Genre

Here you can post all of the research you find that relates to the critical framework option:

GENRE

Queer Cinema

Lesbian and Gay Cinema - Introduction to Film Studies - 4th Edition. Edited by Jill Nelmes

The Celluloid Closet (1995)

Film analysis: Blue is the Warmest Colour

Film analysis of_blue_is_the_warmest_col from South Sefton College

Batman through the ages

How important is genre to your understanding of your focus films? (La Haine & City Of God) 

Genre is very important in understanding my focus films. Both of these films attempt to comment upon the environment in which they are set, with varying levels of success. To evaluate weather or not the genre of the film helps us the understand it, we must first establish the genre of both of our films. I believe that City Of God uses more conventions from the crime drama than any other genre of film. Firstly, the film highlights the life of a crime figure, in this case Lil Dice/Lil Ze. We see his rise to power from a child, right up to his demise. The film also glorifies this rise by presenting him almost like a kingpin of the favela, showing him with vast amounts of drugs, power, guns and money. The film also uses real life footage in order to try and establish itself as realistic, despite how generic it is. At the ending of the film, we see an interview with the real Knockout Ned, an interview which was copied word for word by the actor playing Ned in the film. Another generic convention of the crime film is the fact that they are usually set in large cities to provide a view of the criminal underworld. As we know the City Of God is in Rio De Janero, both in real life and on screen. In addition to this, the exotic locals for crime often add an element of adventure and wealth, and while City Of God attempts to be realistic in its depiction of the Favela, it is too stylized to be wholly representative. One of these stylized elements is the feeling of adventure and wealth in the film, more specifically the first half before Benny's death. We see Lil Ze and Benny presented as rich, power hungry, with extravagant taste, this is highlighted when Lil Ze cant decide what watch to wear out of his vast collection. Lil Ze also fits the description of a gangster in a stereotypical crime film, he is materialistic, street smart, immoral, meglo-maniacal and self destructive. We see many examples of this throughout the film, for an example of lil Ze being immoral, he shoots a child in the foot for stealing, and even makes him choose if he wants to be shot in either the hand or foot. Finally, the finish evaluating the genre of City Of God, the final convention of a crime film is that rivalry with other gangsters is usually a significant plot characteristic. As we know the main basis of the second half of the film is the war between Carrot and Lil Ze, a turf war that turns the slums into a battle field. 

          As we can obviously see City Of God fits perfectly into the crime genre, despite it being a world cinema film, it is too stylized and generic to be a true depiction of the City Of God. However our second film, La Haine only fits three of the conventions mentioned above.  Both City Of God and La Haine highlight the life of a crime figure or victim, but use it in different ways. La Haine uses the convention to highlight the position of the immigrants and underclass in modern French society. The audience are forced to emphasize with the three young immigrants and consider the prejudice and aggression they encounter from the French state, and other groups within French society. La Haine however, does not glorify the rise and fall of a particular criminal. It attempts to be a social realist film. It presents crime as a necessity, and does not glorify it, This is shown we see Hubert selling drugs, however he gives this money to his mother, to pay the bills. La Haine however, does use head line grabbing situations, and real life crime reports. In the beginning of the film, we see archive footage of the real French riots during the 1990's. As well as this, the death of a French migrant, was a direct influence for the director to make the film. La Haine is also set in a large city, much like City Of God, however La Haine's depiction of Paris, is stylized, but not conventionally, the entire film is shot in black and white, which removes the stereotypical view of Paris being the city of love and the epicenter of French Culture. La Haine is set in France to dispel the rose tinted view of France, and present it from the view of a migrant, such as Vinz, Said, or Hubert. However La Haine, does not show us much of a "criminal underworld" as such, as stated before it presents crime as a necessity, and the crimes shown in the film are never committed to be a part of a bigger picture, (Like City Of God with the turf war), They are either committed out of necessity, or pure anger, such as Vinz's friend shooting the bouncer of a club. La Haine does not offer us an exotic locale or an element of adventure and wealth, as it is appearing to be social realist, therefore generic conventions like this are not used in order to give a more accurate representation of the environment.  

Messages in Children's films

The Hidden Meaning in Children's Films

Beauty and the Beast - Stereotyping in Children's Films

Beauty and the beast - Stereotyping in Children's films from South Sefton College

'True Life' Films

The Problem with 'Based on a true story..."

