10 Media Keywords

1) Auteurism - Alfonso Cuaron, whilst relatively new to the Hollywood business, is fast establishing his own distinct style. His influence can be seen throughout Children Of Men, most notably in the documentary-style lengthy shots not typical of a science fiction film.

2) Dystopia - Many science fiction films, including Children Of Men, employ a dystopia theme in their narrative. Unlike many other films however, Children Of Men centres its dystopian society around issues that are present in today's world affairs as opposed to 'alien invasions and robots malfunctioning'.

3) Guardian - Peter Bradshaw's review of the film covers many aspects I can use in arguing Children Of Men is not a typical science fiction film.

4) Cinema Verite - The lengthy shots used in the film undoubtedly incorporate a cinema verite style technique, at times making the film look almost like a documentary.

5) Hybrid - With so many different techniques being used throughout the film, it can be argued that Children Of Men is a hybrid genre rather than just science-fiction. This in turn would account for the documentary style elements felt in the lengthy shots.

6) Patriarchal Society - Despite being set in 2027, a patriarchal society still seems to exist. This is emphasised by the fact that the protagonist and hero of the film is a male on a misson to bring a female to safety.

7) Levi Strauss, Claude - Theory can be applied to the conflict between the Government and the terrorists, although what side (good or bad) they represent is open to debate.

8) Realism - No robots, no aliens, just a lot of humans at conflict with each other in the future - about as real as it gets.

9) Science fiction - The film doesn't rely on advanced technology or special effects to enthrice it's audience. In addition, there's no robots, aliens or superhumans and thus typical characteristcs of the genre are not used by Cuaron.

10) Academy Awards - The films cinematography and editing (key in arguing Children Of Men is not a typical science fiction film) were nominated for awards.

Blog Buddy Meeting Brief Summary

Apart from looking at theorists (which of course is vital), me and Deep are still trying to establish what else we can look at together that will be of any relevance to both our independent studies. Until then, we have decided to research Rick Altman (who is an O.G when it comes to analysing genre) in detail. His book 'Film/Genre' studies the various complexities associated with defining what genre really is and covers how both historical and present events (SHEP) can influence or even change common and stereoptypical characteristics of an individual genre.

Blog Buddies

The first of my two 'blog buddies' is Deep. It's logical for me to have chosen him as whilst I'm studying science-fiction and he's studying film-noir, we are both examining whether our chosen text conforms or subverts to the stereotypes associated with our respective genres. Hence, our research will be similar, particularly when it comes to looking at books and theorists.

Book Research ..Finally.

1) Langford, Barry (2005) : Film Genre - Hollywood and beyond. Edinburgh: Edinburgh University Press.

• This book is useful to my study as it discusses a range of different genres and covers what is considered to be 'typical' features of the science-fiction genre. In doing so, Langford also analyses various sci-films which I can compare and contrast with my text.
• Quote: 'If anything the [sci-fi] genre's elusive semantic core - or the closest thing to it - consists in its enduring focus through serial visions of possible futures on the transformative, sometimes invasive impact of advanced technology.'

2) Altman, Rick (1999) : Film/Genre. London: British Film Institute.

• This book is useful to my study as rather than just focusing a majority of it's study on specific genres, the book coveres genre as a whole and in doing so offers complex suggestions about what genre really is and the various different conventions associated with it. Many relevant theorists are also covered in detail.
• Quote: 'Each film is imaged as an example of the overall genre, replicating the generic prototype in all basic characteristics.'

3) Neale, Steve (2002) : Genre and Contemporary Hollywood. London: British Film Institute.

• This book is useful to my study as it discusses the notion of hybrid genre (something that I am looking to argue Children Of Men is) in detail. Neale also analyses past sci-fi texts considered to be 'typical' of the genre. Relevant theorists are also mentioned.
• Quote: 'Genre can be approached from the point of view of the industry and its infastructure, from the point of view of their aesthetic traditions, from the point of view of the broader socio-cultural enviroment upon which they draw and into which they feed, and from the point of view audience understanding and response.'

4) Cook, Pam & Bernink, Mieke (1999) : The Cinema Book. London: British Film Institute.

• This book is useful to my study as it attempts to connect film institutions, camerawork (a major factor in my analysis of Children Of Men as a typical sci-fi film), features and content with genre. That said, it covers everything really.
• Quote: 'Some [sci-fi films] are normative and exclusive, designed to distinguish between 'good' and 'bad' science fiction or to promote a particular form or tend.'

