As Slumdog Millionaire very nearly didnt see its release and a lot of the word was spread about the movie using the internet, specifically social networking and viral marketing.
Although not as active as it was during the release of the movie Slumdog Millionaire has a Facebook page with millions of likes that was used to create a buzz for the movie, Facebook also shoes you what things your friends and liking meaning that even more people will have seen it just because they know that their friends are interested in it. This page engages the audience by asking them questions about the movie and answering any questions they may have. The page was also used to upload trailers and teaser photos to spark audience interest as well as behind the scenes photos from shooting, this helps create a buzz as the audience can like the page and be updated on their feed when new things are uploaded and can have a sort of contact with the movie.
The Facebook page also holds all the basic information about the movie like its genre, stars, director and basic plot line as well as links to other pages about the movie where the audience can find out more information and see more pictures and behind the scenes content. It also has links to other social networking sites like Twitter where you can find some of the main cast members like Dev Patel and the director Danny Boyle, this is helpful to audiences as many people enjoy learning about those involved in a film.
The use of the internet also helped to give the film global appeal as all the major companies like Amazon and I Tunes offer the movie and its soundtrack regardless of location meaning that the film was able to reach many more people than if it was just released in cinemas and on DVD. To get the word about the movie out even more there were also many ads and widgets places on hundreds of websites to help spark audience interest, these techniques obviously worked as the film became a critically acclaimed box office hit grossing over $377 million.
Showing posts with label Stacey Davies. Show all posts
Showing posts with label Stacey Davies. Show all posts
Slumdog Millionaire - Attracting Audiences
There are many ways in which Slumdog Millionaire has attracted audiences, the marketing being the most obvious, but also its narrative and themes, and even the setting.
As Slumdog Millionaire was distributed by two different companies there were two different posters which gave off very different images of the genre and themes in the movie. The American poster attracted audiences with its dark and edgy appearance, its use of colour is intriguing and interesting, leaving much to be desired as the poster itself at first glance seems mysterious and does not tell you much about the film letting the idea of the film sell itself, it also lacks star names which could be a draw for some audiences like the Explorers who are interested in finding something new and away from the mainstream, the use of Danny Boyle's name could also be a draw for many people as he has a very distinct movie type and an almost cult following of fans. While the UK poster marketed the movie as a feel good hit of the summer with bright and bold copy, a white background and a set up promo photo, this gives the movie an overall happy and light tone as the confetti around Jamal and Latika connote happiness and celebration, this may draw in audiences who are looking for a feel good rom com type film with a happy ending.
Both posters give off very specific ideas about the film and audiences may be drawn to see it to see if their expectations of the movie are met or challenged, some will want their expectations to be met and have the film be typical of its genre while others will be looking for something to challenge them and show them something they have never seen before or at least something away from the mainstream movies.
The trailer gives hints of the films narrative structure which may also attract audiences as it could be a type of film making they have never seen before, the enigma codes presented will leave them with may unanswered questions about the story and they may be intrigued to find out what happens and how it ends, others may have figured out the plot and just want to see if they are right about the movie. The film being set in India may also be a draw for some audiences as they may not not much about the country or seen it be represented in such a way, this could be to reinforce their preconceptions of India or challenge them and show them a whole new side they have never seen before.
As Slumdog Millionaire was distributed by two different companies there were two different posters which gave off very different images of the genre and themes in the movie. The American poster attracted audiences with its dark and edgy appearance, its use of colour is intriguing and interesting, leaving much to be desired as the poster itself at first glance seems mysterious and does not tell you much about the film letting the idea of the film sell itself, it also lacks star names which could be a draw for some audiences like the Explorers who are interested in finding something new and away from the mainstream, the use of Danny Boyle's name could also be a draw for many people as he has a very distinct movie type and an almost cult following of fans. While the UK poster marketed the movie as a feel good hit of the summer with bright and bold copy, a white background and a set up promo photo, this gives the movie an overall happy and light tone as the confetti around Jamal and Latika connote happiness and celebration, this may draw in audiences who are looking for a feel good rom com type film with a happy ending.
Both posters give off very specific ideas about the film and audiences may be drawn to see it to see if their expectations of the movie are met or challenged, some will want their expectations to be met and have the film be typical of its genre while others will be looking for something to challenge them and show them something they have never seen before or at least something away from the mainstream movies.
The trailer gives hints of the films narrative structure which may also attract audiences as it could be a type of film making they have never seen before, the enigma codes presented will leave them with may unanswered questions about the story and they may be intrigued to find out what happens and how it ends, others may have figured out the plot and just want to see if they are right about the movie. The film being set in India may also be a draw for some audiences as they may not not much about the country or seen it be represented in such a way, this could be to reinforce their preconceptions of India or challenge them and show them a whole new side they have never seen before.
Slumdog Millionaire - Narrative
Slumdog Millionaire is told with a non linear narrative structure using multiple flashback sequences ad a parallel narrative. The movie is set during the interrogation scene and the scenes of Jamal's younger years and his time on Who Wants To Be A Millionaire are the flashbacks, because of this the audience are thrown into the film without knowledge of what is going on and have to figure the story out for themselves. Although the technique is used often and the plot is quite simple and easy to follow the way it is used at the start may be confusing at first as the audience would be unsure which narrative comes at what time and which narrative is the primary one, the use of three actors for characters help this as it easy to distinguish one narrative from the other by identifying the ages of the characters.
The use of multiple narratives and flashbacks may have been used by Boyle to reflect the themes of fate and destiny as at first for the audience and Jamal things seem confusing and lacking of any real order but eventually as the story progresses and Jamal comes closer and closer to finding Latika we see there is a plan, a kind of cosmic order that brings everything together in the end. The flashbacks could have also been used to link into the themes of true love and represent that Jamal is stuck in the past and only when he finds Latika again can he truly move on with his life as it is only near the end do the narratives line up and we are just shown the present events signifying Jamals letting go of the past and his new future with Latika.
This technique is also useful because it helps the audience to identify with the characters as they have seen them from such a young and and seeing them grow up they form a stronger connection and root for them more and they may have if just thrown into their lives at age eighteen, it also gives the audience a deeper understanding of the characters as they can see how their lives have shaped and what made them the people they are today, this makes their decisions and actions in the present scenes more relevant as we understand the things they have been through and what drives them to do what they do.