Women in Horror

Here you will find resources relating to Women in Horror Films

Presentation Script - Draft 1

VIDEOGAME MOVIES: FAILURE & FUTURE

INTRODUCTION

[Begin cycling slideshow of various different multicultural people playing games.]

There are more than 1.2 billion 'gamers' [1] in the world, and this figure continues to rise as technology advances. There's no surprise then that the film industry have been trying to 'crack the code' when it comes to videogame movie adaptations, however these adaptations have a high element of risk, this can be for a variety of reasons; previous adaptations thus far have been a failure, the average videogame movie adaptation has a "Rotten Tomato rating of an abysmal 18%".[2] With the history of videogame movies looking unhealthy, why will more of these movies come out in the next 10 years than ever before? [3].

[Play Youtube vid (https://www.youtube.com/watch?v=M1ZJ6yZwdRg) showing Uwe Boll movie trailer)

Also, these aren't any old Uwe Boll movies, some of these franchises are worth millions. For example, the one-game-wonder 'Minecraft' will be seeing a cinematic adaptation, the franchise is worth $2'000'000'000 after it was recently bought buy the giant Microsoft [4]. Linda Hutchenson says "it is not simply a matter of risk-avoidance; there is money to be made" [5], and Thomas Tull agrees "though movies based on videogames don't have a great critical track record the same can't be said for the commercial opportunity of such films." [6].

CASE STUDY 1 - RES EVIL

[Begin slideshow of clips and scenes from the Resident Evil franchise, both videogame and cinematic expansion.]

The Resident Evil franchise remains as the most successful series of videogame movie adaptations, both critically and financially. There have been 5 cinematic releases out of this franchise, with total franchise revenue of $244.4 million and with more releases soon to come. [7] However, as you can see this figure is lackluster and not so impressive when compared to mainstream hollywood. this is even eclipsed by the Kung Fu Panda, which only has 2 films and is estimated to have made $380.7 million [8].


THEORY 1 - ADAPTATION

CASE STUDY 2 - DOOM

CASE STUDY 3 - UWE BOLL (pick one film) (farcry)

CONCLUSION

BIBLIOGRAPHY

[1] http://venturebeat.com/2013/11/25/more-than-1-2-billion-people-are-playing-games/
[2] http://www.gamnesia.com/articles/can-video-game-movies-recover#.U7-9tWTrUVw
[3] http://en.wikipedia.org/wiki/List_of_films_based_on_video_games
[4] http://www.trustedreviews.com/news/microsoft-in-serious-discussions-to-buy-the-minecraft-empire
[5] Beginning to theorize adaptation, by Linda Hutcheon, 2006
[6] http://www.gamespot.com/articles/why-are-video-game-movies-usually-so-bad/1100-6419635/ [7] http://www.filmsite.org/series-boxoffice.html
[8] http://www.filmsite.org/series-boxoffice.html

[N] https://www.youtube.com/watch?v=on8HYW9dPd0&list=PLZtG_sUP5jorX4Q4x1vCTtyrICSL7RBu- "They do one little thing like the video game, then they think they're home free!"
[N] https://www.youtube.com/watch?v=on8HYW9dPd0&list=PLZtG_sUP5jorX4Q4x1vCTtyrICSL7RBu- "There was always very little respect for the video games"
[N] http://www.imdb.com/name/nm0027271/bio?ref_=nm_dyk_qt_sm#quotes "If you work with a subject matter beloved by a hardcore fan base, then there's going to be a huge amount of discussion of what you've got wrong or right. In some ways you can never please overly obsessive fans, it's just impossible." this is the same for other media text adaptations.
[N] https://www.youtube.com/watch?v=uIgGNYjRz4w&list=PLZtG_sUP5jorX4Q4x1vCTtyrICSL7RBu-  "stay faithful to the essence of the game"
[N] https://www.youtube.com/watch?v=uIgGNYjRz4w&list=PLZtG_sUP5jorX4Q4x1vCTtyrICSL7RBu-  "Hire good writers and directors that have respect for the material."

comedy text from 'genre and Hollywood' book

The text I have chose to study is from a book called 'genre and Hollywood' by Steve Neale, this is the first edition of the book and was published in 2000. I studied the text about comedy genre from this book which talked about conventions, ideologies and social issues at the time each type of comedy was introduced to Hollywood.

The text begins with telling us how 'comedy has always been a significant staple in Hollywood's output' therefore we know that comedy is an important genre.

