Word synopsis of the whole plot – summarise you whole film what it’s about?
Chase
A film about a brutal killer who is racing against the clock to capture the only witness of a horrific killing of a helpless woman he slaughtered late one night. It’s a game of cat and mouse as lily Mathews continues to elude capture and tries to solve the dreadful crime. Lilly finds herself in a series of life changing events as the course of like take it turn for the worse. Without the support of the police to back her up, she takes the law into her own hands, risking her own life to bring this unknown killer justice. As lily gets closer to discovering the truth behind the murder killer (Robert Clarke) gets dangerously close to discovering her. Lily becomes subject to his brutality and suffers the same fate as the innocent first victim. It’s not until she is found, that the authorities realise that lily’s supposed claims of the murderer were true. Clarke Is eventually captured and put on trail for the death of two innocent young girls.
Wednesday 21 April 2010
Planning
Discussions of target audience – who do you, think the genre is aimed at? Think about age and gender. Write one hundred and fifty words which summarises your thoughts on the audience for crime films.
The target audience for crime genres usually is usually teenagers to adults but more so males are the wider viewers if crime movies. The reason I think crime movies are made for more male viewers is because they often contain several scenes of violence and explosive scenes. The typical stereotype movie for a female viewer is often love story films and romance. Women are more unlikely to view films at the Cinerama with scenes containing violence, bloody scenes and crime. There is too much violence in a crime movie for young children to witness, also a lot of elderly people wouldn’t like to view at crime at cinemas due to death and violent scenes. Therefore I thin k that the main audience for a crime film is mainly aimed towards teenagers and the older generation, more so males.
Discussions of target audience – who do you, think the genre is aimed at? Think about age and gender. Write one hundred and fifty words which summarises your thoughts on the audience for crime films.
The target audience for crime genres usually is usually teenagers to adults but more so males are the wider viewers if crime movies. The reason I think crime movies are made for more male viewers is because they often contain several scenes of violence and explosive scenes. The typical stereotype movie for a female viewer is often love story films and romance. Women are more unlikely to view films at the Cinerama with scenes containing violence, bloody scenes and crime. There is too much violence in a crime movie for young children to witness, also a lot of elderly people wouldn’t like to view at crime at cinemas due to death and violent scenes. Therefore I thin k that the main audience for a crime film is mainly aimed towards teenagers and the older generation, more so males.
Monday 19 April 2010
The gun indicates violence, but the two leading actors have a history of comedy movies therefore this would indicate to the audience that this will be a crime comedy movie. The joke at the top ‘big cops, small town, moderate violence’ also indicates that this is a crime comedy movie. The crime comedy movie views the typical fat cop which indicates clumsiness and more comedy humour. The background indicates that this film is set in a city. This may be acuity where a lot of trouble is caused and many people live. This may be the base of many different stereotypes.
The images of the gun shows that this is a code of a crime film and it’s not something you would see in a comedy film. The fact that they are pointing at beach other indicates violence. The cover shows that the film is set in a city, therefore a place which is more likely to witness crime and have guns. The bullet holes may symbolise death and more violence. The blue flames indicate explosions leading towards more violence.
History of crime films
The crime film has none—or rather, it has so many that it is impossible to give a straightforward account of the genre's development without getting lost in innumerable byways as different crime formulas arise, evolve, compete, mutate, and cross-pollinate. Crime films arise from a radical ambivalence toward the romance of crime. That romance gave heroic detectives like Sherlock Holmes—burlesqued onscreen as early as 1900 or 1903 (the exact date is uncertain), in the thirty-second Sherlock Holmes Baffled —a matchless opportunity to make the life of the mind melodramatic and glamorous, and it made silent criminals like Phantoms (Phantoms and four sequels, France, 1913–1914) and Bull Weed (Underworld, 1927) both villain and hero. The arrival of synchronized sound in 1927 and the Great Depression in 1929 created an enormous appetite for escapist entertainment and a form of mass entertainment, the talkies, capable of reaching even the simplest audiences, including the millions of lower-class immigrants who had flocked to America. The great gangster films of the 1930s and the long series of detective films that flourished alongside them, their detectives now increasingly ethnic ( Charlie Chan Carries On , 1931, and forty-one sequels; Think Fast, Mr. Moto , 1937, and seven sequels; Mr. Wong, Detective , 1938, and four sequels), were nominally based on novels. But crime films did not seek anything like the literary cachet of establishment culture until the rise of film noir —atmospheric tales of heroes most often doomed by passion—named and analyzed by French journalists but produced in America throughout the decade beginning in 1944.
