Media Theories Presentation

Media Theories Presentation

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How Does 'Shaun Of The Dead' Subvert Structuralist Notions Of Genre?

‘Shaun of the Dead’ is a ‘romantic comedy with zombies’. Immediately the tagline strips away the horror element of the film and widens the target audience who can relish from the jumpy horror sequences of the film whilst continue laughing at generic conventions being played with. The characters, settings, mise-en-scene, paradigms and editing all contribute to subverting the notions of the genre. ‘Shaun of the Dead’ deconstructs the audiences pre conceived notions about the horror film genre, characters etc. This correlates with Barthes ‘pleasure of text’ theory and the idea that we only get a ‘jouissance’ when you don’t expect it.

‘Shaun of the Dead’ is a postmodernist film and therefore there is a deliberate subversion of paradigms. The props in the film consist of a cricket bat, spade, rifle, and children’s furniture. Even when horror related props are used such as a knife, they are merely dismissed and the danger and lethalness of them is mocked. The notion is played with, then rejected adding to the subversion of the structuralist genre. The middle class cricket bat contrasts with the working class protagonist subverting the meaning of the recreational object. It is humorous to see the middle class object being transformed into a weapon of destruction and the idea that the zombies ‘head’ is the ‘cricket ball’. Next the sight of a calm gardening spade being used as a destructive and deadly weapon is another deliberate subversion of a tranquil and peaceful activity with a threatening murder rampage. These items are unstereotypical for the horror genre yet, when used destructively, result in the same death. The childhood furniture as a weapon, on a more serious note, depicts the idea of innocence being corrupted alas the lack of emergency when the characters fire the weapons contributes to the subversion of structuralist notions of genre. It is almost always seen that the characters have a heightened sense of their own mortality yet in this film, the characters have an exaggerated outlook on the fact that things will return to normal as per norm by the end of the film.

The suburban setting translates everywhere therefore the audience of the film can relate to the location. The pub as the central setting is reminiscent of western films and, unlike ‘The Shining’, is spread out in one room making it easier for the characters to see the danger which surrounds them. There are no long corridors or rooms for there to be menace lurking there.

Similar to ‘Dawn of the Dead’, which illustrated the effect of consumerism on people by setting the main part of the action in a shopping mall; ‘Shaun of the Dead’ does something similar. This film exposes the mundanity of life; the mindlessness of life, and people who are stuck in the same repetitive routine. (Sociologists would call this the Fordism system). This is shown through the scenes at the beginning of the film which show people carrying out monotonous jobs, already foreshadowing them to the zombies they will later be transfigured into. The way in which the action unfolds, mirrors a video game in which life represent the game world. The power of Media is also depicted as there are news broadcasts informing the characters of the events as they unfold.

The six different character types in the film, echoes Propp’s eight character types. In this case, the paradigms include the hippy, geek, bafoon, mother, middle off the road guy and the smart heroine. Clover’s ‘final girl’ theory is prominent in the film and Liz’s character is strong, demanding and not the usual week blonde girl. In a scene, she manages to save Shaun from the zombies conveying that she is a twenty-first century horror film heroine. Furthermore, Shaun’s character does not look like a hero of a horror film once again subverting the generic conventions of the genre. The presentation of the zombies starkly contrasts with the zombies form ‘28 Days Later’ and the tension that is built before the audience is shown the zombies, is dispelled instantaneously after the zombies are revealed.

There are some notions which are upheld, these are, the slow walk of the zombies; the gradual death of each character; the conflict which takes place between characters; and the non diegetic sound which creates fear. The slow walk of the zombies is mocked as the characters do not find the need to run as they know that the zombies are quite far behind them.

Overall ‘Shaun of the Dead’ plays with the ideas of generic codes and conventions by subverting prop and character paradigms. Nevertheless it still sustains the horror element through the use of non diegetic sound which creates tension and the jump cuts.

Horror Film Trailer Analysis

SAW Trailer Analysis

The ‘SAW’ films have always made some viewers have a masochistic gaze, and some a sadistic one. The ‘SAW’ horror franchise, aswell as many others, plays on Barthes pleasure of text theory and the audience are attracted to the films despite guessing what will happen. Knowing that there will be some sort of ‘twist’ which will differentiate the ‘SAW’ film they are watching to the previous ones is another layer of pleasure that the audience get.