The text says that since the days of Chaplin, the frameworks of concern have 'tended to focus on issues of aesthetic integrity, self-expression and direct or indirect social and cultural worth'.
However in more recent books the focus has changed, the text says 'Aesthetics, evaluation and socio-cultural issues are by no means absent from more recent books. But the agendas within which they are working are in general rather different from those governing earlier writing and research. They include feminism, gender and sexual politics; structuralism, semiotics, post-structuralism and psychoanalysis; cultural studies, race and ethnicity; and the 1980s turn towards archival and historical research.' - i think that this information is very useful as I can see which social issues are apparent in more recent comic films compared to earlier comic films.

'Comedy can also entail an array of defining conventions (from the generation of laughter to the presence of happy endings to the representation of everyday life)' - this is more evidence linking to the point on my previous research of a wiki page, it tells us that it is hard to collect the conventions of comedy and the only way of defining comedy as a whole is making people laugh.

The text tells us how we can identify a comedy film by saying 'most discussions of comedy begin by acknowledging a basic distinction between what might be called its comic units - gags, jokes, funny moments and the like - and the narrative and non-narrative contexts in which they occur'.

Uwe Boll - Video game movies

Quotes (w/ sources) involving the director 'Uwe Boll' and his videogame movie examples.

Uwe Boll is a German film director. He is more commonly known for loosely adapting videogames into movies. He has directed such videogame movies as; House of the Dead (2003), Alone in the Dark (2005) , BloodRayne(2005). Here are a list of these films and their box office statistics:

Movie Title	Worldwide	Year	Rotten Tomatoes %
House of the Dead	$13,800,000 [2]	2003	4%[5]
Alone in the Dark	$2,400,000 [3]	2005	1%[6]
BloodRayne	$3,700,000 [4]	2005	4%[7]

As you can see, these figures aren't great, despite some of the franchises he bought the right to adapt to films, like the successful videogame franchise 'FarCry'. Which is now a hugely popular franchise and their recent video game release, Farcry 3 (2012), sold over 9 million copies!

** He wants to fight everyone **
** Add quotes from people **

Sources:
[1] http://en.wikipedia.org/wiki/Uwe_Boll#Films
[2] http://www.boxofficemojo.com/movies/?id=houseofthedead.htm
[3] http://www.boxofficemojo.com/movies/?id=aloneinthedark.htm
[4] http://www.boxofficemojo.com/movies/?id=bloodrayne.htm
[5] http://www.rottentomatoes.com/m/1126175-house_of_the_dead/
[6] http://www.rottentomatoes.com/m/alone_in_the_dark/
[7] http://www.rottentomatoes.com/m/bloodrayne/

Interactivity - Video game movies

Quotes (w/ sources) involving the lack of interactivity involved with the cinematic experience.

'Players can inhabit a known fictional, often striking, visual world of digital animation.' [1]

As this quote suggests, videogames poses a wide amount of interactivity, this is something that the cinematic experience lacks. This could be a potential reason for videogame movie failure at the box office. In the videogame 'Doom' (1993) the audience control the main protagonist from a first person perspective and progress in the narrative, however in the movie 'Doom' (2005) the audience follows the main protagonist in his journey to resolve the disruption. In a videogame the audience takes control of the character, in a movie the character controls itself, therefore the audience have no role in the experience. However, unlike a standard Videogame Movie, 'Doom' attempts to bridge the gap between Videogames and the Cinematic Experience via the use of a series First Person Shooter-like Point of view shots of our gun-wielding protagonist. For videogame movies to find success, a film should be

'closer to the videogame.'[2] 

This scene is simply a gimmick to give audiences a nostalgic effect and let them reminisce about playing the widely popular original videogame. Not only this, but film audiences and videogame audiences are entirely different. In a videogame, the audience is 'Active' and takes the most important role in the narrative, controlling the protagonist. In film, the audience is 'Passive' and have no direct impact on the narrative. Simply, as user 'PrpleTrtleBuBum' puts it:

'I get totally immersed in a 5-60 hour game vs I passively watch a 2 hour movie'[3]

Sources

[1] 'Beginning to theorize adaptation' Linda Hutcheon

[2] http://www.ejumpcut.org/archive/jc49.2007/HarperResEvil/ Stephen Harper

[3] http://www.gamespot.com/articles/why-are-video-game-movies-usually-so-bad/1100-6419635/ Eddie Makuch

Disputing quotes - Video game research

Source: 'Beginning to theorize adaptation', by Laura Hutcheon, 2006

'Film adaptations based on videogames are yet another way of taking one "property" in a "franchise" and reusing it on another medium. Not only will audiences already familiar with the "franchise" be attracted to the new "repurposing", but new consumers will be created".'

