Introduction

We as an audience respond to different media products in many ways. Some of the approaches may be in the manner in which we analyse are; genre, narrative, semiotics and representation. In this article I will be looking at the above four areas when analysing film texts.

Leon

Leon is an English language, French thriller. It was directed by Luc Besson and was produced in 1994. Luc Besson has directed many other films such as Lucy (2014) and Angel A (2005). It stars Jean Reno as Leon, Gary Oldman as Stanfield and Natalie Portman as Matilda.The movie has a clear beginning, middle and end meaning it has a linear narrative. There is an immediate location given, which is New York City, showing Central Park and the skyline. There is also a shot within the city, moving towards ‘Little Italy’. This gives us a hint towards the gang/mafia side of the film. The characters are also seen very early into the film, which Is important as this is the first thing the audience will see; meaning it’s their first impression of the film. The establishing shot at the beginning sticks to the codes and conventions of the action/thriller genre. Leon is wearing mostly black when we first see him, with sunglasses to help hide his identity. This makes him look mysterious and is quite obvious he is a hitman of some kind.The scene is set early one, when we see Matilda’s family murdered due to Matilda’s family and corrupt police officers. Matilda returns home to see the chaos and knocks on to Leon’s door to ask for help. This is where the story begins.

Lacey’s repertoire of elements fits into Leon well. The theory is split into 5 parts, Setting, Iconography, Narrative, Characters and Style. I’ve already spoken about the setting and characters. The narrative uses binary opposition of 2 opposing elements juxtaposed together. This helps show the story of the film. We quickly find out the invaders of apartment at the start of the film are all corrupt police officers. The young girl goes to Leon for help, after all her family have been murdered. The rest of the film is in chronological order and follows smoothly.The iconography shows Central Park and the World Trade Centre, both in the opening establishing shot. We also see the New York yellow cab in the street in the second shot.

Black and red colours are introduced quickly after bright colours. This represents death and violence. There are no subtitles despite the foreign language being spoken. This adds a mysterious tint to the film, as the audience will be curious as to what is being said. A gun and men wearing suits are also shown early within the film, clearly indicating the genre of film.The style of the film is also similar to other thriller/action films. Mysterious music is used throughout as well as non-diegetic sound added in afterwards. The non-diegetic sound becomes more ominous as we go further into the city. The quick editing, including extreme close ups and direct cuts also show it is an action packed film. There are diegetic sounds of people screaming, being shot/hung. Lots of hand held camera is used to make it look realistic and as though the audience are there with the characters. Leon is shown as the hero / protagonist (despite being a trained killer), Matilda who is the victim and Norman who is the villain. This also backs up Vladamir Propp’s theory of all characters have a role within a film.

Leon fits perfectly into the narrative theory structure (Todorov). This is where the film is split into the different acts. Act 1 is the exposition / inciting incident. This is clear in Leon as immediately we see Matilda’s family murdered in their house, as Matilda seeks help from Leon. This starts the film off, with a big inciting incident. Act 2 is then the rising action / climax. This is when Matilda persuades Leon to help her, and teach her his ways. We see them grow closer and Matilda develop a sexual feeling towards Leon. We know Matilda wants to get revenge on the corrupt police officers that killed her family. Then finally Act 3 is the falling action / denouement. This the end of the film and means what happens to end the film. This is the part of the film where Matilda takes it in to her own hands to kill the police offers, but gets herself into trouble and has to rely on Leon to come and save her. This leads to Leon’s death, which gives a huge falling action to the film. We see Matilda get her revenge, but at a cost of Leon’s life but she lives.

Stephen Neale says “Genres are instances of repetition and difference” “Difference is absolutely essential to the economy of genre”. This means that pure repetition would not attract an audience to a film. Elements that can be seen as repetition within Leon is the ‘Little Italy’ theme. A lot of gang violence films is set around the Italian mafia. A difference from other action/thriller films is that the main good character Leon, dies at the end. It isn’t all a happy ending. Also the representation of the female love interest. She is a young 12-year-old girl, which in many ways is wrong and illegal. If this was the story of a James Bond film, it wouldn’t come across as good to the audience, it would cause a big talking point for the wrong reasons. However, because Leon is a unique film, with perhaps a more pastiche audience, it is accepted by the audience.

