated between industry and new twists.
• A creative strategy used by film producers to insure audience identification with a film - a means of trying to predict risk.
• Genre is a way of working through important myths and fears by repetition, variation and resolution.
• They offer comforting reassurance in an uncomfortable world. Threat is quashed, outlaws become civilised, gangsters are punished. Genre is a way of tidying up the mess of life.
Postmodernism in Genre:
Postmodernism suggests everything is copied and now there are no longer any original ideas.
It can be argued teher will be no new genres in film. We see combinations of genres coming togeher to form new ideas made of a mixture of codes and conventions. For example: Shaun of the Dead is a Rom Com Zom.
Semantic and the Syntantic:
Semantics are the study of the menaing of different words, the English alnguage. For media, it is the study of signs of symbols and their realtionship with eachother.
Altman and Semantics:
Genre is usually defined in terms of certain signs, and even stars - according to Altman.
For example:
Science fiction - Aliens, robots, space, future, metallic colours
Horror - monsters, killers, cemetaries, extreme close ups, blood, tense music, haunted houses, vampires, bad guys
Western - cowboys, indians, saloons, black and white hats, guns, tumble weed
Gangster - guns, mobs, alocohol, drugs
Romance - soundtrack, boy meets girl
Altman and Syntax:
Syntax is the gramatical arrangement of words in n sentence - English
For media, the syntax (syntaxical) involves the plot and themes. Thus these two are from the grammar of the text (film).
For example:
Science fiction - love, good guy, bad guy, fight scenes
Western - love, good guy, bad guy, fight scenes
Gangster - love, good guy, bad guy, fight scenes
Romance - love, good guy, bad guy, fight scenes
Altman's Arguement:
The relationship between the two links to how we can understand genre evolution and hybridisation. Genres begin with the semantic, and over a period of time, evolve into 'genre' after a variety of themes, issues and plots have been explored. It can take a while. What limits this is the shifting of social ideologies that can affect thems, issues and ideas.
The difference between Altman and Traditonal Theories:
Traditional theorists look at the genre in a compartmentalised way, with no overlapping with specific ways of identifying the genre.
Hybridisation:
Hybridisation is the coming together of two or more genres. E.g. Romantic comedy or horror thriller.
Historical changes to genre through hybridisation will be dependent on the ideologies fo society at the time.
As well as hybrid genres, there are subgenres to mainstream genres. For example: slasher, psychological horror, gothic horror, zombie horrors etc.
For Science Fiction, and other genre maybe, it can be argued there is only a set of semantics, and no syntactical framework due to the high volume of sub genres, and the continuing shift in social ideology and technological advances.
Iconography:
Signs we associate with particular genres - a pattern of visual elements common to a genre.
Icons usually are found within mise-en-scene of a text. They are second-order symbols, their symbollic menaing is not necessarily a connection established within the individual text, already symbolic due to the use accross a number of similar previous texts.
Horror example - Young Girls, 'normal' setting, use of high key and low key lighting, blood, knives etc.
Icons can be - Symbolic, Iconic or Indexical.
All films carry a generic look, however, contain individual aspects and themes wwhich distinguish them from other films of a similar genre.
The theory of genre was developed in the 1960s and 1970s. Early theories came from Andre Barzin - a french cinema critique that believed that there is more to genre than just a list of characteristics. It can be argued that audiences are reassured by the concept of genre as they like the 'familiar pattersn of representation and variation'.
• Genres are a set of conventions which are recognisable, usually through iconography, familliar narrative, mise-en-scene, actors and style of representation.
• They are not static but are consistantly renegotiated between industry and new twists.
• A creative strategy used by film producers to insure audience identification with a film - a means of trying to predict risk.
• Genre is a way of working through important myths and fears by repetition, variation and resolution.
• They offer comforting reassurance in an uncomfortable world. Threat is quashed, outlaws become civilised, gangsters are punished. Genre is a way of tidying up the mess of life.
Postmodernism in Genre:
Postmodernism suggests everything is copied and now there are no longer any original ideas.
It can be argued teher will be no new genres in film. We see combinations of genres coming togeher to form new ideas made of a mixture of codes and conventions. For example: Shaun of the Dead is a Rom Com Zom.
Semantic and the Syntantic:
Semantics are the study of the menaing of different words, the English alnguage. For media, it is the study of signs of symbols and their realtionship with eachother.
Altman and Semantics:
Genre is usually defined in terms of certain signs, and even stars - according to Altman.
For example:
Science fiction - Aliens, robots, space, future, metallic colours
Horror - monsters, killers, cemetaries, extreme close ups, blood, tense music, haunted houses, vampires, bad guys
Western - cowboys, indians, saloons, black and white hats, guns, tumble weed
Gangster - guns, mobs, alocohol, drugs
Romance - soundtrack, boy meets girl
Altman and Syntax:
Syntax is the gramatical arrangement of words in n sentence - English
For media, the syntax (syntaxical) involves the plot and themes. Thus these two are from the grammar of the text (film).
For example:
Science fiction - love, good guy, bad guy, fight scenes
Western - love, good guy, bad guy, fight scenes
Gangster - love, good guy, bad guy, fight scenes
Romance - love, good guy, bad guy, fight scenes
Altman's Arguement:
The relationship between the two links to how we can understand genre evolution and hybridisation. Genres begin with the semantic, and over a period of time, evolve into 'genre' after a variety of themes, issues and plots have been explored. It can take a while. What limits this is the shifting of social ideologies that can affect thems, issues and ideas.
The difference between Altman and Traditonal Theories:
Traditional theorists look at the genre in a compartmentalised way, with no overlapping with specific ways of identifying the genre.
Hybridisation:
Hybridisation is the coming together of two or more genres. E.g. Romantic comedy or horror thriller.
Historical changes to genre through hybridisation will be dependent on the ideologies fo society at the time.
As well as hybrid genres, there are subgenres to mainstream genres. For example: slasher, psychological horror, gothic horror, zombie horrors etc.
For Science Fiction, and other genre maybe, it can be argued there is only a set of semantics, and no syntactical framework due to the high volume of sub genres, and the continuing shift in social ideology and technological advances.
Iconography:
Signs we associate with particular genres - a pattern of visual elements common to a genre.
Icons usually are found within mise-en-scene of a text. They are second-order symbols, their symbollic menaing is not necessarily a connection established within the individual text, already symbolic due to the use accross a number of similar previous texts.
Horror example - Young Girls, 'normal' setting, use of high key and low key lighting, blood, knives etc.
Icons can be - Symbolic, Iconic or Indexical.
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