By simply making a film of a videogame, a big audience and possitive reactions are not always guaranteed to the new repurposing of the videogame. Maybe to an extent, a small pre-established audience in guaranteed, but this is relative to the audience size on the videogame of which the film is based, these die hard fans of the franchise are usually rare. However, videogame films generally fail at the box office, for example the film 'Postal' (2007) based on the videogame 'Postal' (1997). There are many reasons for the failure of videogame film adaptation; Thomas Tull from Legendary Pictures says 'too often they are made with aspirations for money instead of quality'. 'Films usually see failure is they differentiate themselves from the videogames, for example 'Doom'. ', Jay the IT Technician says.

Research Post - Videogame film adpatations

Source: 'Why are video game movies usually so bad?' by Eddie Makuch, 2014

'too often they are made with aspirations for money instead of quality' Legendary Pictures, Thomas Tull.

'If you simply say "How many people have played the game? How much money can we make?" You're doomed. You're doomed right off the start.' Tull

'Thought movies based on video games don't have a great critical track record, the same can't be aid for the commercial opportunity of such films.'

FROM COMMENTS

PrpleTrtleBuBum: 'I get totally immersed in a 5-60 hour game vs I passively watch a 2 hour movie'.

godzilla_hiper: 'Simply transforming what could be a great story in media to another could destroy the experience.'

tmorri603: 'If it has a good story, then the movie goes too far away from the source material. The people who make the movies don't like or don't care anything about the video game. The movie maker won't take any advice that the maker of the game can have about the character.'





http://www.gamespot.com/articles/why-are-video-game-movies-usually-so-bad/1100-6419635/

Laurel and Hardy

During research, I noticed that filmsite.org wrote "This is primitive and universal comedy with broad, aggressive, physical, and visual action, including harmless or painless cruelty and violence, horseplay, and often vulgar sight gags (e.g., a custard pie in the face, collapsing houses, a fall in the ocean, a loss of trousers or skirts, runaway crashing cars, people chases, etc)."

This is evident in Laurel and Hardy’s ‘From Soup to Nuts’ which is a silent short related to their feature film ‘A Chump at Oxford”. In From Soup to Nuts, during the scene where Laurel and Hardy are serving the food to the civilised family, a lot of physical and visual action to create comedy is used along with sight gags. For example, when we first see Laurel and Hardy in the dining room we see that Laurel is pouring food all over Hardy without noticing as he is holding the bowl unstable, this portrays the character of Laurel and tells the audience that he has a lack of awareness whilst making them laugh at the same time. A very obvious sight gag that we see is when Hardy slips on a banana skin and falls into the cake that he is holding twice, landing face first into the cake. The same also happens to Stan Laurel, however he spills soup when he falls on the banana skin, the soup then lands on a very arrogant member of the civilised family. Painless violence is shown when Laurel slightly knocks the family members chin with his fist, the family member makes an overreaction which causes the audience to laugh and therefore creates comedy.

My second research from a wiki page about comedy said that "Roy Stafford argues that each genre uses “familiar ‘narrative devices’” – and as opposed to other critics he even defines those devices for comedy sufficiently. Stafford (2) explains that in comedy the audience responds to two different comic elements: 

• “The Gag – visual, arual, verbal jokes, carefully timed and delivered for maximum impact;
• Comic situations – ‘narrative comedy’ in which it is the developing relationships between characters and the social environment that causes us to laugh

These two elements make a volatile combination since the performance of gags is often highly disruptive of the progression of the narrative.” " 


In the same scene, we can see evidence to support this quote from Stafford as verbal jokes are presented through text, for example when the family member uses Laurel's shirt to wipe the soap off, Laurel does it back before a shot appears with the words "-How do you like it?-" making the audience laugh. The scene also uses many visual jokes such as sight gags as explained in the previous paragraph. We also see how the situation develops in this scene and how the civilised family become more and more angry with Laurel and Hardy as they cause more havoc, also the family react every time something happens by standing up which makes Laurael become angry with the family.