The use of multiple narratives and flashbacks may have been used by Boyle to reflect the themes of fate and destiny as at first for the audience and Jamal things seem confusing and lacking of any real order but eventually as the story progresses and Jamal comes closer and closer to finding Latika we see there is a plan, a kind of cosmic order that brings everything together in the end. The flashbacks could have also been used to link into the themes of true love and represent that Jamal is stuck in the past and only when he finds Latika again can he truly move on with his life as it is only near the end do the narratives line up and we are just shown the present events signifying Jamals letting go of the past and his new future with Latika.
This technique is also useful because it helps the audience to identify with the characters as they have seen them from such a young and and seeing them grow up they form a stronger connection and root for them more and they may have if just thrown into their lives at age eighteen, it also gives the audience a deeper understanding of the characters as they can see how their lives have shaped and what made them the people they are today, this makes their decisions and actions in the present scenes more relevant as we understand the things they have been through and what drives them to do what they do.
Slumdog Millionaire - Genre
Despite its narrative structure Slumdog Millionaire is said to be very typical and conventional of the Romantic Drama genre but could also be considered a hybrid genre as it also displays elements of Bollywood, Social Realism and British Asian cinema.
The main themes of destiny and true love are very conventional of the genre and are seen throughout as Jamal instantly falls in love with Latika and makes it his goal to be reunited with her and although they are separated never lets go of the hope that they will one day be reunited. The repeated mentions of destiny in the film reinforce this with lines like 'maybe it's written' and 'it's our destiny' showing that maybe it is destiny that the two lovers will reunite in the end and live happily ever after.
The representation of the female love interest is very stereotypical of the genre as Latika is the 'damsel in distress' character type, needing to be rescued by Jamal from the gangsters controlling her on more than one occasion. In many shots of Latika she is over lit and shot from a high angle usually with soft, romantic music playing in the background to portray Jamal's feelings for her, this sets her up as the object of his affections and something to be looked at, this is also reinforced by the fact many shots of Latika are shot in a voyeuristic way with Jamal and the audience looking at her without her being aware.
Another convention that can bee seen in the movie is the many obstacles l stopping the two lovers from being together as from their first meeting they are torn apart and continue to be separated until they eventually defeat these obstacles at the end and live happily ever after. These obstacles include Salim who lets go of her hand and lies to Jamal about where she is. The theme of obstacles is also presented on screen in the way that when Jamal and Latika are seen together on screen there is usually something between them, for example in the scene where Jamal finds Latika at the gangsters house, he is blocked by the gate and is looking through it at her, connoting that she is just out of his reach and when she rejects his advances to run away with him the is once again blocked from her by the glass door once again being able to see his dream but not being able to reach it.
There are also many Bollywood influences seen throughout Slumdog Millionaire, the most obvious is the nod to Bollywood movies with the dance sequence during the credit, there are also some typical Bollywood themes displayed in the film like the theme of convenient coincidences with Jamal being able to find Latika in every place he looks, Jamal's reversal of fortune going from a boy from the slums to a millionaire and conniving villains seen with the gangsters
The main themes of destiny and true love are very conventional of the genre and are seen throughout as Jamal instantly falls in love with Latika and makes it his goal to be reunited with her and although they are separated never lets go of the hope that they will one day be reunited. The repeated mentions of destiny in the film reinforce this with lines like 'maybe it's written' and 'it's our destiny' showing that maybe it is destiny that the two lovers will reunite in the end and live happily ever after.
The representation of the female love interest is very stereotypical of the genre as Latika is the 'damsel in distress' character type, needing to be rescued by Jamal from the gangsters controlling her on more than one occasion. In many shots of Latika she is over lit and shot from a high angle usually with soft, romantic music playing in the background to portray Jamal's feelings for her, this sets her up as the object of his affections and something to be looked at, this is also reinforced by the fact many shots of Latika are shot in a voyeuristic way with Jamal and the audience looking at her without her being aware.
Another convention that can bee seen in the movie is the many obstacles l stopping the two lovers from being together as from their first meeting they are torn apart and continue to be separated until they eventually defeat these obstacles at the end and live happily ever after. These obstacles include Salim who lets go of her hand and lies to Jamal about where she is. The theme of obstacles is also presented on screen in the way that when Jamal and Latika are seen together on screen there is usually something between them, for example in the scene where Jamal finds Latika at the gangsters house, he is blocked by the gate and is looking through it at her, connoting that she is just out of his reach and when she rejects his advances to run away with him the is once again blocked from her by the glass door once again being able to see his dream but not being able to reach it.
There are also many Bollywood influences seen throughout Slumdog Millionaire, the most obvious is the nod to Bollywood movies with the dance sequence during the credit, there are also some typical Bollywood themes displayed in the film like the theme of convenient coincidences with Jamal being able to find Latika in every place he looks, Jamal's reversal of fortune going from a boy from the slums to a millionaire and conniving villains seen with the gangsters
Slumdog Millionaire - Success
A films success is typically measured in its box office numbers and the number of awards it has been nominated for and received. Slumdog Millionaire was produced on a budget of around $15 million and during ts run took in over $377 million making an astounding success at the box office, the film was also nominated for 10 Academy Awards and won 8 of them including Best Picture, Best Director and Best Adapted Screenplay, it also won 7 BAFTAs including Best Film and 4 Golden Globes meaning that is was both a critical and commercial success, but there are many other ways to determine a films success.
Global reach is also another way to determine a films success, as this is a film set in India the opinions of the Indian audience would greatly factor into the idea of its success. Many Indian people expressed their dislike for the movie because of the negative stereotypes it reinforces, Director and Filmmaker Priyadarshan criticized the film by saying "the Westerners loved it. All the Indians hated it. The West loves to see us as a wasteland, filled with horror stories of exploitation and degradation. But is that all there is to our beautiful city of Mumbai?". It has also been criticized by Indian audiences for Jamal's unexplained use of near perfect British English throughout the film as although around a third of the film was in Hindi it was hard for Indian audiences to suspend disbelief and that a young boy from the slums could speak English that well "the transition from child actors who in real life are slum children to young actors who are, just as clearly, middle-class anglophones is so abrupt and inexplicable that it subverts the ‘realism’ of the brilliantly shot squalor in which their lives play out". A release dubbed in Hindi did better at the box office as the Indian people fet it was more realistic and believeable.
Another way to determine success is the careers of those involved after the films release as director Danny Boyle who is synonymous for smaller, riskier, indie type films went on to direct an unconventional but critically acclaimed hollywood movie 127 Hours which is a movie Boyle had been wanting to do for fours years, it can be suggested that without the success of Slumdog Millionaire it may never have been made. Boyle was also trusted to direct the 2012 London Olympics which may not have been possible without his win for Best Director proving him as someone up for the job.
