Codes and Conventions of Film Posters

Film Posters have the same objective as a film magazine, however, rather than advertising many aspects they just advertise the one.

Straight away it is obvious that a main convention of a film poster is the title of the movie. Conventionally this is found at the lower end of the poster, below the main image. The reason being is because; as we read down the page we get to the title and all other aspects of the film. The title is always going with the theme of the movie and therefore, like the film magazine, they use similar, if not the same, font that works alongside the theme of the movie. The font is usually unique to that of the film, for example Star Wars. The font used is traditional of that franchise with the letters joining one another. This creates codes for that particular film, the same goes for the font used for ‘The Hobbit’ and the rest of the ‘Lord of the Rings’ franchise.

The main image yet again is a major factor in a film poster and like the film magazine features the protagonist(s) of the film. However, rather than it always being close up images a film poster varies with the camera angle. These angles can be close ups, medium shots of even long shots such as ‘The Dark Knight’ film poster. This is so that the film poster is able to get more detail into the advertisement. For instance ‘The Dark Knight’ features Batman underneath the symbol made of flames. This shows the recognisable graphic and icon of Batman on top of the background that is of a building, thus showing the setting of the film, Gotham City. However, film posters such as Star Wars follow their own convention by showing multiple characters, good and bad, in the main image. This allows the audience to see the many characters involved with favourites such as ‘Darth Vader’ in the background. Unlike film magazines, the background allows for more detail, ‘The Hangover’ shows lights which connote as a somewhere eccentric like ‘Vegas.’ The Eiffel Tower in the background of ‘Sherlock Holmes’ shows the setting of the film and altogether these aspects work well in creating the theme of the film for the audience to see.

Other conventions such as the date are commonly seen in the film poster. The reason being is because a film poster is used to advertise the movie and with the information of when it comes out allows the audience to know more about when they can see it and therefore are more tempted into going. The information is quite vital when advertising an upcoming film; however it is not always necessary if the poster is more for merchandising reasons.

Lastly, there is always the little details in the film poster which give more inside information of the film. This includes the names of the directors, producers and main cast. The reason this is a convention is because it is not only to give the creation team some credit for the film but also by stating their name it also allows members of the audience to see who has done it and if they are a fan of their work, this is mainly associated with directors, especially people like ‘Steven Spielberg’ and ‘Peter Jackson.’ A convention of these details is that, the writing is usually thin font that is all put together; this takes up less space on the poster and fits all the information into one bulk piece of text.

Codes and Conventions of a Film Magazine

The main objective of any media text is to make money. To do so they must create something that would attract their target audience and will them into buying the product. The conventions of a film magazine do just that through a variety of techniques. 

To begin with, their needs to be a title of the magazine which is more than usually, if not always, shown in the top left hand corner of the magazine. This is called the masthead and it is a key feature in any form of magazine, film, music, gaming etc. The examples of film magazines I have used are ‘Total Film’ and ‘Empire.’ A convention of the name of the magazines in that the masthead is never too long and is kept short. The reason being is because it needs to be short and snappy and easy to remember in order for the audience to be able to familiarise themselves with the product. For instance other examples would be ‘Play’, ‘Nuts’, ‘Zoo’ etc.  

The next main convention is the main image. These images range from a medium shot to a close up and usually feature one character, the protagonist. The reason being is because they are acting as ‘the face’ of the film and when the target audience see the image they will instantly recognise who they are and then decide whether or not they are interested in reading further. A convention of these images is also they are the character they play as in the film with the costume and everything, this way the audience can see that the main topic that they will be discussing is the film they are recently starring in.

To go alongside this main image is the title of the film. This is the headline of the magazine, an example of these two conventions working together is the picture of ‘Martin Freeman’ and the title of the film ‘The Hobbit: An Unexpected Journey’ underneath the image. Together these work well in showing the main story of the magazine and help advertise it further. Another aspect of the headline is that the font of the text is usually typical of the film and this creates a theme. On the examples I am using, the font differs in the headlines from ‘Skyfall’ and ‘The Hobbit.’ This adds to the main story and makes the magazine more aesthetically pleasing. 

Since the headline is not the only story in the magazine, there are also cover lines that show many other parts of the magazine, although not the initial selling point of the magazine these help advertise it further and show many more reason for the audience to purchase the product. Usually, these cover lines surround the main image and are on the edge of the cover. The font is typical of the magazine but also conveys to the theme of the magazine, for example the ‘Empire’ magazine featuring ‘Inception’ shows the cover lines being warped and on an angle, this would not usually be like this but due to the headline and main story they are conforming to the theme of the magazine in order for it all to look appealing.