Post-war crime films, whatever formula they adopted, were shaped in America by cultural anxiety about the nuclear bomb (Kiss Me Deadly, 1955) and the nuclear family (The Desperate Hours, 1955). The decline of film noir after Touch of Evil (1958) was offset by a notable series of crime comedies at England's Ealing Studios (such as The Lavender Hill Mob, 1951) and a masterly series of psychological thrillers directed by Alfred Hitchcock (Strangers on a Train, 1951; Rear Window, 1954; Vertigo, 1958; North by Northwest, 1959; Psycho, 1960). The 1960s was the decade of the international spy hero James Bond, who headlined history's most lucrative movie franchise in a long series beginning with Dr. No (1962). But it was left to a quartet of ironic valentines to retro genres, Bonnie and Clyde (1967), The Godfather (1972), The Godfather: Part II (1974), and Chinatown (1974), to reinvent the crime film for a hip young audience. The replacement of the 1930 Production Code by the 1969 ratings system allowed niche films to be successfully marketed even if they were as graphically violent as Henry: Portrait of a Serial Killer (1990) or as bleak in their view of American politics as The Parallax View (1974) or JFK (1991). The closing years of the century, marked by a heightened public fear of crime, a fascination with the public-justice system, and a deep ambivalence toward lawyers, allowed a thousand poisoned flowers to bloom around the globe, from the sociological sweep of the British television miniseries Traffic (1989), remade and softened for American audiences as Traffic (2000), to the ritualistic Hong Kong crime films of John Woo ( Die due shooing Xing [The Killer], 1989) and Johnny To ( Dung fang seam hap [The Heroic Trio], 1993) and their American progeny ( Pulp Fiction , 1994), to the steamy eroticism of the all-American Basic Instinct (1992) and its direct-to-video cousins. Perhaps the most distinctive new strain in the genre has been the deadpan crime comedy of Joel (b. 1954) and Ethan (b. 1957) Cone, whose films, from Blood Simple (1985) to The Ladykillers (2004), left some viewers laughing and others bewildered or disgusted.
The crime film has none—or rather, it has so many that it is impossible to give a straightforward account of the genre's development without getting lost in innumerable byways as different crime formulas arise, evolve, compete, mutate, and cross-pollinate. Crime films arise from a radical ambivalence toward the romance of crime. That romance gave heroic detectives like Sherlock Holmes—burlesqued onscreen as early as 1900 or 1903 (the exact date is uncertain), in the thirty-second Sherlock Holmes Baffled —a matchless opportunity to make the life of the mind melodramatic and glamorous, and it made silent criminals like Phantoms (Phantoms and four sequels, France, 1913–1914) and Bull Weed (Underworld, 1927) both villain and hero. The arrival of synchronized sound in 1927 and the Great Depression in 1929 created an enormous appetite for escapist entertainment and a form of mass entertainment, the talkies, capable of reaching even the simplest audiences, including the millions of lower-class immigrants who had flocked to America. The great gangster films of the 1930s and the long series of detective films that flourished alongside them, their detectives now increasingly ethnic ( Charlie Chan Carries On , 1931, and forty-one sequels; Think Fast, Mr. Moto , 1937, and seven sequels; Mr. Wong, Detective , 1938, and four sequels), were nominally based on novels. But crime films did not seek anything like the literary cachet of establishment culture until the rise of film noir —atmospheric tales of heroes most often doomed by passion—named and analyzed by French journalists but produced in America throughout the decade beginning in 1944.