Global reach is also another way to determine a films success, as this is a film set in India the opinions of the Indian audience would greatly factor into the idea of its success. Many Indian people expressed their dislike for the movie because of the negative stereotypes it reinforces, Director and Filmmaker Priyadarshan criticized the film by saying "the Westerners loved it. All the Indians hated it. The West loves to see us as a wasteland, filled with horror stories of exploitation and degradation. But is that all there is to our beautiful city of Mumbai?". It has also been criticized by Indian audiences for Jamal's unexplained use of near perfect British English throughout the film as although around a third of the film was in Hindi it was hard for Indian audiences to suspend disbelief and that a young boy from the slums could speak English that well "the transition from child actors who in real life are slum children to young actors who are, just as clearly, middle-class anglophones is so abrupt and inexplicable that it subverts the ‘realism’ of the brilliantly shot squalor in which their lives play out". A release dubbed in Hindi did better at the box office as the Indian people fet it was more realistic and believeable.
Another way to determine success is the careers of those involved after the films release as director Danny Boyle who is synonymous for smaller, riskier, indie type films went on to direct an unconventional but critically acclaimed hollywood movie 127 Hours which is a movie Boyle had been wanting to do for fours years, it can be suggested that without the success of Slumdog Millionaire it may never have been made. Boyle was also trusted to direct the 2012 London Olympics which may not have been possible without his win for Best Director proving him as someone up for the job.
Slumdog Millionaire - Marketing, Promotion & Distribution
The marketing and promotion of a film is by far one of the most important things to ensure the success of a film as a good marketing campaign can really boost audience awareness and buzz for the movie, the trailer and posters being the main aspects of this as they can convey the genre,plot and characters very quickly as well as the generic conventions so the audience have an idea of what to expect from the film, although in some cases they can be misleading and give the audience the wrong impressions of a film. As Slumdog Millionaire has different distributors for the countries it was shown in this means it also has different posters that give off very different ideas about that film and its themes and story. The American distributors were Fox Searchlight and Warner Brothers while in the UK it was distributed by Pathe.
The American poster has obvious conventions of the romantic genre with the young heterosexual couple which is almost always the norm in romantic dramas. Both characters are facing away from each other connoting a barrier between them, something that is stopping them from being together, the image of Latika running reinforces this and connotes a sense of urgency for them to find each other. The way Latika is lit with high key lighting from above makes giving her an almost angelic look, this ties into one of the movies themes displaying that Latika is someone to be desired and wanted. The main theme of destiny is also presented on this poster with the tagline 'what does it take to find lost love?' set out in the who wants to be a millionaire question format and the lst answer being 'Destiny', this also brings up the idea of perseverance and how far will Jamal go for love. The use of screen shots from the film rather than a set up shot on a plain background (which is often the norm for movie posters) gives the film a realistic, indie vibe.
The indie element of the poster is also shown in the fact that there are no star names referenced on the poster, this is partly because there are no actual big stars in the film (which makes it more realistic and believable) but it also lets the film stand alone and not be weighed down or given any unwanted preconceptions by a big name. The only reference to a star is Danny Boyle's name who is synonymous for gritty, darker, indie type films like Trainspotting and 28 Days Later.
Meanwhile the UK poster presents a much more brighter and positive image of the movie, with its bold vibrant copy standing out on a white background with a staged photo. The bright, bold copy and facial expressions of the characters connote a sense of hope and happiness an overall feeling that this film has a happy ending, reinforced by the bold orange copy 'the feel good film of the decade' by The News of The World, a then large and influential company that could be considered an opinion leader meaning that its opinion on the film would mean a lot to an audience and could result in many more people watching it just because of what they have to say about it.
The American poster has obvious conventions of the romantic genre with the young heterosexual couple which is almost always the norm in romantic dramas. Both characters are facing away from each other connoting a barrier between them, something that is stopping them from being together, the image of Latika running reinforces this and connotes a sense of urgency for them to find each other. The way Latika is lit with high key lighting from above makes giving her an almost angelic look, this ties into one of the movies themes displaying that Latika is someone to be desired and wanted. The main theme of destiny is also presented on this poster with the tagline 'what does it take to find lost love?' set out in the who wants to be a millionaire question format and the lst answer being 'Destiny', this also brings up the idea of perseverance and how far will Jamal go for love. The use of screen shots from the film rather than a set up shot on a plain background (which is often the norm for movie posters) gives the film a realistic, indie vibe.
The indie element of the poster is also shown in the fact that there are no star names referenced on the poster, this is partly because there are no actual big stars in the film (which makes it more realistic and believable) but it also lets the film stand alone and not be weighed down or given any unwanted preconceptions by a big name. The only reference to a star is Danny Boyle's name who is synonymous for gritty, darker, indie type films like Trainspotting and 28 Days Later.
Meanwhile the UK poster presents a much more brighter and positive image of the movie, with its bold vibrant copy standing out on a white background with a staged photo. The bright, bold copy and facial expressions of the characters connote a sense of hope and happiness an overall feeling that this film has a happy ending, reinforced by the bold orange copy 'the feel good film of the decade' by The News of The World, a then large and influential company that could be considered an opinion leader meaning that its opinion on the film would mean a lot to an audience and could result in many more people watching it just because of what they have to say about it.