5) Maltby, Richard (2003) : Hollywood Cinema. UK: Blackwell Publishing Ltd.

• This book is useful to my study as it has a very detailed and analytical chapter on genre. It addresses many critics whom I can mention in my study in addition to theorists.
• Quote: 'Genres are flexible, subject to a constant process of change and adaptation. Generic boundaries can never be rigidly defined, and all generic groupings are susceptible to extensive subdivision.'

6) Gill, Branston & Stafford, Roy (2003) : The Media Student's Book. UK: Routledge.

• This book is useful to my study as it offers more on the wider context aspect of my independent study whilst at the same time linking it to genre. The events of September, 11 (an event I will be mentioning in my study) and their effect on genre is looked at.
• Quote: 'As the genre becomes established, play can be made with it's conventions. Part of the pleasure of the riddles is their reference to well-known stereotypes, and thus to your feelings about real-world groups of which you may know very little.

7) Knight, Damon Francis (1996) : In Search Of Wonder: Essays on Modern Science Fiction. US: Advent Pub Inc.

• This book is a collection of commentary on science fiction by book author Knight. Despite the fact that he is a author, this book is still useful to my study as he provides a thorough insight into the sci-fi genre and in doing so highlights conventions becoming apparent in many modern sci-fi books (which directors then go on to adapt as a film, Children Of Men being a prime example).
• Quote: 'Science fiction is what we point to when we say it.'

8) Cousins, Mark (2004) : The story of film. UK: Pavilion Books

• This book is useful to my study as it analyses how film-makers (in this case Alfonso Cuaron) are influenced by historical events of their times (in this case, the war against terror). This information will be used to cover the wider context aspect of my independent study.
• Quote: 'Filmmakers with a moral conscience addressed or expressed what was happening on those streets.'

This book I have yet to get hold of personally but I'm sure will prove useful to my independent study as according to 'Google Book Search', it covers the essential films, themes and plots of the genre.

9) Scalzi, John (2005) : The Rough Guide to Science Fiction Films. US: Rough Guides

The following book is of little relevance to my independent study but regardless discusses genre. Until I can find better a book, I am going to use it to make up the 10.

9) Schatz, Thomas (1981) : Hollywood Genres: Formulas, Filmmaking and the Studio System. New York: McGraw-Hill.

Representation Of Gender In The Past Summary

Representations Of Gender In The Past
Summary Of Key Points

Women and Men on TV:

· In the 50s, 60s and 70s, only 20% of characters were female, although by the mid 80s there were more women in leading roles.
· In 1975, Miles found that there were nearly equal proportions of men and women in situation comedies, whereas in action-adventure shows, only 15% of leading characters were women.
· Also in 1975, McNeil concluded that the women’s movement had been largely ignored by television, with married housewives being the main female role shown.
· The 70’s summarised – In general, men were more likely to be assertive (or aggressive), whilst women were more likely to be passive.
· 1980s – TV remained stubborn, with game shows not bothering to change their ‘degrading and trivialising views of women’, sports programming remaining ‘the preserve of men’, and news programmes accused of tokenism or ‘window dressing’ by including some women in key positions whilst retaining a male-dominated culture.
· 1980s TV Drama – Gillian Dyer observed that the number of women in central roles in police ad crime series had increased – Rape story lines were often used and this was an opportunity for programme makers to build drama around the feminist critique of police attitudes, and for female characters to clash with the ‘old guard’ who might not treat rape sensitively.

Women and Men in Movies:

· 1950’s – Films almost always focused on male heroes who typically made the decisions which led the story, and were assertive, confident and dominant. (Examples being High Noon (1952) and Touch Of Evil (1959))
· 1960’s – The sixties may have been changing with character roles, but male characters were consistently more intelligent, more assertive – and much more prevalent.
· 1970’s – Females were given greater roles – Leia from Star Wars (1977) was a rebel who shot storm troopers but was still the prized princess the heroic boys had to rescue and Woody Allen found success with films like Manhattan (1979) where she played an intelligent woman who captured the eye of a male leading character.
· In 1973, Majorie Rosen asserted that ‘the Cinema Woman is a Popcorn Venus, a delectable but insubstantial hybrid of cultural distortions.
· 1980’s – Further progress the female roles was made. Ripley became stronger in Aliens (1986) and Sarah Connor was courageous in The Terminator (1984). Meanwhile, the reliable heroic male still featured prominently in most films, including the Indiana Jones series (1981, 1984, 1989).
· 1990’s – Kathi Maio noted ‘strong, victorious women [do] exist in film, just not often enough, and generally not in movies that get much play’. Susan Faludi went a step further by saying women were being ‘reduced to mute and incidental characters or banished altogether’, with particular reference to Predator (1987) and Lethal Weapon (1987).