Although not seen on every front cover, another convention is several thumbnail images that coincide with the cover lines. These help sell the other stories and with images the audience can see further what will be featured inside. Images do help when it comes to advertising however it is not always necessary.

Other techniques used to advertise the product are skylines and teasing contents. These are few words that do not stand out but do show more information inside. The skyline is at the top of the page whereas the teasing contents are found at the bottom. This adds more detail to the front cover and shows that more and more is going on inside the magazine, allowing the audience to see they are getting their money’s worth. 

Ancillary Texts 2

Another part of the brief was to create not only a film magazine front cover but also a film poster to go alongside the film trailer. Here are a select few of the many film posters, the conventions vary from showing one protagonist to a group of characters mostly medium shots and close ups. 

Ancillary Texts

Another part of my brief, other than creating a film trailer, is to produce a front cover to a film magazine featuring my film. Above are just a few existing front covers that I will use to help develop my own work. 

It is clear that a convention of the front cover is a medium close-up / close-up of the main character to highlight the top story within the magazine. Therefore I will need to find an image that is suitable to recreate this style and can also replicate the professionalism of existing magazines. 

Age Rating

Due to the content that will be in my full feature film I will be certifying it as aged 15. 

The BBFC state that, 15 works are stronger than 12 or 12A rated works and could include any of the following:

.) Strong Violence

.) Frequent strong language

.) Portrayals of sexual activity

.) Strong Verbal References to sex

.) Sexual Nudity

.) Brief scenes of sexual violence or verbal references to sexual violence

.) Discriminatory language or behavior

.) Drug taking

My trailer does not feature many of these and therefore can be viewed by 'Appropriate Audiences.'

This therefore means that I am able to reach a wider audience rather than creating a trailer for restricted audiences. 

Film Trailer, First Full Edit!

This is the first full edit of my film trailer were all the footage I have gathered that is relevant to my piece is put together. It is obvious a lot of work is still needed, such as text as well as re-shooting some shots, such as when the Mum is lecturing the protagonist, some of the shots look grainy and also being in the same outfit and location doesn't have the same effect as it would if I were to mix it up a little bit.

For a first draft it is not a bad start however there is still a lot that needs doing in order to make it look professional as well as trying to get the main story across. 

Drinking Scene, First Edit

When my protagonist finally receives his money after his Grandad passes away, he enjoys it buying going to a local bar and drinking heavily.

What I have tried to accomplish in this edit is the shot changing quickly to go along with the rhythm of the music. I feel as though I have done this pretty well, all that is left it to put it with the rest of the narrative. 

Film Trailer, more developed

This is my trailer so far. There is still some footage that I need to shoot, hence the black scene before the protagonist buys the lottery ticket. 

The beginning of the trailer is more appealing, I have faded the first voice-mail out so it doesn't end so abruptly. The soundtrack begins earlier in order for the main riff to start as the first establishing shot appears. I believe this works well as it opens up the following scenes more uniquely separating them from the first sequence. The vlog as seen previously is now added into my trailer. There are clear jump cuts within the vlog in order to get the main information across. As for the scene when the Mum is lecturing the protagonist, although I do like the editing within the sequence the shots become grainy when zooming into the Mum's face. This needs to be reshot and when I do so I will make the characters change outfits in order for it to create the illusion of this happening on a daily basis. 

Other than all of that, I am happy so far with my production piece. 

Joseph Campbell's 'Universal Hero Monomyth'

Joseph Campbell created the influential work 'The Hero with a Thousand Faces' and with this he developed the idea of 'Universal Hero Monomyth.' 

This idea suggest there is an underlying structure of iconography, themes, concepts and narrative structure that is common to the religions, myths and legends of almost every culture in the world. Great success such as George Lucas was influenced by this in order to create 'Star Wars' as in conforms to the Universal Hero Monomyth is every way. 

Ordinary World – The ordered world that the hero will choose (or be forced) to abandon.

Call To Adventure – A problem or challenge arises.

Refusal Of The Call – Fear or reluctance may strike the hero.

Meeting With The Mentor – The mentor is a key character.

Crossing The First Threshold – The hero commits to the adventure.

Test, Allies, Enemies – The hero must learn the rules that will govern his quest.

Approach To The Innermost Cave – The most dangerous confrontation yet, perhaps the 

                                                                     location of the treasure, or the object of the quest.

Ordeal – The hero must face his fear or mortal enemy who will seem more powerful. Mental or

                 physical torture may occur.