Social Realism Links
http://www.ejumpcut.org/archive/onlinessays/JC10-11folder/LoachFudge.html
http://www.guardian.co.uk/film/2013/jun/22/mike-figgis-defeatist-british-film-industry?CMP=twt_fd
http://faculty.washington.edu/farkas/HCDE510-Fall2012/Chandler_genre_theoryDFAnn.pdf
http://www.ejumpcut.org/archive/onlinessays/JC28folder/SocialProbFilm.html
http://www.aber.ac.uk/media/sections/textan03.html
http://www.mediaknowall.com/as_alevel/alevel.php?pageID=filmgenre
https://www.dora.dmu.ac.uk/bitstream/handle/2086/4720/SOCIAL%20REALISM%20AND%20REPRESENTATION%20OF%20THE%20WORKING%20CLASS%20IN%20CONTEMPORARY%20BRITISH%20CINEMA.pdf
http://www.medieteori.dk/medieteori/Cook.pdf
http://www.screenonline.org.uk/film/id/1037898/
http://books.google.co.uk/books?hl=en&lr=&id=QdN0mhkEmK4C&oi=fnd&pg=PP9&dq=social+realism+film&ots=8yevAxiDaX&sig=kJTUiqfhn-EwvtPEG5y8RXTuf-8
http://www.bbc.co.uk/programmes/b01pz16k
http://theses.gla.ac.uk/670/1/2007brownmphil.pdf
http://www.film-philosophy.com/vol8-2004/n4wright
http://www.bbc.co.uk/britishfilm/summer/documentary/social_realism.shtml
http://www.guardian.co.uk/film/2013/jun/22/mike-figgis-defeatist-british-film-industry?CMP=twt_fd
http://faculty.washington.edu/farkas/HCDE510-Fall2012/Chandler_genre_theoryDFAnn.pdf
http://www.ejumpcut.org/archive/onlinessays/JC28folder/SocialProbFilm.html
http://www.aber.ac.uk/media/sections/textan03.html
http://www.mediaknowall.com/as_alevel/alevel.php?pageID=filmgenre
https://www.dora.dmu.ac.uk/bitstream/handle/2086/4720/SOCIAL%20REALISM%20AND%20REPRESENTATION%20OF%20THE%20WORKING%20CLASS%20IN%20CONTEMPORARY%20BRITISH%20CINEMA.pdf
http://www.medieteori.dk/medieteori/Cook.pdf
http://www.screenonline.org.uk/film/id/1037898/
http://books.google.co.uk/books?hl=en&lr=&id=QdN0mhkEmK4C&oi=fnd&pg=PP9&dq=social+realism+film&ots=8yevAxiDaX&sig=kJTUiqfhn-EwvtPEG5y8RXTuf-8
http://www.bbc.co.uk/programmes/b01pz16k
http://theses.gla.ac.uk/670/1/2007brownmphil.pdf
http://www.film-philosophy.com/vol8-2004/n4wright
http://www.bbc.co.uk/britishfilm/summer/documentary/social_realism.shtml
Slumdog Millionaire - Production
Explore the factors which affected the production of Slumdog Millionaire
Slumdog Millionaire started out as an unpublished book written my Vikas Swarup which was optioned by the head of film and drama at Film 4 Tessa Ross who saw "emotional power and distinctive cinematic potential" in the story and showed it to writer Simon Beaufoy who was drawn to the different take on the rags and riches tale. Danny Boyle was then contacted to come on as director but he was skeptical at first as he didn't want to make a film about 'Who Wants To Be A Millionaire?' but came around after learning Beaufoy wrote the script and he decided to read it and after reading it agreed to come on as director.
Casting then began and an extensive search in India for the role of Jamal took place but fell short as all the young men in Mumbia tended to be overly muscular and well built as its part of their culture and Danny Boyle just wanted an ordinary looking guy to fill the role. It was Boyle's daughter who suggested Dev Patel because she was a fan of his previous work on the show Skins. There was a lot of controversy surrounding the casting of actual slum children to play roles in the movie, they were accused of exploiting and underpaying the child actors and according to their parents Rubina (Young Latika) was paid £500 for a years work while Azharuddin (Young Salim) was paid £1700. A spokesperson for Fox Searchlight claimed "fees were more than three times the average annual salary an adult in their neighbourhood would receive" and trust funds were set up in the actors names but no sum or evidence of the this was provided.
Filming on location proved to be a difficult task as there were many unexpected issues the crew came across along the way. Danny Boyle stated that filming in Mumbia is "like the sea - always the same but constantly changing" this is proven by the fact that after finding a location to shoot, they would come back the next day and find a wall built overnight and have to then work around the restrictions the wall posed. Another issue they faced was the fact that the 35ml cameras they were using felt too static as Dany wanted the audience to be thrown into the scenes and become a part of them and not to be just looking at it, the use of the digital cameras made this easier as they could be hand help with a stabiliser and because easily manoeuvred through small spaces and tight corridors to create the feeling of the camera being part of the scene.
Slumdog Millionaire started out as an unpublished book written my Vikas Swarup which was optioned by the head of film and drama at Film 4 Tessa Ross who saw "emotional power and distinctive cinematic potential" in the story and showed it to writer Simon Beaufoy who was drawn to the different take on the rags and riches tale. Danny Boyle was then contacted to come on as director but he was skeptical at first as he didn't want to make a film about 'Who Wants To Be A Millionaire?' but came around after learning Beaufoy wrote the script and he decided to read it and after reading it agreed to come on as director.
Casting then began and an extensive search in India for the role of Jamal took place but fell short as all the young men in Mumbia tended to be overly muscular and well built as its part of their culture and Danny Boyle just wanted an ordinary looking guy to fill the role. It was Boyle's daughter who suggested Dev Patel because she was a fan of his previous work on the show Skins. There was a lot of controversy surrounding the casting of actual slum children to play roles in the movie, they were accused of exploiting and underpaying the child actors and according to their parents Rubina (Young Latika) was paid £500 for a years work while Azharuddin (Young Salim) was paid £1700. A spokesperson for Fox Searchlight claimed "fees were more than three times the average annual salary an adult in their neighbourhood would receive" and trust funds were set up in the actors names but no sum or evidence of the this was provided.
Filming on location proved to be a difficult task as there were many unexpected issues the crew came across along the way. Danny Boyle stated that filming in Mumbia is "like the sea - always the same but constantly changing" this is proven by the fact that after finding a location to shoot, they would come back the next day and find a wall built overnight and have to then work around the restrictions the wall posed. Another issue they faced was the fact that the 35ml cameras they were using felt too static as Dany wanted the audience to be thrown into the scenes and become a part of them and not to be just looking at it, the use of the digital cameras made this easier as they could be hand help with a stabiliser and because easily manoeuvred through small spaces and tight corridors to create the feeling of the camera being part of the scene.
