Communicating the genre of our text.

Communicating the genre of our text:

The genre will be communicated to our audience through the use of genre signifiers and technical elements. The genre will be signified by incorporating various codes such as, action and enigma codes. Also, technical elements, for instance: camera angles, sounds, editing transitions and the mis-

en-scene.

Signifying the genre to the audience can be achieved by using particular codes like action and enigma codes. Action codes help signify the genre because they aid the dramatic element in which our opening sequence is connoting. An example of an action code we implemented was the stage directions of the protagonist shadow boxing. This builds-up the atmosphere and action aspect of the opening sequence, which in turn communicates the genre to the audience. Also, the use of enigma codes as well, will assist the communication of genre to the audience. For instance: in our opening sequence dialogue was used in order to connote an enigma within the narrative and signify an enigma code. The coach said to the protagonist, “you know what you’re fighting for”. This connotes what happened in the past and audiences ask themselves, what his he fighting for? Therefore, this links in with Roland Bathes Code theory which suggests media texts contain certain codes that guide the audience into understanding the narrative and genre. Accordingly, the genre was communicated through the use of codes signifying specific elements.

Furthermore, the implication of technical elements has indeed helped communicate the genre to our target audience. The use of the camera can connote the genre through the various types of angles shot. Considering our genre includes a biographical aspect the camera angle used to shoot the ‘silhouette’ scene connotes the real life element.  This is due to the fact that the scene is so impactful it makes the active audience think about the protagonist’s journey and story. Moreover, the dialogue included when the coach says to the protagonist, “you know what you’re fighting for”. This signifies the biographical aspect because it is relating to his past. Also, the over the shoulder shot of the protagonist looking in the mirror connotes the dramatic element of our genre because the facial expressions on the protagonists face signify the determination and ambition he possesses.

In addition, there is one crucial diegetic sound effect during the fight scene. The intense breathing of both the protagonist and antagonist; this signifies the immensity and intensity of the action codes implemented within the opening sequence. Therefore, this simple sound effect communicates the action aspect of the genre. This does potentially link into Roland Bathes Code theory because it suggests that codes, such as action, helps audiences interpret a better understanding of the narrative. Also, the non diegetic music featured in the opening sequence is an outstanding track due to the fact that it intensifies and builds-up the atmosphere within the room for the audience. In a way, this does communicate the genre to the audience because it adds a dramatic element to the opening sequence and signifies the drama part of this hybrid genre.

The editing transitions are an important aspect of this opening sequence as they control the flow of the narrative. During the stages of the opening sequence building-up (through the use of music, mis-en-scene and camera work) we incorporated cross dissolves in order to not only slow the pace down but to enable the audience to connect with this opening sequence. This potentially allowed the genre to be communicated because it contributes to the drama aspect of the opening sequence by enabling the audience to feel its impactful features. Also, through the duration of the fight scene, frequent short takes were implemented in order to speed the pace of the narrative up and make it more dramatic and exciting for the audience. Cutting from one shot to another rapidly allowed the fast-paced editing to take place and ultimately encourage the active audience to feel the intensity. Accordingly, this does communicate the genre of our text to the audience because it adds to the action-packed dramatic element of our opening sequence.

Furthermore, the mis-en-scene creates the visuals for the audience and this is extremely important. The make-up of the mis-en-scene consists of various elements, such as: locations, costumes, font etc. The location is crucial as it sets the mood and environment of the film for the audience; but not only that, it does indeed communicate the genre to the demographic. Our hybrid genre includes the sporting category in it and a sub-genre of boxing. Conventionally in boxing films a boxing ring and changing room is featured, therefore we chose these locations in order to develop our understanding of the generic conventions according to the representation behind this. It represents the genre aspects and communicates that with the audience in our text. Also, the costumes as well are an important element to consider as it represents the personality of certain characters and could possibly relate to audiences. According to Vladimir Propp’s character types theory because it suggests audiences relate to particular characters; whether it would be the hero (conventionally the protagonist) or the villain (typically the antagonist). These costumes do in fact communicate the genre to the audience because, through the representation of personalities, this demonstrates specific themes within the genre and therefore it is easy to identify what the genre could be.

Font is another potential aspect of an opening sequence whereby you can establish what the genre could be. For example: the use of modern, block capitals connotes the genre is based around aggressive yet determined behaviour possibly. This signifies an action-packed sporting genre which is exactly what I have done with my opening sequence. Therefore, this communicates the genre to the audience effectively. In fact using this type of font is a generic convention of these film categories, for instance: both Raging Bull and Rocky both contain block capitals in their title credits.