'A' Grade Exam Response: Film 'Sin City'/'Fish Tank'

Here is a condensed guide of how to make use of language to approach exam questions (Film)

How typical are your three main texts of their genre?

Another convention of film noir that is evident in 'Sin City' is the constant visual iconography and noir style in the mise-en-scene. When a character appears from the shadows, wearing a trench-coat in the rain it clearly indicates conventions of the film noir genre. The use of rain in 'Sin City's mise-en-scene highlights the dark and gloomy atmosphere of the post-war American society, using pathetic fallacy as away of representing its genre. In this same way the trench-coat Hartigan is wearing also visually references film noir protagonists, making it typical of its genre.

As well as its visual references to film noir 'Sin City' also uses key visual conventions and iconography of the comic-book genre. For example the trench-coat each protagonist wears highlights their status as a comic-book hero, by referencing the long cape of a superhero. This supports the idea that 'Sin City' may be untypical of its genre, as it combines two genres to create irony: a parody of conventions, rather than being truly typical.

'Fish Tank', my third text, is more typical of its social realism genre, and unlike my other films can be defined as more typical. The film deals with real life issues and can easily recognised as typical by its themes and technical stylistics. The scene when Connor, Michael Fassbender's character, 'grooms' and then sleeps with the underage Mia in a council flat highlights a very real and controversial issue in modern day British society. This makes it highly typical of the social realist genre as previous films in the genre, such as Ken Loach's 'My Name Is Joe' have explored similar representations of how alcoholism has affected and impacted upon individuals in British society.

The use of hand held camera and depth of field in the opening sequence, when Mia is followed through the council estate in an extended tracking wide shot, reinforce the visual aesthetics of the social realist style. The style makes it appear more realistic (a typical approach), adding to the impact and sense that these types of events really occur in society: almost as if it was 'documenting' real life. This connection between the chosen style and the context make 'Fish Tank' highly typical of the social realist genre; characters portray real life social problems and the visual style gives it more 'realism': unlike 'Sin City' which is highly stylised and based on a combination (or hybrid) of film noir and comic-book genre conventions.   

Key strengths:

References to the question: Repeated reference to key words in the question show an engagement with the central issues

Use of terminology: Details of stylistic features shows an understanding of how meaning is conveyed

Develops an argument: An argument is supported by reference to key moments & issues in each film

MS4: Exam Mark Scheme A/B

Media revision content/theory/terms

Media representation theory from Thomas Griffiths

Exam response advice - Advice

Here is an example of a, A grade student introduction to the genre question. You can see this would give a great impression to the examiner and sets up the specific textual analysis (identify and justify) for Fish Tank, Sin City and District 9.

Good practice would be to include a micro introduction for each text. Firstly identify each genre the text belongs to and make evaluative comments which uses language from the question. You could say you almost answer the question simplistically in the first couple of lines and then go on to proof it with real detail in terms of specific genre conventions backed up with specific and appropriate scenes/narrative description.

The above and below images are from the A2 Media studies guide available from the exam board, WJEC, found on Amazon.

Sin City can quite easily be established as postmodern due to it being a clear collaboration of a number of genres, creating hybridity within the text. The opening sequence, however, conveys genre conventions that can strongly be associated with the film noir genre.

Could have establish the two main genres which it belongs to most.

An establishing shot is used to, at first, frame an unknown ‘assassin’ (The Man) on a balcony in a cityscape, this mise-en-scene highlights the urban environment commonly employed in film noir films from the 1940’s.

No Specific detail here. I think a different scene would have been more appropriate to represent classic noir iconography.

Further film noir conventions can then be seen with the inclusion of the ‘lady in red’ who displays the characteristic features of a major noir element, the femme-fatale – with red lips, cigarette in-hand and slinky dress. This character is also lit using low-key lighting, a commonly used technique in film noir to suggest deception or deceit. Audiences familiar with the genre would therefore make assumptions about her narrative role by relating her to similar characters seen in classic noir films of the 40’s, such as The Maltese Falcon and The Big Combo.  

Good point in terms of the visuals, which link to the noir genre and femme fatale. However due to the experimental narrative we do not get any back story on this particular femme fatale so it is difficult to real identify how pure a femme fatale she may be. Again there are more appropriate scenes. Comparison to other noir films is a real strength.

Sin City, though, then breaks away from the stereotypical femme-fatale character when ‘The Man’ shoots the ‘lady in red’. This plays with the normal narrative convention and provides genre difference to the text, making it untypical. This adds a shock for the viewer and could be regarded as a way to keep the genre fresh for the audience.

Very good, answers the question and justifies the texts actions.

Further film noir conventions can be seen later in the film when the more established noir protagonists arrive in the form of the heroic ‘flawed’ males – Hartigan, Marv and Dwight. Each of these male characters is cynical, damaged and ‘hard-boiled’ like the original noir heroes from the 40’s features I mentioned earlier. Marv, for instance, states in a voice-over narration (another typical characteristic of the genre), that “Sometimes I even wonder why I’m on this earth” - therefore expressing a cynical viewpoint on his existence and his worth in the world. As with all the scenes throughout Sin City, Marv is regularly framed at a ‘dutch tilt’ angle and in stark high contrast black and white to not only represent his skewed view on the world but also his strong moral views of what is right or wrong.