Genre and Social Realism Quotes
"social realist texts are described as 'gritty' and 'raw', offering a 'slice of life' or a view of 'life as it really is" (British Social Realism: From Documentary to Brit Grit)
"The impulse towards realism occurred during a prolonged period of social and structural change: the move from the country to the city by thousands of workers to feed the growing industrial infrastructure (particularly in Britain); the new political idea of communism and socialism attempting to provide a sweeping answer for the new working classes created by the industrial revolution; the secularisation of society; the 'new god' of science and its categorisations and reductive methodologies" (British Social Realism: From Documentary to Brit Grit)
"There is no universal, all-encompassing definition of realism, nor is there agreement among academics and film-makers as to its purpose and use. But what we can say is there are many 'realisms' and these realisms all share an interesting in presenting some aspect of life as it is lived" (British Social Realism: From Documentary to Brit Grit)
"Carroll (1996) suggests that the term should only be used with a prefix attached. This is because another important feature of all realisms is how they are produced at specific historical points. The addition of a prefix, such as social-, neo- documentary-, specifies the 'what' and, crucially 'when' of that movement or moment. What is regarded as 'real', by whom, and how it is represented is unstable, dynamic, and ever changing, precisely because realism is irrevocably lies to the specifics of time and place or 'moment' (British Social Realism: From Documentary to Brit Grit)
"Content in terms of themes and issues is usually allied to a film-maker's intent. In British social realism this intent if often reformist, educative or socially purposive in some way, and the choice of issue and the prevalence of certain themes is bound up with a mission or a message" (British Social Realism: From Documentary to Brit Grit)
"Theorist Andre Bazin (1967; 1971) argued that realism should provide room enough for audiences to find their own realities within realist film texts and argues that techniques such as depth of shot and long takes would allow for this space to negotiate the realism for the text" (British Social Realism: From Documentary to Brit Grit)
"The narrative structures of social realist texts tend to operate cyclically or episodically" (British Social Realism: From Documentary to Brit Grit)
"Social realist texts resist resolutions and the future is rarely bright" (British Social Realism: From Documentary to Brit Grit)
"In British social realism, for example, some of the prevalent and recurring themes include: the demise of the traditional working class, changing gender roles, anti-consumerism, the negative effects of capitalism, and national identity" (British Social Realism: From Documentary to Brit Grit)
"British social realist texts were associated with exhibiting a distinct preference for content over style" (British Social Realism: From Documentary to Brit Grit)
"Social realist texts are commonly associated with an observational style of filming which tends to produce a distance between text and spectator" (British Social Realism: From Documentary to Brit Grit)
"As John Hill summarises; [T]he novelty of the movement was largely conceived in terms of “contents”(subjects) – of the presentation of the working class on the screen no longer as the stock types or comic butts of “commercial” British cinema, but as “real”, “fully-rounded” characters in “real” settings (the regions, cities, factories etc.) with “real” problems (both everyday and of the culture/ freedom/restraint, purity/corruption, tradition/modernity, affluence/authenticity). (Hill 1999: 130)" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Set in real locations of industrial towns, most of these films have young working-class men as the main characters, who, unsatisfied with their life, are seeking escape." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Hill states that these shots of the industrial town such as squalid houses, factories with smoking chimneys, and canals in and around the town; add to the film a "reality effect‟ which is placed alongside the use of the regional language and that of non-professional actors." (Realism and Representations of the Working Class in Contemporary British Cinema)
"The descriptive shots of the drab and gritty settings allow the film to achieve an authenticity otherwise unseen in earlier works. Higson calls the effect of those shots „surface realism‟ and further as "moral realism‟: the former authenticates the location itself within the regional accents of the actors, whilst the latter would develop the audiences‟ sympathy and commitment to the state and social problems faced by those places and people." (Realism and Representations of the Working Class in Contemporary British Cinema)
"The British New Wave films repeatedly employ characters with a desire for escape (such as Arthur in Saturday Night and Sunday Morning), or climbing up the social ladder (like Gerald in This Sporting Life or Joe in Room at the Top). Alongside the representation of their open sexuality (and sometimes issues of abortion), this tendency characterises representation of the working class" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Loach's work has never primarily been about visual style: at the core of all his films, are political statements about people marginalised economically or politically within British society. Loach's films from the 1960s through to the 1980s, deal with particular social and political contexts, such as housing problems or union strikes. His main concern is the social system; supposedly designed to help people in a predicament, but which nevertheless works in the opposite manner to further oppress the people and create misery." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Higson calls the effect of those shots "surface realism" and further as "moral realism": the former authenticates the location itself within the regional accents of the actors, whilst the latter would develop the audiences‟ sympathy and commitment to the state and social problems faced by those places and people." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Location shooting in the British New Wave worked in both ways: it reveals the "real" state of these towns and people, and its "authenticity" allows the film to acquire sympathy from the audience" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and/or form (including structure and style) which are shared by the texts which are regarded as belonging to them" (An Introduction To Genre Theory)
"The impulse towards realism occurred during a prolonged period of social and structural change: the move from the country to the city by thousands of workers to feed the growing industrial infrastructure (particularly in Britain); the new political idea of communism and socialism attempting to provide a sweeping answer for the new working classes created by the industrial revolution; the secularisation of society; the 'new god' of science and its categorisations and reductive methodologies" (British Social Realism: From Documentary to Brit Grit)
"There is no universal, all-encompassing definition of realism, nor is there agreement among academics and film-makers as to its purpose and use. But what we can say is there are many 'realisms' and these realisms all share an interesting in presenting some aspect of life as it is lived" (British Social Realism: From Documentary to Brit Grit)
"Carroll (1996) suggests that the term should only be used with a prefix attached. This is because another important feature of all realisms is how they are produced at specific historical points. The addition of a prefix, such as social-, neo- documentary-, specifies the 'what' and, crucially 'when' of that movement or moment. What is regarded as 'real', by whom, and how it is represented is unstable, dynamic, and ever changing, precisely because realism is irrevocably lies to the specifics of time and place or 'moment' (British Social Realism: From Documentary to Brit Grit)
"Content in terms of themes and issues is usually allied to a film-maker's intent. In British social realism this intent if often reformist, educative or socially purposive in some way, and the choice of issue and the prevalence of certain themes is bound up with a mission or a message" (British Social Realism: From Documentary to Brit Grit)
"Theorist Andre Bazin (1967; 1971) argued that realism should provide room enough for audiences to find their own realities within realist film texts and argues that techniques such as depth of shot and long takes would allow for this space to negotiate the realism for the text" (British Social Realism: From Documentary to Brit Grit)
"The narrative structures of social realist texts tend to operate cyclically or episodically" (British Social Realism: From Documentary to Brit Grit)
"Social realist texts resist resolutions and the future is rarely bright" (British Social Realism: From Documentary to Brit Grit)
