In this week's readings, King (2005) looks at the similarities and differences between real life spectacles and Hollywood and expresses his concern that real events have been altered by the media to be more fictionlike and cinematic. "Elements of similarity between the real and fictional spectacles seemed to have caused a great discomfort for reasons that are not hard to understand. The Hollywood versions offer enjoyable fantasies of destruction - enjoyable precisely because they can be safely induldged in the arena of fantasy"(p49)
I can agree that sometimes real life events such as the example given (September 11th) can be similar in the way they are projected in fictional movies. However, I think most people are capable of distinguishing real life events from a Hollywood movie. Many movies are inspired by, and try to replicate reallife events so if done well, obviously they are going to share some similarites. Hollywood is not to blame if people feel uncomfortable because cinema is too similar to the real events, they should probably be praised in that they were able to create a text that is so realistic.
References:
King, G., 2005, ‘”Just Like a Movie”?: 9/11 and Hollywood Spectacle’ in The Spectacle of the Real: from Hollywood to Reality TV and Beyond, ed. Geoff King, Intellect Books, Bristol, pp. 47-57.
Thursday, March 31, 2011
Tuesday, March 22, 2011
Week 4
I remember sitting in year 8 English class where we were taught the "correct" structure of how an essay should pan out, what to write, what not to write and the difference between an A+essay and a B. From the introduction, the body and the conclusion, topic sentences and the use of relevant quotes and how to analyse these quotes within the essay, there wasn't much left for the mind to wander. So when Game and Metcalfe(1996, p.87) say "most forms of academic writing repress any notion of dreaming," you can guess that I relate just a bit. Like putting boundaries on the imagination, dreaming or art, putting boundaries and giving rules in regards to the way in which somebody should write, inevitably detracts (atleast in my case) from the enjoyment one gets out of an activity which incorporates all of these things.
Game and Metcalfe make a point that writing helps to develops one's ideas, "thinking with then pen" they call it (p.95). In the debate team in highschool, I'd often have to argue topic which I either didn't agree with, or hadn't really thought about. Through configuring an argument I would sometimes find myself believing the argument I had written, sometimes changing my opinion on the topic and at the very least challenging my prior attitudes and beliefs. It is through writing that people can challenge and develop their own ideas.
BIBLIOGRAPHY
Game, A. & Metcalfe, A. , 1996, Writing in Passionate Sociology, Sage, London, pp 87-105
Game and Metcalfe make a point that writing helps to develops one's ideas, "thinking with then pen" they call it (p.95). In the debate team in highschool, I'd often have to argue topic which I either didn't agree with, or hadn't really thought about. Through configuring an argument I would sometimes find myself believing the argument I had written, sometimes changing my opinion on the topic and at the very least challenging my prior attitudes and beliefs. It is through writing that people can challenge and develop their own ideas.
BIBLIOGRAPHY
Game, A. & Metcalfe, A. , 1996, Writing in Passionate Sociology, Sage, London, pp 87-105
Week 3
It is not only the events that occur or the actual content within a text which give it meaning, it is also the sequel in which these events occur. 'Screen Narratives: Traditions and Trends' in Screen Media: Analysing Film and Television by Stadler & McWilliam explores and compares the different narrative structures (classical narration, fragmented narratives, multi-strand narratives, etc) and how they are used to engage an audience.
Before reading the chapter I never really made a connection between my own enjoyment of a film and the order in which it's narrated but in reflection, I have always been drawn towards the puzzle like nature of multiform narratives like The Butterfly Effect and Crash and retrospective stories (e.g. American Beauty, Irreversible and Memento) rather than the classic Hollywood 'Three Act Structure' (beginning, middle and end in that order). There has been an increase in demand and appraisal for multiform narratives and as such, more and more blockbusters have been filmed in this manner. As time has evolved, so have people's tastes and in turn the use of more complex plots.
Narration alone does not determine the quality or level of enjoyment an audience will experience from a film, but it definitely does play an important role in the end result of a text. Like I am drawn to plots narrated in a particular way, I am sure other people have their own preferences and film producers can use these preferences, to target specific audiences. It's an everchanging world and it's difficult to keep up with something that is as versatile as what people find aesthetically pleasing. With that said, a good film is a good film and will stand the test of time. All in all, I dont believe there is a correct formula or narration conducive to a successful film.