Pulp Fiction

Pulp Fiction is an American crime/comedy film, which was directed by Quinten Tarantino and released in 1994. Tarantino had written Reservoir Dogs prior to directing Pulp Fiction, but since then has gone on to directed films such as the Kill Bill films and Inglorious Basterds. Pulp Fiction stars’ actors such as John Travolta, Uma Thurman and Samuel L Jackson.

This films storyline is nowhere near as clear as Leon, as it is not in chronological order. It is almost like lots of different storylines within one film, which all link to each other, one way or another. This means the storyline is non-linear, as it isn’t in order of events which happen. We know that the film is a gangster / thriller as that has been made clear with the use of guns and men in suits early on in the film. We also see hints of a comedic genre within the film at parts. This film does use Todorov’s narrative theory, but not necessarily in the correct order. The film starts on an equilibrium when we see a couple plotting a robbery of the diner. This is seen as an equilibrium as the audience only know the couples faces and don’t know their background. Therefore, we as an audience don’t know whether they are good or bad characters, so naturally we fall on to their side. There is then a development of characters, as we see two hit men driving in a car. We know they are hitmen through the costume they wear and the props used, for example carrying a gun. The two men are seen as hero’s as they are working for the right reasons. Later in the film there is a disequilibrium when Vincent Is told to look after Mia Wallace (his boss’ daughter). She has a drug overdose whilst with Vincent, which puts him in a crisis. Mia is represented as the princess in this scene, and Vincent needs to save her with an adrenaline shot so he doesn’t get into trouble with Mr Wallace. Vincent seeks help from the drug dealer in this scene, meaning he is the donor as he provides Vincent with the shot to help Mia. The storyline then changes again, to a different character’s view of things. We meet a boxer who was paid big money to lose a fight, but doesn’t go ahead with it and runs off with his girlfriend. This Is the next development of the film, when we find out his girlfriend left his watch at the place he is running away from, so he has to go back to collect it. He is running away from the characters we have already been introduced to (the 2 hitmen). We find this out when the boxer returns to his apartment to find one of them in his apartment with a gun. The character roles are then changed, as it seems the 2 hitmen who were originally viewed as hero’s; are now portrayed as villains. The boxer kills the first hitman, and runs into the other hitman in the street; which ends up with both of them in a shop fighting. The 2 men who work at the shop are now the villains, and the boxer (Butch) and the second hitman are the victims. The 2 workers try to rape Butch and the 2nd hitman, but Butch manages to escape. He returns to help the 2nd hitman, which means he is now a hero again. Again, the storyline changes as we return to near the start of the film, where both hitmen are in the flat with the people who owe Mr Wallace money. This shows the storyline is non-linear, as we keep going back and forwards in time. They accidently shoot one of the people in the flat, which leads to another character being introduced; as the ‘helper’ to clean up their mess. The climax of the film is finally met, where all the

storylines meet together, as we are back to the scene at the very start of the film. We see the 2 hitmen in the diner, who are there when the 2 robbers hold up the diner. This shows the film isn’t in chronological order, as one of the hitmen had already been killed. The resolution is met when the hit man gives the robbers some money, this is where the film ends.

Postmodernism Features within Film

Postmodern features are used in many films; but not all films. The features are intertextuality, parody, pastiche, reflexivity, bricolage and self-referentiality. There are features of postmodernism used within the ‘Jack Rabbit Slims’ sequence from ‘Pulp Fiction’.