"In British social realism, for example, some of the prevalent and recurring themes include: the demise of the traditional working class, changing gender roles, anti-consumerism, the negative effects of capitalism, and national identity" (British Social Realism: From Documentary to Brit Grit)
"British social realist texts were associated with exhibiting a distinct preference for content over style" (British Social Realism: From Documentary to Brit Grit)
"Social realist texts are commonly associated with an observational style of filming which tends to produce a distance between text and spectator" (British Social Realism: From Documentary to Brit Grit)
"As John Hill summarises; [T]he novelty of the movement was largely conceived in terms of “contents”(subjects) – of the presentation of the working class on the screen no longer as the stock types or comic butts of “commercial” British cinema, but as “real”, “fully-rounded” characters in “real” settings (the regions, cities, factories etc.) with “real” problems (both everyday and of the culture/ freedom/restraint, purity/corruption, tradition/modernity, affluence/authenticity). (Hill 1999: 130)" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Set in real locations of industrial towns, most of these films have young working-class men as the main characters, who, unsatisfied with their life, are seeking escape." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Hill states that these shots of the industrial town such as squalid houses, factories with smoking chimneys, and canals in and around the town; add to the film a "reality effect‟ which is placed alongside the use of the regional language and that of non-professional actors." (Realism and Representations of the Working Class in Contemporary British Cinema)
"The descriptive shots of the drab and gritty settings allow the film to achieve an authenticity otherwise unseen in earlier works. Higson calls the effect of those shots „surface realism‟ and further as "moral realism‟: the former authenticates the location itself within the regional accents of the actors, whilst the latter would develop the audiences‟ sympathy and commitment to the state and social problems faced by those places and people." (Realism and Representations of the Working Class in Contemporary British Cinema)
"The British New Wave films repeatedly employ characters with a desire for escape (such as Arthur in Saturday Night and Sunday Morning), or climbing up the social ladder (like Gerald in This Sporting Life or Joe in Room at the Top). Alongside the representation of their open sexuality (and sometimes issues of abortion), this tendency characterises representation of the working class" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Loach's work has never primarily been about visual style: at the core of all his films, are political statements about people marginalised economically or politically within British society. Loach's films from the 1960s through to the 1980s, deal with particular social and political contexts, such as housing problems or union strikes. His main concern is the social system; supposedly designed to help people in a predicament, but which nevertheless works in the opposite manner to further oppress the people and create misery." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Higson calls the effect of those shots "surface realism" and further as "moral realism": the former authenticates the location itself within the regional accents of the actors, whilst the latter would develop the audiences‟ sympathy and commitment to the state and social problems faced by those places and people." (Realism and Representations of the Working Class in Contemporary British Cinema)
"Location shooting in the British New Wave worked in both ways: it reveals the "real" state of these towns and people, and its "authenticity" allows the film to acquire sympathy from the audience" (Realism and Representations of the Working Class in Contemporary British Cinema)
"Conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and/or form (including structure and style) which are shared by the texts which are regarded as belonging to them" (An Introduction To Genre Theory)
Lines Of Appeal
Use
of humour as a persuasive device
This advert for Waterfall Bose Noise Reducing Headphones uses humour as a persuasive device to sell their product and also to show how effective their product is.
The humour is denoted in the fact the man on the rowboat is wearing a pair of these noise reducing headphones and because of this he is unaware of the impending doom behind him. This advert is funny because the the images connotes that the man on the rowboat so relaxed and calm as he cannot hear the sounds made by the water because of the effectiveness of the noise reducing headphones he is using, so he is unaware of the dangers.
The Electronic Arts Games slogan is 'challenge everything'. The obvious reason for its success would be because its short and because of that it is easily memorable but there is more to the slogan than its length.
The slogan 'challenge everything' is telling the audience to challenge their gaming expectations and presenting the ideas that these games are unlike any other they have played and will challenge them.
It could also be telling the audience that they should also challenge themselves and and that these games will push them to their limits, this is fulfilling the audiences need to achieve as they want to conquer things they think they may be unable to do and
Use of shock tactics
This advert is bringing the attention to the dangers of having your baby sleep on the bed with you, it is suggesting that having a child sleep on the bed with you is as dangerous as the child sleeping next to a knife.
The uses shock tactics in this advert are not what you would usually expect as there are no graphic or violent images, but a simple yet effective image that demonstrates a danger in the home that many parents may be unaware of.
It will be shocking to the audience as most parents could see having their child on the bed with them a good thing as they can make sure they are alright throughout the night and don't have to leave them alone in a cot with a baby monitor and not realize that by doing this they are risking the life of their child.. The use of these images to show this will appeal to the audiences need to nurture and the need to feel safe, this advert connects with the parental instincts in the audience, it would mostly be
Yorkie are traditionally known as a mans chocolate bar since the 'trucker' advert from the 1970s and the newer adverts are intended to literally stop women from purchasing it and reclaiming the Yorkie as 'the chocolate for men' to do they they have replaced the 'O' in Yorkie with the image of a 'no' road sign with the line cutting through a woman.
This advert has the tag line 'Its not for girls' and Yorkie use the typical stereotype of 'girly' and 'feminine' women who love pink with the copy 'Not available in pink' and the preferred reading of this would be that this is a mans chocolate bar and because the wrapper is not pink that a woman would not want it as women love pink and will only buy pink products.
Intertextuality in advertising
The intertextual reference to Dallas is denoted by the title card of the advert as it is in the same style of the Dallas title card and the house set up and style is very similar to the one used in Dallas. The Dyansty reference is to the 'classic' scene where Alexis pushed Crystal down the stairs.
The use of this reference is rewarding to those in the audience who can identify the specific reference but can also work for the ones that do not see it as the rest of the audience will see the intertextual reference as just being typical dramatic soap and may connect it to other shows like it.
These adverts are used to by apple celebrate the historic figures whose contribution
to society has changed the world in some way, the campaign includes people such as Albert Einstein, Amelia Earhart, Alfred Hitchcock and many more highly influential members of society.
The use of these figures connote to the audience that the ideologies held by the apple company and staff, that they think very highly of their products and the innovation and creativity involved in making and producing them and hope to change the world in ways like the figures have.
As the audience makes the connection they will also start to believe the ideologies and take on the preferred reading that apple are a highly creative and wold altering brand like the icons used to advertise them.
The humour is denoted in the fact the man on the rowboat is wearing a pair of these noise reducing headphones and because of this he is unaware of the impending doom behind him. This advert is funny because the the images connotes that the man on the rowboat so relaxed and calm as he cannot hear the sounds made by the water because of the effectiveness of the noise reducing headphones he is using, so he is unaware of the dangers.
Using Young & Rubicams 4Cs model i think that the target audience for this advert would be the Explorers, not because of what is denoted in the advert because the Explorers search for new experiences and challenges in life and this advert would appeal to their need for discovery and could also connect with them through the connoted ideology that they can do anything with these headphones, even something dangerous.