BIBLIOGRAPHY
Stadler, J. & McWilliam, K., 2009, ‘Screen Narratives: Traditions and Trends’ inScreen Media: Analysing Film and Television, Allen & Unwin, Crows Nest, pp. 155-182
Before reading the chapter I never really made a connection between my own enjoyment of a film and the order in which it's narrated but in reflection, I have always been drawn towards the puzzle like nature of multiform narratives like The Butterfly Effect and Crash and retrospective stories (e.g. American Beauty, Irreversible and Memento) rather than the classic Hollywood 'Three Act Structure' (beginning, middle and end in that order). There has been an increase in demand and appraisal for multiform narratives and as such, more and more blockbusters have been filmed in this manner. As time has evolved, so have people's tastes and in turn the use of more complex plots.
Narration alone does not determine the quality or level of enjoyment an audience will experience from a film, but it definitely does play an important role in the end result of a text. Like I am drawn to plots narrated in a particular way, I am sure other people have their own preferences and film producers can use these preferences, to target specific audiences. It's an everchanging world and it's difficult to keep up with something that is as versatile as what people find aesthetically pleasing. With that said, a good film is a good film and will stand the test of time. All in all, I dont believe there is a correct formula or narration conducive to a successful film.
BIBLIOGRAPHY
Stadler, J. & McWilliam, K., 2009, ‘Screen Narratives: Traditions and Trends’ inScreen Media: Analysing Film and Television, Allen & Unwin, Crows Nest, pp. 155-182
Thursday, March 17, 2011
Week 2
Shaped by a combination of life experiences and genetics, nature and nurture, each one of us is different from the next person. Because of this, we each perceive the world through different spectacles, we all see the media from our own standpoint. Lacey acknowledges that although the media may manipulate (using colour, lighting, music and many other tools) to evoke a particular response from viewers, it is inevitable that different people will interpret the same text in vastly different ways.
To give an example, Catfish is a documentary about a New York photographer (Nev) and his close relationships with several different people over Facebook. Several different people who infact, all turn out to be fake facebook identities created by Angela Wesselman. From reading reviews of the documentary online and speaking with friends, it is clear that most people sympathise with Nev who has invested his time and heart into relationships with people who essentially don't exist. Some people however, see Angela as a victim who has been exploited. I can say with fair certainty, Nev and his brother (who created the documentary) did not intend for the audience to view them as exploitative or Angela as an exploited victim. Again, people will take from it what they will and what the media's intended reaction will not always play out.
I guess that's the beauty of all art, the media and life in general. It is there to be interpreted, critiqued and scrutinised. The media can try to manipulate and urge the viewer to feel a particular way but their techniques can only go so far. Once a text is in view to an audience, only the individual viewer can determine the text's fate in their own eyes.
(Lacey, N., 2009, ‘Introduction to Textual Analysis’ (extract) in Image and Representation: key concepts in media studies, 2nd Edition, MacMillan, London, pp 6-33. )
To give an example, Catfish is a documentary about a New York photographer (Nev) and his close relationships with several different people over Facebook. Several different people who infact, all turn out to be fake facebook identities created by Angela Wesselman. From reading reviews of the documentary online and speaking with friends, it is clear that most people sympathise with Nev who has invested his time and heart into relationships with people who essentially don't exist. Some people however, see Angela as a victim who has been exploited. I can say with fair certainty, Nev and his brother (who created the documentary) did not intend for the audience to view them as exploitative or Angela as an exploited victim. Again, people will take from it what they will and what the media's intended reaction will not always play out.
I guess that's the beauty of all art, the media and life in general. It is there to be interpreted, critiqued and scrutinised. The media can try to manipulate and urge the viewer to feel a particular way but their techniques can only go so far. Once a text is in view to an audience, only the individual viewer can determine the text's fate in their own eyes.
(Lacey, N., 2009, ‘Introduction to Textual Analysis’ (extract) in Image and Representation: key concepts in media studies, 2nd Edition, MacMillan, London, pp 6-33. )
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