In this essay I am going to look at how the British youth have been represented in film Throughout the last 50 years different sub cultures have emerged from Britain to create a moral panic, Mods and rockers, skinheads, football hooligans, ravers etc.. the British newspaper laed the groups every day and created a situation which led to far serious consequences than what should of happened. whilst watching a number of films about british youth sub cultures i realised the way the british youth is represented can be varied, they can go from being a no good drug abusing hooligan to a hero, and in my research I aim to find out the reason why the british youth are being represented like this. The three films i Have chosen to study are Cass, Attack the block and This is england. This is england is a real polictical driven film that gives you an insight on how the country was in turmoil in the 1980's and why it was, also a look at the racism and anger that there was. attack the block is a film about a young group of lads who fight off aliens, as the film progresses the representation becomes a lot more positive and develops a sympathetic representation. the film represents the young people as monsters and then eventually replaces them with actual monsters, its a contrast to other "hoodie horror films"
“Societies appear to be subject every now and then, to periods of moral panic. A condition episode, person or group people emerges to become defined as a threat to societal values and interests; its nature is presented in a stylised and stereotypical fashion by the mass media”

The prime minister, Margaret thatcher’s created this image of the football hooligans throughout the 80s and they reacted in creating trouble every weekend at football games. Former west ham hooligan Cass Pennant bases the film “Cass” upon his autobiography, There is a scene in the film were two rival groups meet in Leeds, prior to a match and there is a commentary about it from the main character and he mentions how the new wave off football casual's have took over the terraces, the use of images of Margaret thatcher speaking about the hooligans show how far the moral panic reached throughout society. The fight scene itself is set in a gritty Leeds council estate and shows how degrading their lives were, and also how the violence filled a gap left by lack off government support.  Cultural hegemony is a massive part of how British working class were depicted and there was a clear division in classes when films were being produced                                                                                                                                      
"it is widely acknowledged that this is the age of the moral panic. Newspaper headlines continually warn of some new danger resulting from moral laxity and television programmes echo the theme with sensational documentaries"

Cass is one of many films such as green street, football factory, away days etc. are all films based upon the football hooligan culture and have similar themes, story lines and character templates. there is always the older hooligan that everybody looks upto, then there is the newcomer that sees all this happening and wants to join in which is what makes the storyline. the way the films have been produced to show hooligansism gives the impression that it is easy to get away with and there is no strings attached and no consequences.

Doom - Interactivity

'Players can inhabit a known fictional, often striking, visual world of digital animation.'  Linda Hutcheon.

As this quote suggests, videogames poses a wide amount of interactivity, this is something that the cinematic experience lacks. In the videogame 'Doom' (1993) the audience control the main protagonist from a first person perspective and progress in the narrative, however in the movie 'Doom' (2005) the audience follows the main protagonist in his journey to resolve the disruption. However, unlike a standard Videogame Movie, 'Doom' attempts to bridge the gap between Videogames and the Cinematic Experience via the use of a series First Person Shooter-like Point of view shots of our gun-wielding protagonist. For videogame movies to find success, a film should be

'narratively closer to the videogame.' Stephen Harper, Jump Cut.

This scene is simply a gimmick to give audiences a nostalgic effect and let them reminisce about playing the widely popular original videogame. Not only this, but film audiences and videogame audiences are entirely different. In a videogame, the audience is 'Active' and takes the most important role in the narrative, controlling the protagonist. In film, the audience is 'Passive' and have no direct impact on the narrative.

Research - 1

Source: Beginning to theorize adaptation, by Linda Hutcheon, 2006

'Walter Benjamin's insight that "storytelling is always the art of repeating stories"'

'Like parodies, adaptations have an overt and defining relationships to prior texts, usually revealingly called "sources." Unlike parodies, however, adaptations usually openly announce this relationship.'

'Repetition with variation, from the comfort of ritual combined with the piquancy of surprise. Recognition and remembrance are part of the please (and risk) of experiencing adaptation; so too is change.'

'It is not simply a matter of risk-avoidance; there is money to be made.'

'Film adaptations based on videogames are yet another way of taking one "property" in a "franchise" and reusing it on another medium. Not only will audiences already familiar with the "franchise" be attracted to the new "Repurposing", but new consumers will also be created.'