Post-war crime films, whatever formula they adopted, were shaped in America by cultural anxiety about the nuclear bomb (Kiss Me Deadly, 1955) and the nuclear family (The Desperate Hours, 1955). The decline of film noir after Touch of Evil (1958) was offset by a notable series of crime comedies at England's Ealing Studios (such as The Lavender Hill Mob, 1951) and a masterly series of psychological thrillers directed by Alfred Hitchcock (Strangers on a Train, 1951; Rear Window, 1954; Vertigo, 1958; North by Northwest, 1959; Psycho, 1960). The 1960s was the decade of the international spy hero James Bond, who headlined history's most lucrative movie franchise in a long series beginning with Dr. No (1962). But it was left to a quartet of ironic valentines to retro genres, Bonnie and Clyde (1967), The Godfather (1972), The Godfather: Part II (1974), and Chinatown (1974), to reinvent the crime film for a hip young audience. The replacement of the 1930 Production Code by the 1969 ratings system allowed niche films to be successfully marketed even if they were as graphically violent as Henry: Portrait of a Serial Killer (1990) or as bleak in their view of American politics as The Parallax View (1974) or JFK (1991). The closing years of the century, marked by a heightened public fear of crime, a fascination with the public-justice system, and a deep ambivalence toward lawyers, allowed a thousand poisoned flowers to bloom around the globe, from the sociological sweep of the British television miniseries Traffic (1989), remade and softened for American audiences as Traffic (2000), to the ritualistic Hong Kong crime films of John Woo ( Die due shooing Xing [The Killer], 1989) and Johnny To ( Dung fang seam hap [The Heroic Trio], 1993) and their American progeny ( Pulp Fiction , 1994), to the steamy eroticism of the all-American Basic Instinct (1992) and its direct-to-video cousins. Perhaps the most distinctive new strain in the genre has been the deadpan crime comedy of Joel (b. 1954) and Ethan (b. 1957) Cone, whose films, from Blood Simple (1985) to The Ladykillers (2004), left some viewers laughing and others bewildered or disgusted.
Conventions of a crime film (mind map)
In a crime movie the Protagonist (good guy) will usually pay a big price (thriller).
In a lot of crime movies the sound and editing play a big part in the film, as this can be done with quick cuts and camera angle changes, music that gives tension and builds up in the film when appropriate.
Again Lighting, especially the use of shadow to lead up to action adds a good setting to a crime film. Mirrors are also conventions of crime/thriller movies, such as looking up and seeing something behind you. It usually sees the good guy take on the bad guy. Usually have the police are the good side.
Guns and other high tech weaponry are commonly used. Also sources such a knifes, and general harmful weapons
They allow audiences to indulge two logically incompatible desires: the desire to enter a criminal world most of them would take pains to avoid in real life, and the desire to walk away from that world with none of its traumatic or fatal consequences. Whether they focus on criminals, convicts, avengers, detectives, police officers, attorneys, or victims, crime films depend on a nearly universal fear of crime and an equally strong attraction to the criminal world. They play on a powerful desire for a modern-day version of the catharsis that Aristotle contended should evoke and purge pity and terror. Crime films from every nation help establish that nation's identity even as criminals seem to be trying their hardest to undermine it.
In a crime movie the Protagonist (good guy) will usually pay a big price (thriller).
In a lot of crime movies the sound and editing play a big part in the film, as this can be done with quick cuts and camera angle changes, music that gives tension and builds up in the film when appropriate.
Again Lighting, especially the use of shadow to lead up to action adds a good setting to a crime film. Mirrors are also conventions of crime/thriller movies, such as looking up and seeing something behind you. It usually sees the good guy take on the bad guy. Usually have the police are the good side.
Guns and other high tech weaponry are commonly used. Also sources such a knifes, and general harmful weapons
They allow audiences to indulge two logically incompatible desires: the desire to enter a criminal world most of them would take pains to avoid in real life, and the desire to walk away from that world with none of its traumatic or fatal consequences. Whether they focus on criminals, convicts, avengers, detectives, police officers, attorneys, or victims, crime films depend on a nearly universal fear of crime and an equally strong attraction to the criminal world. They play on a powerful desire for a modern-day version of the catharsis that Aristotle contended should evoke and purge pity and terror. Crime films from every nation help establish that nation's identity even as criminals seem to be trying their hardest to undermine it.
Target Audience for a crime film
I think that the target audience is male teenager to adult age because males usually enjoy watching movies that have crime, murder, explosions and violence. But woman more like to watch movies that have love stories and calmer movies than crime films. This is why I think males are more likely to watch a crime movie because there is a lot more action and a lot to keep there eyes busy on the screen. I don’t think young children should watch crime movies because they would get scared and all the violence would upset them, same as for most of the elderly. So I think that a teenage to adult male is perfect for a crime movie.
Carry out a detailed textual analysis of at least three films in the genre, discuss style and conventions. Also discuss the opening scene.