Use of slogans
Use of slogans
The slogan 'challenge everything' is telling the audience to challenge their gaming expectations and presenting the ideas that these games are unlike any other they have played and will challenge them.
It could also be telling the audience that they should also challenge themselves and and that these games will push them to their limits, this is fulfilling the audiences need to achieve as they want to conquer things they think they may be unable to do and
Use of shock tactics
This advert is bringing the attention to the dangers of having your baby sleep on the bed with you, it is suggesting that having a child sleep on the bed with you is as dangerous as the child sleeping next to a knife.
The uses shock tactics in this advert are not what you would usually expect as there are no graphic or violent images, but a simple yet effective image that demonstrates a danger in the home that many parents may be unaware of.
It will be shocking to the audience as most parents could see having their child on the bed with them a good thing as they can make sure they are alright throughout the night and don't have to leave them alone in a cot with a baby monitor and not realize that by doing this they are risking the life of their child.. The use of these images to show this will appeal to the audiences need to nurture and the need to feel safe, this advert connects with the parental instincts in the audience, it would mostly be
Stereotypes in advertising
This advert has the tag line 'Its not for girls' and Yorkie use the typical stereotype of 'girly' and 'feminine' women who love pink with the copy 'Not available in pink' and the preferred reading of this would be that this is a mans chocolate bar and because the wrapper is not pink that a woman would not want it as women love pink and will only buy pink products.
Intertextuality in advertising
The intertextual reference to Dallas is denoted by the title card of the advert as it is in the same style of the Dallas title card and the house set up and style is very similar to the one used in Dallas. The Dyansty reference is to the 'classic' scene where Alexis pushed Crystal down the stairs.
The use of this reference is rewarding to those in the audience who can identify the specific reference but can also work for the ones that do not see it as the rest of the audience will see the intertextual reference as just being typical dramatic soap and may connect it to other shows like it.
Elite Persons in advertising
The use of these figures connote to the audience that the ideologies held by the apple company and staff, that they think very highly of their products and the innovation and creativity involved in making and producing them and hope to change the world in ways like the figures have.
As the audience makes the connection they will also start to believe the ideologies and take on the preferred reading that apple are a highly creative and wold altering brand like the icons used to advertise them.
Reward & Punishment
This anti drug advert uses reward and punishment ideologies, mostly punishment and is powerful for many reasons.
Firstly because it appeals to the audiences need for Love and Belonging because it shows the audience that they are not the only ones affected by drug use, this advert is from the perspective of the children as the copy on the right is written in the style of a child so the audience is shown how the children are effect by the drug use of a parent. This appeals to the audiences need for Love and Belonging as their actions are putting a strain on the family and their children.
As well as the punishment ideologies, that they are bad parents, it appeals and fulfills the audiences need to nurture as the image is of two unhappy children and it will bring out a parental instinct in the audience and it will make they want to look after them and care for them.
Firstly because it appeals to the audiences need for Love and Belonging because it shows the audience that they are not the only ones affected by drug use, this advert is from the perspective of the children as the copy on the right is written in the style of a child so the audience is shown how the children are effect by the drug use of a parent. This appeals to the audiences need for Love and Belonging as their actions are putting a strain on the family and their children.
As well as the punishment ideologies, that they are bad parents, it appeals and fulfills the audiences need to nurture as the image is of two unhappy children and it will bring out a parental instinct in the audience and it will make they want to look after them and care for them.
The Text that Changed My Life
I think a text that changed my life would be Blink-182's 2003 self titled album. I would say that this album 'changed my life' because i heard it at such a young age and it was so bizarre and different from anything i had ever heard before.
I first heard this album when i was about nine years old because my older brother was a huge fan and had decided i was old enough to listen to some of their music as they are famous for having some vulgar songs with many swear words This album was more toned down than the likes of Dude Ranch or Take Off Your Pants and Jacket
I think this album helped me define my tastes in music and introduce me to a whole other world of genres id would have probably never have found without it. Just a year before this album was released Blink-128 were touring around America with Green Day on the Pop Disaster Tour and because of this my brother also became interested in Green Day and let me listen to some of their songs too.I then became a huge fan of Green Day and became infatuated with their music and took it upon myself to find more bands that sounded like they did.
Listening to Blink-182 at such a young age shaped my taste in music, the way i look for new artists to listen to, the way i listen and appreciated music and has introduced me to many of bands of similar genres/bands that have been influenced by Blink-182. I also think, as cheesy as it sounds that this band helped me 'find myself' and helped me develop a real personality and find friends with the same interests.
Uses & Gratifications
Merlin
Entertainment/Escapism:
I use Merlin as a source of entertainment and escapism because of its fantasy-adventure genre and action packed story lines.
Merlin fulfills the escapism need for me as it is really easy to get lost in and distracted from real life situations by the stories of magic, wizards and dragons and end up watching a whole season in a day or two, because of these themes in the show its easy to become immersed in the fantasy world and become attached the the characters, feel like you're on the journey with Merlin and you end up not wanting to stop watching.
Merlin is entertaining because of the action scenes, the characters even though fictional and in a fantasy setting are still easy to relate to, feel sympathetic towards and enjoyable to watch the mythical setting where almost anything can happen.
Russell Howard's Good News
Entertainment, Information/Surveillance:
I used Russell Howard's Good News as a source of Entertainment and Information/Surveillance because Russell's show looks at the most recent, interesting and talked about news stories and topics from all over the world and he makes fun of them and the people involved and tries to put a lighthearted spin on them and keep people positive and entertained.
Russell Howard fulfills Information/Surveillance as i choose to watch it because the normal style of many TV news shows are sometimes quite dry and will not usually keep a lot of my attention for a long time, because of this is way Russell presents his show helps me learn about current events while having fun and enjoying the experience as a whole.
It is also entertaining because he has a stand up comedian at the end of the show and throughout the show Russell presents ridiculous clips from youtube/the news just to make people laugh, he also creates some of his own small sketches/songs that relate to the news topic at hand.
Audience Classification
Game Of Thrones
Game Of Thrones is an American medieval fantasy drama adapted from George R. R. Martin's 'A Song of Ice and Fire' book series that premiered on HBO in April of 2011.
Income/Status: This model would be harder to use to define the audience as their income/status would have no effect on their consumption or enjoyment of the show so its audience may rage from a variety of people from A to E.
Audience Profiling:
A stereotypical audience member for Game Of Thrones would be an amerrican white male aged 16-17 who lives with his parents, he is well educated but in the E class as he is still in education. He sees himself a self confessed 'nerd' as he loves the fantasy genre and he does not a political or religious opinion but would probably class himself as an atheist.