The trailer goes straight into the action and lacks any tone cards or preview cards and the audience are thrown straight into the moment of disequilibrium. Unlike standard trailers, this trailer does not conform to Todorov’s narrative theory; the effect of which is engrossing. Through the mise-en-scene; the audience are shown an old television with Jigsaw speaking from it. The mask/clown paradigm is popular as it distorts the features and is frightening for audience suffering from coulrophobia or generally who dislike clowns. It is ironic that the clown, who is usually responsible for creating comedy, has now been transformed into a figure that inflicts pain and torture. The point of view shot is put from the view of the victim and the television is made universal. It could be on anybody’s television. Like the victim, the audience too are watching a screen on a screen playing on the masochistic idea. The camera then cuts to newspaper articles creating a back story giving the audience an establishing. The non diegetic sound of the ‘whoosh’ generates a sense of unease, an indication of time.

Next, the audience are shown a tone card at 0’05” whose disorientating language alongside the colour connotes confusion. The serious and traditional font with the serifs depicts the maturity and intelligence of the killer; this is not an aimless slasher film, the killer has a distinctive motive and ownership of ‘his game’. The camera then zooms onto a balcony window and a voyeuristic element is added. The bars liken it to a prison and the feeling of entrapment is clear when the first character is shown in a vulnerable position, bare foot, sitting on the floor. This juxtaposes his appearance as he is wearing a blue collared shirt, clean shaven possible middle class. The unkempt location is good for horror as it is grim and the black and white effect is useful for illustrating the fearful events to take place. The voiceover which aids the long shot of the hooded figure creates mystery and the low key lighting and smoke create an unsettling experience. The non diegetic sound of the low rumbling is prevalent and displays the continuity of vision. The voiceover also establishes the narrative of the story and the audience learn more about the characters ‘Dr Gordon’.

The transition of the fade to black works as a literal metaphor for the plunge into darkness and the cuts which follow are quick reflecting the immediacy and panic of the situation as the diegetic sound of the agonising screams are heard. The paradigm of the chainsaw runs parallel with the tormenting theme of the trailer. The acceleration of shot types creates questions and the audience want to see how the loose structures will play out making them want to watch the film. This is Barthes pleasure of text theory in action again.

Halloween Trailer Analysis

The 1978 John Carpenter film ‘Halloween’ continues to be perceived as one of the greatest slasher films of the century. It is critically acclaimed as the first in a long line of slasher films inspired by Alfred Hitchcock’s ‘Psycho’.

The setting paradigms illustrated in the trailer are the stereotypical settings for a horror film. The extract begins with an establishing shot of an isolated white house in the fictional town of Haddonfield, Illinois. The shot is accompanied by high pitched non diegetic sound which creates a sense of eeriness. The audience is immediately shown that the action will be taking place in this house. The fact that the establishing shot is of a family home and not an apartment adds to the horror theme as it is the average house which audiences can relate to. Shadows are cast on the house by trees adding to the sinister undertone.

The camera then cuts to a medium close up of a woman in white overalls trapped inside a car with the villain attacking it. This frightening scene portrays the woman’s helplessness as she sits exposed to the danger and threat of the villain who shatters the windows attempting to break in. The audience sympathise with the woman who clearly has no chance of escaping from the villain. This makes the audience masochistic viewers. The night adds to the feeling of not knowing who the masked villain is and creates a terrifying mood.

The quick cuts of the dark lighted bedroom, kitchen, living room and staircase convey the idea of isolation in an eerie environment with no one there to save the ‘final girl’ if trouble occurs. The character of the girl as the victim and a man who seems to know how to defeat the villain is a stereotypical character paradigm. It also conforms to the Propp’s character theory. Clover’s ‘Final Girl’ theory of a vulnerable female having to fight against the villain is prevalent through this trailer aswell as the majority of all major films. The presentation of women as weak victims is reinforced by high angle shots of them in contrast to low angle shots of the villain on top of the stairs. This strips the women from any power they have and similarly elevates the villain in power and authority. The ‘slow walk’ of the villain is almost patronising and underlines that he will reach the victim under any circumstances. His effortless capture of the victim highlights his great power and depicts the power division. Certainly, the villain holds control over the feeble victim and the situation in general. On a simpler note, this pace is creepy and scary and allows the gradual build up of the more tense final battle off. 