The response is getting stronger, good reference to genre convention and justified with a quote, quote isn’t quite accurate, but gets the point across. Further quotes could have been added from the other protagonists.

The merging of genres in Sin City, to create a hybrid, clearly makes the film untypical of the original genre though. The continuous use of comic-book conventions, such as Marv’s ‘superhuman’ strength, establishes the fact that Sin City, although displaying many opposing conventions, is in itself a text which is both noir and comic-book; a comic-noir if you like. Evidence of this can be seen with the persistent use of comic-book framing and over-exaggerated actions. Hartigan’s shooting on the docks, by Bob (his cop-buddy), clearly shows signs of both noir and comic-book features when John is shot multiple times but still manages to save Nancy and express his feelings through a voice-over; again a noir convention.

A scene could be linked to Marvs super human strength. Not entirely sure what is meant by over exaggerated actions? However, this paragraph helps answer the questions. The hybrid nature of the text will of course dilute the conventions.

Representation (Revision): Key Concept MS4

What is representation?
A term used to describe how certain people/places/events/issues are presented to us by the media.
It is a constructed 're-presentation' of reality.
It is a way in which the media reflects and presents attitudes, behaviour and beliefs.
Representations vary over time due to changes in culture and society.

What is dominant ideology?

Dominant ideology, when applied to an analysis of representation in the media, is a set of common values and beliefs shared by most people in a given society, framing how the majority think about that group of people. This is quite often in line with a stereotype or an often repeated idea or characterisation of a certain group of people. These views are not an accurate presentation of reality but they are frequently seen and perpetuated in films and other media forms.

How to analyse representation:

You will need to ask yourself a series of questions:

What is the overall representation of the person/group of people in general terms?
Is it strong or weak? Positive or negative? Does it conform to or challenge the dominant ideology attached to that group of people?

What makes you think this?

What other adjectives might you attribute to this person or group of people?

How is the character portrayed?

What do they look like?
Facial expression? Clothes? Hair? Jewellery? Stance and body language?

What do they sound like?
Tone of voice? Sound of voice? Volume? Soundtrack and music associated with them?

How do other characters see them?
What are the reactions of other characters to this person or people? Accepting? Positive? Negative?Violent? Angry? Lustful? Fearful?

Source

Exam Response Content (Television)

B3. How do your chosen texts attract their audiences?

It is likely that candidates will need to begin by explaining (defining) the target audience for the text/s. Candidates may refer to some of the following points in their answer, depending on the media industry selected:

• content: form (TV, Film, Magazine etc.) and structure 

• content: representations, characters 

• mode of address (Language used, stylistics: these will be appropriate for differing audiences) 

• placement/scheduling (Channel, production company, viewing time/s)

Some references may be made to theories such as the uses and gratifications theory and to ways in which audiences are attracted to texts depending on the cultural positioning.

Postmodernism and Consumer Society: Working with Frederic Jameson's categories

(1) "the transformation of reality into images" (cf. Debord and Baudrillard)

(2) "the fragmentation of time into a series of perpetual presents"

"the erosion of the older distinction between high culture and so-called mass or popular culture" (Jameson).

Pastiche and parody of multiple styles: old forms of "content" become mere "styles"

stylistic masks, image styles, without present content: the meaning is in the mimicry

"in a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles in the imaginary museum" (Jameson).

No individualism or individual style, voice, expressive identity. All signifiers circulate and recirculate prior and existing images and styles.

The postmodern in advertising: attempts to provide illusions of individualism (ads for jeans, cars, etc.) through images that define possible subject positions or create desired positions (being the one who's cool, hip, sexy, desirable, sophisticated...).

"our advertising...is fed by postmodernism in all the arts and is inconceivable without it" (Jameson)

Po-Mo as late capitalism: transnational capitalism without borders, only networks and info flows. Some features of postmodern styles:

Nostalgia and retro styles, recycling earlier genres and styles in new contexts (film/TV genres, images, typography, colors, clothing and hair styles, advertising images)

"History" represented through nostalgic images of pop culture, fantasies of the past. History has become one of the styles; historical representations blend with nostalgia.

"the disappearance of a sense of history, the way in which our entire contemporary social system has little by little begun to lose its capacity to retain its own past, has begun to live in a perpetual present and in a perpetual change that obliterates traditions of the kind which all earlier social formations have had in one way or another to preserve... The information function of the media would thus be to help us to forget, to serve as the very agents and mechanisms of our historical amnesia" (Jameson).

Culture on Fast Forward: Time and history replaced by speed, futureness, accelerated obsolescence.

Information from: http://www9.georgetown.edu/faculty/irvinem/theory/pomo.html

AS Re-sit Exam Papers for MS1 (January 9th)

Click above to access 5 past MS1 papers

To access the WJEC website and downland past papers for MS1 and MS4 click on logo above.

Key Concepts: Terms/Linking Approaches

Lost, How to attract a mainstream audience

What is involved within the Media exam?

What is involved with the a2 media exam from christimothy12