Young & Rubicam's 4Cs:
I think the audience of Game Of Thrones would fall somewhere under the Explorer/Struggler categories.
The explorer may watch Game Of Thrones because it is new show and is unique to anything else that is being shown on TV at the moment. Explorers seek discovery and new experiences and i think this would be a perfect show for them as it is a fantasy drama so it may be unlike things they have seen before, it also follows many narratives so the story lines are varied and forever getting more interesting and complex .
I think the 'Struggler' would consume Game Of Thrones because of its fantasy element as it could provide them with the form of escapism they seek to try and help them forget and about real world and their issues. The audience would find escape from the text as they could immerse themselves in the engaging, exiting and action filled tales of kings and queens, of magic, sword fights and dragons. There is never a dull moment in Westeros so this will keep the audience engaged and distracted from the issues and problems they face in day to day life.
Lifestyle Categories:
I don't feel any of the lifestyle categories would properly describe the audience of Game Of Thrones as they are more to do with peoples ideas, beliefs and attitude towards life than anything else. I do think that some people in the 'Drifter' category may watch it as they are unsure with what they want from their media/their life and Game Of Thrones incorporates many different themes/story lines that could help the drifter find what they are looking for.
Free Choice
Date/Time: Saturday 15th September 7:30 PM
Where did you find it: BBC One
Genre: Science Fiction with elements of Comedy and Romance
What is its purpose: Entertainment
Institution producing text: BBC
Target audience: Doctor who targets a wide range of audiences because it has been showing since the sixties and has a large almost cult following and has become and iconic part of British pop culture It is aimed at both men and women although some would lean more towards it being targeted to men because sci fi is typically a male dominated genre but many more young girls are staring to watch it these days, this could be because of the younger more attractive actor they have hired to play the doctor or simply just because they enjoy the show. It is intended and written as a family friendly show because it is on before the watershed and there is no graphic violence or swearing so the ages would range from around six to late sixties.
Your reaction to the text: I enjoy it because i think the story lines are well executed and always interesting, the performances from the recurring and minor cast is always amazing and believable the plot is full of twists and turns that keep you watching and guessing. I also enjoy how the doctor regenerates every so often and finds new companions because even though i get attached to the characters and the actors its good for them to switch it it up and keep it new because if it was just the same actor and the same one companion for seven seasons it could end up getting boring.
Why would people consume the text: Some people will consume it for the original story lines because it is unlike any other show on TV at the moment and is never repetitive and will have new monsters for the doctor to face, there is also never a dull episode there is always action and adventure they may also watch it because the doctor regenerates every so often and this keeps the show fresh, interesting and keeps the audience watching. People who were children when it first started showing (or even when the reboot started) would watch it because its a significant part of their childhood and they might enjoy the nostalgic elements that come with it because some of the old enemies like the Daleks and Cybermen and still featured in some seasons, they could also watch it to see how the new seasons have changed and if they will continue watching it since the reboot. Sci-Fi fans might watch it because of its reputation and how it has become an iconic show for its genre and want to see if it will live up to the expectations they have of it. Fans of certain actors may also watch it because many people started watching it when David Tennant was cast and have continued to watch it because they enjoy it even though he is no longer part of the cast, they might also watch the show to support their favourite actors.
Could some people react differently to the text and how: People who are not fans of the genre will not enjoy doctor who as even though it has elements of many other genres it is mainly a sci-fi show. Others many like it because watching a show like doctor who can make you seem like a nerd and they care highly of what others think of them. Fans of the old series may not want to watch it because they don't feel as connected to it as they did back in the sixties this could be because of the new writers or even the new doctor as they might not think he is as good as the others.
Movie Review
We Need To Talk About Kevin (2011)
A story about Eva Khatchadourian a mother dealing with the consequences of her sons actions in the murder of his father, his sister and many members of his school. While she is visiting him in prison we are introduced Kevin through her memories of him growing up and are shown her struggle to love her clearly disturbed child. We Need To Talk About Kevin has been dubbed a “suspenseful and gripping psychological thriller” but has failed to live up to some of the hype as the whole movie lacks thrills in the conventional sense with its achingly slow build up and only a couple minutes of anything truly gripping close to the end but it still manages to be a fantastic film that will get under your skin and keep your attention.
Although flawlessly acted by both Tilda Swinton with her heartbreaking vulnerability and Ezra Miller’s skin crawling creepiness (also props to John C. Reilly who stepped out of his usual comedic character to perform in a more serious role) the movie ends refusing to give you any real answers to the events and leaves you with even more questions. As the movie is shown through Eva’s memories as they come to her in the present day we get this slightly scrambled and choppy view of the whole picture giving the movie an unstructured feel that can sometimes be confusing and frustrating as it jumps around the time line.
The use of the colour red is noticeable throughout. The opening scene is a dream sequence where Eva is participating in La Tomatina a tomato throwing festival where all the squashed tomatoes make it look like she is covered in, and surrounded by blood. In the next scene she wakes and is trying to wash away red paint from the outside of her house and car that later you conclude has been vandalised by angry neighbours that by no surprise also looks like blood. There are many more scenes like this of Eva cleaning red from her house and her hands that Ramsay has added throughout the movie that could be the blood Kevin has shed, left Eva to deal with and try to clean up but the film has a noticeable lack of any actual blood.
We first meet Kevin as a teen in prison and are then shown his story at three pivotal points in his life that hold experiences that could be to blame for his actions. Some of these are drawn out scenes with very little dialogue or music and are usually so deafeningly quiet that the silence makes you uncomfortable but keeps you glued to the screen as you wait for that shock that never seems to come. At age six to eight we see Kevin portrayed by the incredibly talented Jasper Newell and is shown to be uninterested in everything and manipulative toward his mother and father. When we are introduced to teenaged Kevin portrayed by the hauntingly fantastic Ezra Miller who plays Kevin in an insufferably charming yet disturbing way Eva has become increasingly worried about Kevin’s behaviour as she blames him for the disappearance of his sister Celia’s pet and the loss of one of her eyes in an accident with a household cleaning solution but does not take her worries further as Franklin insists he is innocent showing that the title is right and they really do need to talk about Kevin.
Taking into account all the minor grievances with this movie it does truly mess with your mind and get you thinking about the argument of Nature vs Nurture and although some parts feel unnecessary and flat they all draw together in the end to leave you stunned not only by the fantastic performance from the actors (Ezra Miller is definitely one to watch) but by how a movie with so little words can make such a powerful impact.
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