Reward (Seizing The Sword) – The hero can celebrate the victory.

The Road Back – Vengeful forces controlled by the villain are unleashed.

Resurrection – Perhaps a final confrontation with death.

Return With The Elixir – Return to the ordinary world with some wisdom,  knowledge or 

                                              something else gained from the adventure.

Although I haven't followed this narrative structure from the start of my production, I still feel my story line can follow the 'Universal Hero Monomyth' and this is how it would look. 

Ordinary World - Protagonist always stays at home, not many friends playing WoW all the 

                                time. 

Call to Adventure - Grandad becomes ill, this creates a problem

Refusal of The Call - Protagonist does not go and visit his Grandad, despite being asked. 

Meeting with Mentor - Mum, who becomes a main role, tells the protagonist about Grandad.

Crossing the First Threshold - Now than the protagonist is benefiting from his Grandad he 
                                                           begins to go 'off the rails' which is ultimately the start of his 
                                                          'quest' ahead. 

Test, Allies, Enemies - He is told to be sensible with his money and is given different 
                                          suggestions of how he can spend it or use it wisely. 

Approach to the Innermost Cave - Rather than a confrontation, the protagonist is more 
                                                                 swept into a world of 'misuse' and finds a way of enjoying
                                                                 his new income.

Ordeal - Everything begins to go wrong with the protagonists life as he begins to lose family 
                and friends. He begins to fight against them in a way. 

Reward (Seizing the Sword) - Protagonist begins to celebrate as he feels as though he is
                                                        more important now and can do as he pleases. 

The Road Back - He is kicked out of his home and realises that 'the battle' is not won just yet. 

Resurrection - After realising he has done wrong, the protagonist tries to undo what has
                           become of him and wishes to put things back to normal. 

Return with the Elixir - After the whole quest, the protagonist returns back to normal life at 
                                           home with the remainder of his money, more respect for his family
                                           and begins a more successful and sensible lifestyle. 

Vladmir Propp Character Theory

Vladmir Propp was a Russian theorist who studied the narrative structure of Russian Folk Tales. He concluded that within all of the 100 folk tales he analysed, all the characters could be resolved in seven broad character types. 

These different character types were as follows, with Star Wars examples: 

The Villain - The Character that struggles against a hero  (e.g. Darth Vader)

The Donor - Prepares the hero giving him equipment that will become useful. (e.g. Obi-Wan,
                        Yoda)

The (magical) Helper - The character that assists the hero throughout his journey. (e.g. Han 
                                          Solo, C3PO, R2D2)

The Princess and Her Father - This character gives the task to the hero and identifies the 
                                                          false hero. The princess often marries the hero and is sought 
                                                         for throughout the narrative. Propp noted that functionally, the 
                                                         princess and father cannot always be clearly distinguished. 
                                                         (e.g.Princess Leia) 

The Dispatcher - This character makes the lack known and that there is something wrong and
                                 therefore sends the hero off. (e.g. Obi-Wan) 

The Hero or Victim/ Seeker Hero - This is the character that reacts to the donor and weds the
                                                                 princess. (e.g. Luke Skywalker)

False Hero - This character takes credit for all the work the real hero has done and therefore 
                        tries to marry the princess. (e.g. Han Solo?) 

My film does not have a lot of different characters featured within the narrative, it is mainly focused around the one character but 'The Hero' would be the main protagonist 'Sam Shaw' because it is mainly based around his life and despite doing wrong tries to fix everything which therefore makes his Mum 'The Dispatcher' as she highlights how his Grandad is ill but also how he has messed everything up. 'The Donor' would be the Grandad who passes away because if it wasn't for him giving all his money to the protagonist then he would never have experienced a 'new way of life.' In a way, 'The Villain' is also the main protagonist because, despite him being 'The Hero' as well, he is struggling against what he has done in order to fix everything.                                            

Kate Domaille's Narrative Theory

Kate Domaille believed every story ever told can be fitted into one of eight narrative types. Each of these narrative types has a source, an original story upon which the others are based. These stories are as follows:

Achilles - The fatal flaw that will eventually lead to the destruction of the 'flawless' for example 

                   Superman.

Candide - This is the story that the indomitable hero cannot be put down. Examples are James 

                   Bond, Rocky etc. 

Cinderella - This story is when dreams come true and it's happy, more seen in romantic 

                       genre's such as Pretty Woman. 

Circe - This is about a chase, hero versus villain. A battle between the good and the bad. 

Faust - This narrative story is more about 'selling your soul to the devil' and becoming better off  

              but will ultimately fail and your soul will belong to the devil. 

