Sunday, 24 February 2013
BBFC Ratings
BBFC Rating:
We have decided that our whole film would be a 15 because we are going to be showing a bit of violence and behaviour not acceptable for children to see or understand. We think teenagers are more responsible and do understand behaviour like in our film in not acceptable in real life and are aware of the consequences. As our film is a rated 15, we are following the guidelines set out by the BBFC:
Discrimination
The
work as a whole must not endorse discriminatory
language
or behaviour.
Drugs
Drug
taking may be shown but the film as a whole must not
promote
or encourage drug misuse. The misuse of easily
accessible
and highly dangerous substances (for example,
aerosols
or solvents) is unlikely to be acceptable.
Horror
Strong
threat and menace are permitted unless sadistic
or
sexualised.
Imitable behaviour
Dangerous
behaviour (for example, hanging, suicide and
self-harming)
should not dwell on detail which could be
copied.
Easily accessible weapons should not be glamorised.
Language
There
may be frequent use of strong language (for example,
‘fuck’).
The strongest terms (for example, ‘cunt’) may be
acceptable
if justified by the context. Aggressive or repeated
use of
the strongest language is unlikely to be acceptable.
Nudity
Nudity
may be allowed in a sexual context but without
strong
detail. There are no constraints on nudity in a
non-sexual
or educational context.
Sex
Sexual
activity may be portrayed without strong detail.
There
may be strong verbal references to sexual behaviour,
but the
strongest references are unlikely to be acceptable
unless
justified by context. Works whose primary purpose is
sexual
arousal or stimulation are unlikely to be acceptable.
Theme
No theme
is prohibited, provided the treatment is
appropriate
for 15 year olds.
Violence
Violence
may be strong but should not dwell on the infliction
of pain
or injury. The strongest gory images are unlikely to
be
acceptable. Strong sadistic or sexualised violence is also
unlikely
to be acceptable.
There
may be detailed verbal references to sexual violence
but any
portrayal of sexual violence must be discreet and
have a
strong contextual justification.
Conventions of Gangster Subgenres
Conventions of Gangster Subgenres
The Gangster is really a subgenre of the Crime genre, however now that it has become increasingly more popular, it now has subgenres of its own, which are:
Film Noir: a distinct branch of crime/gangster sagas from the 1930's. They are normally black and white films featuring a cynical loner hero and a femme fatale in a big seedy city. The mood is normally features guilt, evil and paranoia.
American style-gangster films: Where the characters take the law into their own hands by dealing with someone or something themselves.
Detective and Mystery: Films that focus on an unsolved crime, where the main character tries to solve the crime, usually of the murder or disapperance of a fellow character. The main character normally meets a girl who helps him presue the criminal or solve the crime.
Road Films: All features have one long episodic journey on the road to either escape or reach some goal.
Suspense - Thriller: Known to promote intense excitement, suspense and anticipation, also inculde anxiety, tension, uncertainty and expectation.
British style- gangster films: The only real difference between this and American style is that this one has more artificial lighting and less sound apart from spoken diagetic dialogue.
Narrative
NARRATIVE
Narrative: Film narrative is the depiction in the medium of film of a series of events in cause and effect relationship occurring in time. Aka what happens in a film.
Narration: How the narrative is presented to the audience.
There is a basic structure of narrative, its called a Three-Act Structure and it consists of 4 stages - The Four- Part structure, which can be seen in basically every film seen today.
1. Exposition - Introduces characters and dramatic action. It also establishes the setting which leads to a turning point.
2. Complicating Action - Protagonist faces obsticals in pursuit of goals.
3. Climax and Resolution - Protagonist confronts opposition, question of whether the goal will be achieved or not.
4. Epilogue/Coda
As i said before nearly every film has this structure, though now writers are updating the structure as the viewers expect more interesting and complex narratives so they use subversion, which breaks up the chronological order of the film, for example: Flashbacks, Flashforwards and Parallel storylines.
NARRATIVE THEORIES:
Propp's Theory: He proposed that it was possible to classify the characters and their actions in clearly defined roles and functions. The model is useful though it highlights the similarities between really different stories.
Todorov's Theory: Suggested that most narratives start with a state of equilibrium where life is 'normal'. The equilibrium is then disrupted and the remainder of the film sees the protagonist return to a state of equlibrium. This model can be applied to a range of films.
Barthes' Codes: He said that narrative works with 5 different codes which activate the reader to make sence of it.
| Enigma Code: |  Something the audience does not know. A narrative device that teases the audience by presenting a puzzle or riddle to be solved. Working to delay the story's ending. |
| Action Code: | Something the audience knows and don't need explaining. (E.g. Packing a suitcase in a hurry connotes running away). A narrative device by which a resolution is produced through an action. |
| Semic Code: | Using hints (E.g. Mansion, Sports car, Butler, Posh classical music) to connote certain concepts such as wealth. (denotation) |
Symbolic Code: | A structure which organizes meaning such as through the use of binary opposites. (connotation) |
Cultural/Referential Code: | Looks at the audiences wider cultural knowledge (they can recognize being part of a culture), morality and ideology. |
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