Intertextuality, which means referring to other media texts, is used as the 2 characters’ drive to the diner. We see John Travolta driving the car, with a camera angle close up to his face, with the female sat next to him. This is the exact same shot as the one that Travolta features in, in the film Grease. This shows reference to previous work of Travolta, but isn’t used to make fun of. Parody, which is copying another medias text in a humorous way is also used when the pair are in the diner. Mia Wallace volunteers them to enter a dancing competition on the stage in front of everyone. The character Travolta is playing acts all shy and embarrassed, and says he doesn’t want to do it. We see when they start dancing, that Travolta does the same dancing as in Grease & Saturday Night Fever; however, this time he doesn’t look good doing it. He looks ashamed and embarrassed, almost like a dad at a wedding. This is clear reference to his past roles in films, and is seen as a parody. Pastiche, which is where a text closely imitates the work of a previous artist, but usually distinguished from parody. It celebrates rather than mocks the work. The scene with Travolta in the car can also come under pastiche as well as intertextuality, as it Is easy for the audience to recognise where it is from, but isn’t necessarily a parody.Another feature used Is reflexivity. This is where the filmmaker refers to the film making process, within the mise en scene or narrative. This breaks the illusion that the film is not actually real; for example, in Pulp Fiction, there is a rectangle drawn on screen, created by the movement of the actress.Bricolage, which is another postmodernism feature, is reference to a mix of genres/historical eras within one shot or scene. This can be seen in the same scene of Pulp Fiction, when the two characters enter the diner. There is a mix of historical eras within the same shot; for example, there is reference to Marilyn Munroe ‘The Seven Year Itch’, which was created in 1955. However, the majority of the diner is set in the 90’s, as you can clearly

see through the costume and makeup the character’s wear, as well as the black couple sharing the restaurant with white couples, proving the racial separation had ended.Finally, the last postmodern feature is self-referentiality. This is where a producer of a media text or actor makes a direct reference to previous work. This can also be seen within the scene of John Travolta dancing, with direct reference to Saturday Night Fever.

Production Technology

The improvement in production technology and a wider range of distribution methods have helped create and make parody/pastiche work. Back in the 1950s/60s and 70s, the only production technology was through film. Technology wasn’t big so this was the only way to sell a film. This means all films had to be watched at a cinema. Within the 80s/90s, video was introduced. This supported film, but allowed you to buy a video player for your home, meaning not all films had to be watched in the cinema. Video players then also became dated; as digital technology was introduced. This allowed film to be watched through cinema, as video player was used less and less. DVD and Blu-Ray was introduced, as well as streaming and digital downloads. This allowed films to be seen through a number of different methods, and has helped the use of parody/pastiche grow.

Deadpool

Another film that uses a good amount of postmodernism features is Deadpool. I analyzed the parody or pastiche used within the sequence. I also found any other media related approaches that had been used throughout the scene. For example, the duration of the opening title sequence was still, there was no movement from the on screen image; only the camera moves. There is also no diegetic music, only the non-diegetic music which is the soundtrack added during post production. This sound track doesn’t match the on screen image.

Firstly, we immediately see a magazine with the headline ‘SEXIEST MAN ALIVE’ and a picture of the main actor Ryan Reynolds. This is the first indication that this film is a parody as this magazine obviously doesn’t exist and is meant to be a joke. The magazine is being made to try and look real by using real life stories on the side, involving the Royal family. Self referentiality is also seen here, as it shows him in previous work, outside of his character. This is breaking the fourth wall.

We then also see the use of self referentiality involving the main character’s Ryan Reynolds and a picture of his previous work. We see a card showing him featuring as The Green Lantern, which was notorious for being a flop and all round bad film. This adds comedy to the scene, as we as an audience know this is a joke towards Ryan. This could also be seen as intertextuality.

The title credits used also add a humorous aspect to the title sequence. Instead of actually telling the audience who features in the film, they use funny phrases such as ‘A CGI CHARACTER’ and ‘A MOODY TEEN’. This is also just for the audience’s entertainment and to keep them interacted. This brings a good ratio of action and comedy used within the opening sequence.

As well as the humour used within the opening title sequence, there is also an action element; as the film is mostly an action genre. The image is still which makes it look more dramatic as the guy is being blown across the shot.

Lord of the Rings: The Fellowship of the Ring

Lord of the Rings: The Fellowship of the Ring (LOTR), is the first film of a trilogy. The film was directed by Peter Jackson and released in 2001. Other films Peter Jackson has directed are District 9 (2009) and King Kong (2005). LOTR features stars such as Elijah Wood, Ian Mckellen and Orlando Bloom.