Highly relevant quote, could also link w/ other quotes regarding horizontal integration. Doesn't always guarantee success. *dispute*

'If a film can be said to have a three-act structure - a beginning in which a conflict is established; a middle in which the implications of the conflict are played out; an end where the conflict is resolved - then a videogame adaptation of a film can be argues to have a different three-act structure. The introductory material, often presented in what are called "movie cut-scenes," is the first act; the second is the core gameplay experience; the third is the climax, again often filmed in cut-scenes.' Lindley 2002:206

'What is more relevant in a game adaptation is the fact that players can inhabit a known fictional, often striking, visual world of digital animation.'

Good definition of adaptation:

'Adaptation is  repetition, but repetition without replication. And there are manifestly many different possible intentions behind the act of adaptation: the urge to consume and erase memory of the adapted text or to call it into question is as likely as the desire to pay tribute by copying.' 

Dictionary definition of adaption:

to adjust, to alter, to make suitable.

Dictionary definition of ludology:
the study of games and gaming, especially video games.

appeals listed:

-intertextuality - we experience adaptations as palimpsests through our memory of other works that resonate through repetition with variation.

-the act of adaptation always involves both (re-)interpretation and then (re-)creation

-an adaptation is an announced and extensive transposition of a particular work or works.

http://tf-comedy-ss11.wikispaces.com/3.+Definition+of+Comedy

This text that I have chose to study is a wiki page about the comedy genre, written by Bernhard Ohlinger and Simone Aiglstorfer. This text talks about the definition of comedy and the history of screen comedy.

The definition of comedy is mentioned first with the text suggesting that comedy has no conventions therefore the only way to define a film in the comedy genre is by it making people laugh, the text says:

"According to Brunovska Karnick and Jeniks (69) comedy has “no elements of setting and iconography that distinguish [it] as a genre. There is no plot structure that encompasses all comedies. Nor is there shared subject matter.”"

However, this article also shows how some critics have the opposite opinion:

"Roy Stafford argues that each genre uses “familiar ‘narrative devices’” – and as opposed to other critics he even defines those devices for comedy sufficiently. Stafford (2) explains that in comedy the audience responds to two different comic elements: 

• “The Gag – visual, arual, verbal jokes, carefully timed and delivered for maximum impact;
• Comic situations – ‘narrative comedy’ in which it is the developing relationships between characters and the social environment that causes us to laugh

These two elements make a volatile combination since the performance of gags is often highly disruptive of the progression of the narrative.” "

The text concludes that "the most convincing definition of comedy is probably what we've suggested at the beginning: it makes people laugh." - I would agree with this conclusion as from personal experience with comedy films, I found it hard to notice similar conventions between each film in the comedy genre.

Genre

Genre Theory - Chandler

Syntactic Approach to Genre

research

Since film has been around comedy has also. From the first silent films which relied on the expression and slap-stick comedy, to the current favorites like Stepbrothers and American Pie which rely on cringe-worthy comedy and use vulgar sexual acts and strong language. Although comedy has evolved throughout the century, one thing that they all have in common is that at the time they were released, the audience found them funny. No matter whether it was Charlie Chaplin hitting someone in the face with a pie or McLovin and his fake ID, they all had the desired effect to make people laugh which in essence is what comedy is all about.

·      Early comedy - Used physical comedy because they had no sound e.g Charlie chaplin

·      Stepbrothers – relies on strong language and vulgar scenes e.g licking dog feces and testicles on drum kit scene

·      Introduction of sound in films moved on from silent movies

·      Use of violence in comedy e.g Stepbrothers fight scene

·      Less of a taboo on using certain material, nothing is off limits anymore

·      Social changes have influenced the change in comedy

Charlie Chaplin in the Bank:

·      Steady camera – focus is on Charlie chaplin and his movement

·      Always centre of the shot – emphasis on him

·      Lack of editing – comedy is purely physical as there is no dialogue

·      All movements are emphasized and over acted

·      Uses non- diegetic music and expression to convey the mood of the film

·      Makes the suffering of others seem funny – less extreme than nowadays but the same concept

·      Narrative isn’t structured

Stepbrothers:

·      Uses more extreme ways to make it funny – strong language and

·      More focus on the dialogue than the movement and expression of character

·      Uses sexual acts and sexual language

·      More editing and less non diegetic sound – focus is on the dialogue and not the character physically

·      Uses violence in a more extreme way

·      Uses material that some people could find offensive e.g rape and nudity

·      Still uses some aspects of physical comedy e.g sleep walking scene

·      Has a more structured narrative