Orpheus - In this narrative, something personal or loved becomes lost or taken and therefore 

                    the narrative follows the journey in order to retrieve what has been lost. An example 

                   would be 'Taken.' 

Romeo & Juliet - This is the 'love story.' A romance between two characters. An good 

                               example is 'Titanic' and possibly 'Dirty Dancing.' 

Tristan & Iseult - Yet again more often seen in romantic genres, a love triangle. When a 

                                character loves another however they are already spoken for or a third party   

                                becomes involved. 

Out of all these narrative types I believe my film follows the 'Faust' narrative structure. The reason being is because, although he doesn't sell his soul to the devil, the protagonist has to lose something in order to gain which is my film he loses his beloved Grandad and eventually inherits all of this money. After doing so he goes off the rails and loses everything completely.  

Bordwell and Thompson Theory

Bordwell and Thompson offer two distinctions between story and plot. These relate to the deigetic world of the narrative that the audience are positioned to accept and that which the audience actually see. This is based on the Russian Film Theory:

Fabula - This is the story. This means that all the events in the narrative that we see and infer. It 
                is defined as the chronological series of events that are represented or implied. 

Syuzhet - This is the plot. This means that everything that is visible and audible are presented 
                   before the audience. Syuzhet is seen as the order, manner and techniques or their 
                   presentation in the narrative. 

The story of my film is that a boy lives at home with his Mum with not many friends and therefore doesn't get out much, even when he does get invited out he never does. His Grandma and Grandad are beloved relations and when the Grandad becomes ill it is fairly dramatic for the Mum as well as the protagonist. The Grandad and protagonist both buy a lottery ticket and the reason for the Grandad doing so was in hope that he could leave something behind. He wins but unfortunately passes away the next day leaving the winnings to his Grandson. All the winnings go to the protagonists head making his behaviour and nature completely change before finally losing everything he had before and having to rebuild his relationships. 

The plot of my story, so what the audience actually see, is that the boy is selfish and doesn't really care for much that happens in his life. He doesn't show any remorse about his Grandad passing away and instead of being sensible he uses the money that has been left behind to 'have a good time.' This ultimately goes wrong leaving the protagonist all alone and being kicked out of his house. 

Lottery Scene in film trailer

This is a scene in my film trailer that shows the protagonist walking into a shop and buying a lottery ticket. 

This scene shows the editing technique I have been influenced by in the '127 Hours' trailer. The reason it is effective is because there are several jump cuts but because the previous clip is still playing it also shows progression. Not only that, but by putting the three clips together it shortens the length of time taken to portray this scene to the audience leaving more time to highlight other key areas of the film. 

Ending to my film trailer, first edit.

This is the first edit of the ending to my film trailer. The story is, is that the protagonist has finally been kicked out of his house and is walking away, where to nobody knows. 

The first shot of the protagonist walking up to the door cuts off his head. This can be interpreted as a bad shot however, the connotations of it show that because we cannot see his face we are unsure of who this person is anymore. 

As he walks up to the camera he becomes a black silhouette. I do like this shot because it adds enigma, there is nothing to this character anymore and we know longer know who he is. 

The soundtrack I feel is pretty well timed, I will probably perfect when putting the whole piece together as well as re-shooting the shots in order to get the right angle and compare them to see what works best. Overall, not a bad first edit. 

Classic Narrative Structure

The narrative means the structure of the story, and within the narrative there is always the classic narrative structure;

Equilibrium -> Disruption -> Quest -> Resolution

Equilibrium means there is balance within the diegesis. This is generally how most media texts begin before there is a disruption. The disruption is when something within in the media text changes causing the protagonist of the text to go on a quest in order to fix the change. Finally there is re-equilibrium/resolution at the end of the media text.

A classic story-line for this narrative structure would be a protagonist is a Police Man doing his daily job, equilibrium, but then a criminal, antagonist, robs a bank which causes the disruption. The quest then becomes the protagonist chasing the antagonist and finally catching him causing a resolution.

Following the classic narrative structure, my film trailer begins with a boy who stays at home with no zest for life and nothing really changes, the disruption is then his granddad dying and him inheriting all of his money causing him to go off the rails. The quest then becomes, after being kicked out, to make up for what he has done and try to rebuild his life and relationships. However, due to this being a film trailer, the resolution cannot be revealed otherwise there would be no reason to see the film.

In order to create verisimilitude within my media text I must ensure than the narrative is believable thus creating a diegesis, a fictional place of which is takes place, that the audience can understand and relate with as well perceiving continuity and spacial and temporal coherence.