Self Evaluation

1) Attainment

I forgot what this means =S

2) Effort

3 - Efforts been good in class but slacking when it comes to homework.

3) Punctuality

2 - Rarely late and absent.

4) Submission and quality of homework

4 - Haven't handed homework in on time a few times.

5) Ability to work independently

1 - Always produce my best work when I do it on my own.

6) Quality of writing

1 - What can I say?

7) Organisation of Media folder

5 - I don't have one right now.

8) Oral contributions in class

1 - I'm a very opinionated person who always has something to say.

9) Standard of Module 5 blog

3 - Layouts nice, lacks posts.

10) Standard of Module 6 blog

3 - Same thing as above.

WWW

1) Very passionate about my text and the independent study.
2) Good understanding of all the topics discussed in class so far.

EBI

1) More research needed, especially book research.
2) Complete and submit homework on time.
3) Obtain a folder to put all my work in.

Task 6 - Detailed Analysis Of Clip

This clip is the final scene from Children Of Men.

The clip begins with a long shot of Theo and Kee getting into a boat in a tunnel. The long shot, combined with low key lighting highlights the grim setting and atmosphere, a theme present throughout the film as it attempts to create a realistic dystopian society without alienating its audience. This is most evident through the film's lack of advanced technology. In this clip, a very old and ruggid looking row-boat is used as opposed to a flashy and expensive boat which sci-fi audiences will have come accustomed to when watching films set in the future.

As Theo begins to row the boat out of the tunnel, non-diegtic sound is introduced in the form of music. It parallels everything in the scene, from the atmosphere to the setting and from the characters feelings to the audience's sense of climax. Diegetic sound continues to play to keep the audience engrossed in what is happening in the scene.

Almost immediately however, the non-diegetic sound cuts as Theo and Kee exit the tunnel. Instead, the audience (at this point left in a position where they expect a new equilibrium to form as the film is approaching it's end) are forced to listen to the harsh sounds of gun fire and bomb explosions in the background. This is because the director wants the audience to realise that whilst Theo and Kee's adventure may be nearing it's climax, the conflicts that exist throughout the film are far from being concluded, something which the audience can then relate to current affairs.

Long shots are first used when Theo and Kee exit the tunnel. Again, this to highlight the setting. Visibility is very vague as there seems to be either a thick fog or a large cloud of smoke possibly caused from the gun battle nearby. The boat is seen as a shadow amongst this fog and this in turn highlights the theme of a dystopian society and isolation. Gradually, medium shots and close-up shots are used as Theo and Kee reach their destination and begin to converse. These shots are used to concentrate more on the mise-en-scene aspect of the scene. The clothes worn by both characters are old and ruggid and more importantly, identical to present day clothing. Reverse shots are used between Theo and Kee to show their facial expressions which present them as very tired but with a wave of relief.

At this point, non-diegetic sound is again faded in as Theo begins to deliver his final speech. This is simply to contribute to the dramatic effect of a final scene. At the same time, a medium shot of Theo holding Kee's hand is used, and this arguably presents Theo in a heroic way. The fact that the male is seen as the hero conforms to both traditional and stereotypical ideologies of the male hero and Propp's theory of character roles in films.

In perhaps an unexpected twist, Theo appears to die. The scene ends with Kee saying "the boat has come", which shows their journey has now finally come to an end and with this, the scene slowly fades out to black as the non-digetic sound becomes louder. The fact that the director chooses not to show what will happen with Kee and her baby creates an enigma (Barth) as the audience are left to make their own assumptions.

The fact that the audience are left to think at the end of the film is important as this is what the director aims to do throughout the film. He raises issues in the film which the audience can draw comparisons with events happening in the world at present, and this is a key point in arguing that 'Children Of Men' is indeed not a typical sci-fi film.