How I've Engaged With Theory So Far

Auterism
Auterism is used in opposition to the idea of genre. An auteur director uses certain elements, whether they be images, audio or ideas, that are individual to their certain style that may appear throughout their works. They produce a 'signature' on each piece. I reject this idea even though I like it's intention. This is because of the well known issue, that a film is not simply the works of one creative mind, it is generally a collaboration of many people involved in the film making process.

Genre
The idea of genre can be defined by Rick Altman in his book 'Film/Genre' that they are 'certain ideologies or narratives'. Basin argued that they make films more efficient by allowing the re usage of plots, they are also more marketable as they use certain conventions as a way of selling the film to an audience.

Although applying a 'genre' to a film can make it easier to find a target audience and also easier to find the correct plot, I feel that pinning an initial idea to a genre can cloud the creative minds behind it, as they become engaged by this one group of films and influence their audiences to view it in a particular way rather than allowing the audience to come up with their own individual interpretation and response to the film. For example, a horror film, as it stands through genre, horror fans, teenagers will go and see it, whereas if it was not tied to this one genre, it may entice a whole new audience who may view it in an entirely different way. They may see it as creative and through provoking, and also a warning perhaps. I believe that genre can limit the ideas of the writer to try and stick to the formulaic format of films.

Audience
I agree with Wertman's comments in (1955) when he attacked TV and comics in "Seduction of the Innocent". He said that the audience are exposed to unhealthy values, identifying with the villain and desensitised. This effects theory could be true to the more influential audience. I believe this could relate to my film as it inflicts an unhealthy portrayal of the police.

Those who are easily swayed into what the media tells them to think could be influenced into thinking in bad ways. For example, in 'Saw VI' (2009), the Jigsaw serial killer John Kramer, is suffering from cancer, we see him in the film talking to a man, William Easton, the owner of a life insurance company, about his life insurance policy and how his wife should still get the pay out when he dies. Easton's argument is that the treatment Kramer suggests does not have a high enough mortality rate for it to be a gain to his company to continue his policy. This results in years later Kramer putting Easton through a series of life endangering, gory tests which ultimately leads him to die. Surely the audience should be lead to try to save Easton, yet this scene in his office makes us identify with the villain and sympathise with a mass serial killer.

I agree that we as an audience are desensitised to the content of films we watch. This can be apparent using 'The Excorcist' (1973) as an example. At it's time it was terrifying, after watching it people complained that they could not sleep, were having nightmares, and were having to leave the cinema before the end. However, nowadays, with the advancement in special effects, films are a lot more graphic, and may youths who have watched 'The Excorcist' now say that it is 'funny' and 'unrealistic'. Many older people from 'The Excorcist's' peak time have also complained that modern horror/slasher films, are 'sick and twisted' and 'shouldn't be allowed'. Often people also worry that it may 'give people ideas'.

The Hypodermic syringe theory (1930's) says that the media has a direct, immediate and powerful effect of audiences. I agree with this theory as the media is the only way we can really hear about things going on around the world without having witnessed it first hand. However, I don't believe I can realte this to my film.

Katz theory (1955) that there is a two-step flow theory, has a lot of truth in it I believe, although I do not agree with the act of doing it. He says that 'Messages flow to opinion leaders and then to less active members of society'. I believe that by the time normal members of the public receive information, it has already been twisted and changed to suit whoever received it first. This can also relate to my film, as it is all about those in power having power.

Representation
Representation can be defined as the how the media constructs meanings about the world. The hegemonic view is that there are inequalities in power between social groups, those at the top being the ones with power. It is believed that it can be achieved through ideology, setting in the minds of those lower down in class ideas that cloud their view of reality, all in the interests of those with the power. I believe there to be a lot of truth in this as when those in power make a decision there is often little we can do about it, yet they make us believe it is in our best interests when often it is only in theirs. To those who believe people at the top can relate to Louis Althusser's theory in 1971, that individuals in capitalist societies 'internalise' their ideologies, unaware that their lives are repressed.

I reject the pluralist approach, that the media reflects the opinions of its audiences, it doesn't construct them. I feel that this cannot hold true when it is those in power that construct the news, and everything else in the media. Although it may lead audiences to believe they are seeing/hearing what they desire, ultimately, they are implanting their own values into them.

Narrative

There are many narrative theories that can be applied to films. Tzvetan Todorov (1960's) said that a story is set up with an equilibrium. This is then disrupted by a sequence of events. At the end all problems are resolved and a new/different equilibrium begins. I believe this to be true for many film structures, but possibly not so true for many short films. Short films are not formulaic and often do not seem to follow any sort of theory. I believe my film could use this idea to an extent, as it begins at an equilibrium, which is disrupted by accusation, then it is sort of resolved by someone going to prison and a new equilibrium begins.

Claude Levi Strauss (in 1949) used the theory of binary oppositions. Examples of this are:
Earth Space
Good Evil
Humans Aliens
Past Present
Normal Strange
Known Unknown
He said that juxtaposing characters are put together in order to provoke a reaction from each other. I also believe this to be true for many films, even if it is subtle. This is how conflict is often created in films, the disruption to everyday life, a contrast in characterisation appears and causes problems. This idea can be applied to my film as the policeman and the suspect are very different in backgrounds. The policeman is very high up in society, whereas the suspect is a previous convict who has very little and is therefore easy to frame.

Vladimir Propp (1928) examined hundreds of folk tales and found there was a recurring pattern, there was generally, eight character roles, and 31 narrative functions.
The eight character roles are:
1. The villain(s)
2. The hero
3. The donor - who provides an object with some magic property.
4. The helper who aids the hero.
5. The princess (the sought for person) - reward for the hero and object of the
villain's schemes.
6. Her father - who rewards the hero.
7. The dispatcher - who sends the hero on his way.
8. The false hero
I don' believe this theory to be true to all films or any type of media, as it seems to be very specific. Especially using short films as an example, who may only star one actor throughout who simply cannot fulfill all of these roles alone. My short film only has three characters, none of whom I would say specifically fit these roles. It could be argued that the policeman is the villain, but the wife is not the princess and the suspect is none of the above.

Roland Barthes (1975) said the narratives work through codes that control the way information is sent out to its audience. He came up with two specific codes:
Enigma Code - a puzzle is set up to engage the audience and hold interest.
Action Code - narrative are resolved through action.
I believe that the enigma code is true to most films, as some sort of plot or problem for the characters is what makes the film, and watching how they overcome it. The action code, tends to be true throughout but I believe has less truth. Short films will tend to have an enigma code, but less likely to have an action code due to the difference in their storylines. I can apply the enigma code to my short film, as it is a puzzle to see who killed this woman. I don't think I can apply the action code however.

Robert McKee said in the 1980's that a character is revealed through the choices they make under pressure. The character takes an action. which is reacted to differently than expected. This can be applied to many existing films, however, I don't think I can use it in my short film. Although all three characters are under pressure, there are no choices to be made. I also do not think it applies to all existing films.