There has been a growth in children being the focal point of horror movies when previously it may have been considered ‘wrong’ to portray such innocent creatures as vicious villains. For young children undertaking the ‘baddy’ role, a sinister tone is cast and the point of view shot showcasing the young boy in a mask highlights the idea of ‘seeing the world through a child’s eye’, a totally different perspective. The mask as a paradigm is ever present in horror films for its traits of veiling the identity of the villain therefore suggesting that the villain is a universal character: a friend, a family member even. In minor terms, the mask allows for a sequel and the continuity of the terror. It also allows the villain to be part of the film without actually revealing who he/she actually is. The concealment successfully generates horror although the mask itself is plain in appearance.

Through mise-en-scene of the net curtains, a voyeuristic element is added which creates an unsettling feeling for the audiences as it stresses the passive exposure that the woman is unaware of. The low key lighting throughout the trailer emphasises the lack of hop the characters have of defeating the villain.

The mask and kitchen knife as paradigms are effective in their simplistic nature. The kitchen knife is a typical kitchen utensil therefore to have its purpose transformed from cutting everyday vegetables to a horrific lethal weapon subverts its presentation as a normal day to day household item. 

Overall, ‘Halloween’ does follow the codes and conventions of the slasher horror sub genre due to it upholding the stereotypical paradigms of other horror films.

The Texas Chainsaw Massacre Trailer Analysis

The Texas Chainsaw Massacre franchise as you can now call it after the countless remakes plays on Barthes pleasure of text theory as audiences are attracted to the film despite knowing the plot. The newest addition to the franchise will be released in 3D this year adding an extra layer of pleasure to be had when the unexpected happens; the 3d version will act as an incentive for the masochistic or even sadistic viewers to experience the events for themselves.

The trailer begins by conforming to Todorov’s narrative theory where the equilibrium is marked by romantic music and slow transitions fading to black. Pathetic fallacy is used to convey a mood of serenity and happiness where the diegetic sound of the young people laughing coupled with the sun shining connotes ideas of peace. The pan shots are smooth and display the young people enjoying themselves which serve as dramatic irony. The engagement in sexual activities foreshadows their death as in most horror films, characters which do not engage in sexual activities, usually the asexual final girl, are rewarded by surviving to tell the tale. A postmodernist film which rejects this is Scream where the character of Sidney stays on till the fourth film despite being sexually active in the first film. The deserted road setting is a conventional horror location due to its isolated nature. The moment of disequilibrium occurs when the non diegetic sound is interrupted by a character asking ‘hey are you ok?’ The camera then cuts to a long shot showing the setting sun highlighting the metaphorical darkness which the characters are about to delve into. The long shot of the fog is effective as it forces the reader to question what lurks behind. As the girl walks through this menacing fog, the romantic music fades out and the girl’s admission that ‘they’re all dead’ shifts the trailer into a sinister tone. 

The close up shot of the distraught girl is accentuated through the mise en scene of her plain costumes and pale make up. The non diegetic heartbeat sound is in synchronisation with the jump cuts which fade to black echoing both the characters heartbeat and that of the audiences. The fades add a voyeuristic element as they reflect blinking suggesting that the teenagers are unknowingly being watched. Through the mise en scene of the dusty doll and record player, the audience can see that the house is rotting and decaying and is old, a classic setting for a horror film. A hand held camera shot tracks behind the final girl seen entering the house coupled with the high angle shot of her entering the house, depicts her susceptibility. Her sleeveless costume adds to intensifying her vulnerability as she is exposed to the sadistic gaze of the voyeuristic villain. This is heightened when the camera lens moves towards the final girl and the audience are shown a point of view shot from the camera making us identify with the villain. 

A tilt shot pans downwards and the non diegetic sound kicks in marking the shift into the moment of disequilibrium. The quick cuts aided by the melancholy music create a sense of unease; moreover the repetitive photograph sounds and freeze frames fix the characters in their tormenting situations. The acceleration of shot types create questions for the audience and the desire to see how the loose structures play out is Barthes pleasure of text theory in action. The non diegetic sound of the classical music contains huge irony yet plays on the idea that it is a remake of a ‘classic’ film. 

The trailer ends when a medium shot is shown of Leatherface closing the gate. The mask paradigm is popular in horror films as it masks the identity of the killer. The audience can see him on screen and the mask allows the killer to be a part of the film without being revealed which can then transfer the killer into the sequel as in Scream.  The mask and the chainsaw paradigm conform to Barthes signs and signifiers theory.