Seven
Seven is a crime film in which is based on two detectives having to work out a series of murders. They are challenged to work out who the murder is given the fact that he continues to kill while leaving hint messages at each murder scene as to who he may be. This all then leads to the bad guy (the murder) to then be the seventh sin to be killed at the end. The codes and conventions used in this film are typical for a crime film. There is a red herring where one of the victims is used as one of the culprits due to but his fact that the killer uses his fingerprints. The bad guy is control whereas the police think they are but actually aren’t. The hero has to pay a price at the end as the killer kills the wife. This shows that in this typical crime movie the bad guy wins. The opening scene consists of credits and a number of captured shots which indicate that film is a crime film. The whole setting of the film is created by the tense music within the opening sequence.
Phone booth
A story leading a man trapped in a phone booth with his life on the line between confronting his affair with another woman. He is trapped in a phone booth while being threatened by the antagonist who will shoot him if her try’s to escape from the booth. This is a typical crime film given the same snare that the bad guy wins in the end. The common weapon used within this film phone booth and the guns.
Hot fuzz
Hot fuzz is a crime comedy. It overloads a series of grotesque murders. Jealous colleagues conspire to get a top London cop transferred to a small town and paired with a witless new partner. On the beat, the pair stumbles upon a series of suspicious accidents and events. The common weapons used in this film. The comedy scenes in the film are shown by the two actors ‘Simon peg’ and ‘nick frost’
I think that the target audience is male teenager to adult age because males usually enjoy watching movies that have crime, murder, explosions and violence. But woman more like to watch movies that have love stories and calmer movies than crime films. This is why I think males are more likely to watch a crime movie because there is a lot more action and a lot to keep there eyes busy on the screen. I don’t think young children should watch crime movies because they would get scared and all the violence would upset them, same as for most of the elderly. So I think that a teenage to adult male is perfect for a crime movie.
Carry out a detailed textual analysis of at least three films in the genre, discuss style and conventions. Also discuss the opening scene.
Seven
Seven is a crime film in which is based on two detectives having to work out a series of murders. They are challenged to work out who the murder is given the fact that he continues to kill while leaving hint messages at each murder scene as to who he may be. This all then leads to the bad guy (the murder) to then be the seventh sin to be killed at the end. The codes and conventions used in this film are typical for a crime film. There is a red herring where one of the victims is used as one of the culprits due to but his fact that the killer uses his fingerprints. The bad guy is control whereas the police think they are but actually aren’t. The hero has to pay a price at the end as the killer kills the wife. This shows that in this typical crime movie the bad guy wins. The opening scene consists of credits and a number of captured shots which indicate that film is a crime film. The whole setting of the film is created by the tense music within the opening sequence.
Phone booth
A story leading a man trapped in a phone booth with his life on the line between confronting his affair with another woman. He is trapped in a phone booth while being threatened by the antagonist who will shoot him if her try’s to escape from the booth. This is a typical crime film given the same snare that the bad guy wins in the end. The common weapon used within this film phone booth and the guns.
Hot fuzz
Hot fuzz is a crime comedy. It overloads a series of grotesque murders. Jealous colleagues conspire to get a top London cop transferred to a small town and paired with a witless new partner. On the beat, the pair stumbles upon a series of suspicious accidents and events. The common weapons used in this film. The comedy scenes in the film are shown by the two actors ‘Simon peg’ and ‘nick frost’
A 15 film Is a film which is aimed at the age group of 15 years and over. It is illegal to watch a 15 rated film if you are under the age of 15. They can involve scenes which may portray discrimination. The work as a whole must not endorse discriminatory language or behaviour. It may hold scenes of drug use. Within a film this must not encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable. They can include bad language; frequent use of bad language (for example fuck) may be acceptable if justified by the context. Aggressive or repeated use of certain strong language may not be acceptable. Sexual scenes may be allowed but not in a strong content. 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.
An 18 certificate film is a film aimed towards the age group of 18 years and over basically adults. They can contain strong blood scenes, strong violence, and sexual violence. This is the reason a film is rated 18. 18 films often contain material which is in breach of the criminal law, or has been created through the commission of a criminal offence. The language is used beyond the needed use. Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault.
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.
An 18 certificate film is a film aimed towards the age group of 18 years and over basically adults. They can contain strong blood scenes, strong violence, and sexual violence. This is the reason a film is rated 18. 18 films often contain material which is in breach of the criminal law, or has been created through the commission of a criminal offence. The language is used beyond the needed use. Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault.
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