In class I have researched a few theorist who have their own views on genre, films, characters and plot. These theorist include Rick Altman, Steve Neale, Robert Stam, Blumler and Katz, Tsvetan Todorov, Roland Barthe and Claude Levi-Strauss.
The first theorist I looked at was Rick Altman, who believes that you can't determine a films genre by the semantic elements such as props, costume, locations, music and colour, you have to take into account the syntactic elements which are the emotional themes e.g. love. The two films I looked at that are very similar in terms of the semantic elements were 'Hot Fuss' and 'Die Hard'.
Die Hard
'Die Hard' is about a man who has to stop a group of terrorists from blowing up an office block where his wife and a couple office workers are being held hostage. This film is marketed as an action film.
Semantic Elements: guns, explosions, chase scenes, a bad guy, a good guy, dangerous locations, intense and fast paced music, colours such as red, orange, yellow, white and black, involves policemen, a love interest, terrorists, blood and action.
Syntatic Elements: love, hate, anger and patriarchal
Hot Fuzz
'Hot Fuzz' is about a skilled policeman who is sent to a town where crime is very rare. Soon crimes start happening that no one believes so Nick and Danny investigate by themselves. This film is marketed as a comedy film.
Semantic Elements: guns, exposions, chase scenes, a group of bad guys, dangerous locations, intense and fast paced music, comedic fights, colours such as red, orange, friendship, yellow, black and white, policemen and action.
Syntatic Elements: humor, cool and love(friendship).
Even though the semantic elements are very similar, the syntactic elements are very different so in terms of Altman's theory, the films should be catogrised in different genres. The storyline, characters and dialogue are all different too so this in another reason why they are in different genres.
Semantic and syntatic elements are used in opening sequences to establish the genre straight away.
Steve Neale argues that film goes through a cycle and changes throughout its lifespan. His theoretical cycle is:
- Form finds itself
- Classic (Dracula)
- Pushes Boundaries (Psycho)
- Parody (Scary Movie Series)
- Homage (Scream)
He believes that that throughout a genres lifespan it changes because audiences get bored and want new and exciting films. For example the genre Horror has changed dramatically. Dracula was released in 1931 and was classified as 'A' which in nowadays is translated as a PG even though it was classed as a 'horror'. Psycho pushed the boundaries of horror films as in the first 5 minutes of the film a very famous actress was killed in a gruesome way that many people complained about as being too violent. After this many films followed the violent nature and by each year films are being made with gruesome deaths, deadly killers and frightening plot lines all because of Alfred Hitchcock film 'Psycho'.
For example: The opening sequence for Dracula (1931) is very different to the opening sequence for Sinister (2012). This proves that Steve Neales theory is correct and that films do go through a cycle to adapt to a new audience. The opening sequence to 'Dracula' includes a lot of credits including the title of the films, the actors, the director, producer and many more. Whereas, 'Sinister' starts off with footage which confuses the audience but is also very disturbing. The only credit used is the title of the film.
The 'Scary Movie' has many genres within it, including horror, comedy, thriller and mystery. This film is very hard to classify into one genre as the story line is based on famous horror films but it takes the mick out of them using comedy.
Tsvetan Todorov believes that every film is structured in a very specific way:
- Equilibrium - where everything is equal
- Disruption - something happens to disrupt the equality
- Resolution - the disruption gets fixed
- New equilibrium - goes back to normal.
Many films like 'Frozen', 'Toy Story' and 'Indiana Jones' follow Todorovs narrative structure whereas some do not. 'Final Destination' does not follow Todorovs narrative structure because it ends on a massive disruption which is done to make the audience want to watch the sequel.
Vladimir Propp thinks that every film contains different character types which include:
- Hero (Protagonist)
- Villain (Antagonist)
- Princess/Prize
- Dispatcher
- Helper
- Doner
- False Hero
'Frozen's' Character Types:
(Left to Right)
Elsa: False villain and princess
Hans: False hero, villain and dispatcher
Anna: Hero and princess
Olaf: Helper
Sven: Helper
Kristoff: Helper
Hanz might be said to be a false hero from Propp's character type theory because he acts like he's the hero and that he is helping Anna but he is actually the villain.
Roland Barthe believes that directors plant enigma codes in films to engage the audience. An enigma code is an unanswered or unexplained part in the film ,normally at the start of a film, which means the audience will have to watch the whole film to get it answered. For example, in a thriller film, the enigma codes might be ''why does the main character want that key?'' or ''who killed Katie?''.