LOTR has a very clear storyline, as it all follows in chronological order. Everything happens in time order, so it’s easier for the audience to follow. This means the storyline is in linear order. The film is set very early on, and indicates what genre the film is immediately. This is good for the audience, as straight away they know it is an action/adventure film. As the film is the first film of a trilogy, it is quite difficult for it to follow Todorov’s narrative theory. We obviously know that there won’t be a final happy ending, as otherwise the 2 films that follow would be pointless. However, the film does follow the basic structure of Todorov’s narrative theory within itself. The film opens with a flashback, but this is just to set the scene and tell the background of the story. The first equilibrium in real time is after that, when we see the hobbits living in the shire. Everything looks happy and bright, it seems as though nothing could hurt them and they will live happy lives. There is then a disruption, as we learn that an ancient ring, which had been lost for centuries has been found by Bilbo Baggins. Gandalf recognises the ring is that of Dark Lord Sauron, which we learn to be the main enemy in the LOTR trilogy. This is the disruption and recognition of the disruption, as we know Gandalf has found out about the ring Bilbo has found. The film then continues to the attempts to repair

the disruption. We see a meeting, hosted by Gandalf to help decide who will go and try to destroy the ring once and for all. This is where Frodo Baggins becomes an important character, as he volunteers to take the ring to Mount Doom to destroy this. The fellowship is created, to help guide Frodo and lead him to destroying the ring. The fellowship is made up of 8 characters, who are all also main characters. These characters try to destroy the evil of the film, but obviously this doesn’t all happen in the first film. The film doesn’t really return to equilibrium, as the ring doesn’t get destroyed. This shows the film follows Todorov’s theory to a certain extent, but not fully.

Lacey’s repertoire of elements fits into LOTR well. This means the film is split into 5 different parts; setting, iconography, narrative, characters and style. The setting fits the genre well, big extravagant buildings and sights, with lots of detail into everything. This helps us identify it is an adventure genre of film, with also action too. The iconography used to help show the genre is mostly props and costume. There are lots of swords and other weapons shown early on, which shows the action element. A lot of setting is also shown, which tells the audience it has an adventure within the film, as all of the setting shown is important to the story. The narrative is also similar to other action / adventure films. Somebody has to do something, which leads to them going on an adventure, with people trying to stop him from reaching his goal. The characters are quickly identified as good and evil. We are told through narration who the bad characters are, so anyone who is against them is obviously good. The style also helps identify characters, through the costumes worn. The brighter the costume, the better the character is. Lots of dark colours, such as red and black are used around the evil of the film. This helps identify they’re bad characters, and the colour represents violence and death. In good places of the film, such as the Shire, colours such as green and yellow are used. This makes it look more natural and pretty, which matches the characters who live there.

Vladamir Propp was a literary critic and a scholar who created the idea that a certain type of character was to be used in every narrative structure. He says the characters that are used in every narrative are:

The Villain The Dispatcher The Helper The Princess Her father The Donor The Hero False Hero

This fits well into the LOTR storyline as all of these characters are used. For example, the villain is made clear from the start. Sauron is the main villain within the film, and builds an army of orcs who are also villains. There is a dispatcher, which is Gandalf the wizard. He teaches Frodo of the villain, and sends him off on his quest. There is also a helper, Sam. He helps Frodo throughout his journey to Mordor and without him he wouldn’t have made it. The princess, who is Arwen. She is the love interest for another character called Aragon. The

princesses father is also used, Elrond. He helps Aragon with tasks and guides him on what to do. There are many heroes within LOTR, for example Frodo, Aragon, Legolas, Gimli and Gandalf. These are all seen as heroes, but it is Frodo who carries the main objective, to destroy the ring. A false hero would probably be Gollum. He pretends to help Frodo, by showing him the way to Mordor to destroy the ring, but then tries to steal the ring and kill Frodo. He also sets up Frodo’s friend Sam, which leads to a fall out between the pair.