The Iconography, Conventions and Audience Expectations - Essay Example

? VISUAL ARTS AND FILM STUDIES Analysis of the iconography, conventions and audience expectations of one film genre and how they have changed over time In regards to genre based approach of analysing films, it is noted that a genre is mainly a group of films that have a set of recognizable conventions that can be manifested through plots, characters, locations, mise-en-scene and themes. Films are usually classified based on the genre that they belong to and as a result this is deemed to be beneficial as well as a limiting factor when carrying out film analysis (Grant, 2003, p.84). A genre based approach is thus helpful to the targeted audience due to the fact that it gives them an overview of what to expect giving them the certainty that they will enjoy the film. Genre tends to make the consumption of a film to be less disordered by providing the audience with a guide on certain films thus providing satisfaction when the guidance rules are followed. Most producers mainly use this approach to attract a certain audience as well as capitalising on past successes by repeating the various generic elements. With regards to the generic conventions they mainly offer the director of the film a framework to work on. Therefore, a genre based approach is best suited for carrying out film analysis (Grant, 2007, p. 43). There are several types of film genres but the focus in this paper will be on Musical/Dance film genre. Musical/Dance films are referred to as cinematic forms which mainly emphasize song and dance practices in a significant manner or full scale scores (Feuer, 1993, p.39). They are mainly films which are centred on the combinations of dance, music, choreography or song. The musical/Dance genre has been regarded as the most unrealistic form of cinema. Despite this it is a genre that is enjoyable due to the fantastical departures that it exhibits. The act of actually singing in the middle of pouring rain while twirling an umbrella and tapping cannot be regarded as a daily occurrence (Schatz, 1981, p. 34). This according to Gene Kelly in the Singing in the rain film is as normal and as natural as the act of breathing. Another scene is that of Fred Astaire in the Band Wagon when he engages himself in performing an impromptu dance at the shoe shine station. Musical/Dance usually aim at persuading the audience in thinking that what they are viewing on the screen is simply the representation of the characters feelings at that moment as well as what they may do in reality. Musical usually portray the dancing and singing of the characters as their natural inclinations of the character though the audience usually know that in reality this will never happen as it is just a result of events that are choreographed and rehearsed. When it comes to musical conventions the narratives usually halts for the production numbers and the characters break into dance and song. The characters usually perform for the camera after listening to a song that usually comes up abruptly (Grant, 2003, p. 85). The use of the musical/Dance genre is unique in the film industry. The mass persuasion of this genre may look like it will not be able to last for a long period in the America society due to the fact that people are mainly taught to question the superiors and not to follow the leader. Even in the early thirties people had the same tendency of questioning almost everything: their parents, their clergy and even their government. The question that still remains a mystery is the fact that society did not sought to question Hollywood. People spent a lot of money days after days and later on it resulted into the creation of the film industry (Schatz, 1981, p.64). It is the public audience that created and boosted the genres that they went to see and not an effort was given by Hollywood. Maybe it can be assumed that it is the musical nature of the films that made them so popular that people all ways went back for more action. People practically took time to go watch the movies so as to get away from the ordinary everyday lives just to go watch Hollywood royalty acting out their desires for them. The audience wanted to see fantasy being acted out and not realistic concepts. Castle in the sky, flights of the imagination and unbelievable daydreams being incorporated in the illusion of dance and song. When the concept of musical came into being it brought about a longer suspension of disbelief that has held a lot of sway. The musical/dance genre tends to solve the existence of a film conflict using two main dramatic structures which are the highly structured intricate musical productions and the dramatic narrative better known as the plot. The genre started off with the classical form of talkies which later evolved to a classical integrated form in the 1930s. The new integrated musicals were films that had plot structures and not just musical numbers and revues put together. They involved climatic musical numbers where the resolution of all conflicts takes place as well as loving embrace for the romantic mess created. The first integrated based musicals involved backstage subplot and the protagonists that were romantically involved took part in a Broadway show. The purpose of the musical numbers was usually explained in the rehearsals with reference to the climatic performance. The audience at that time always expected a happy ending with regards to the musicals. The basis of the genre film was formed by the audience expectations. Eventually, a girl and a boy involved in any of the productions were subjected to overcoming any relationship issues as well as conflict arising with the show. The resolution based on an arising conflict was resolved by having the couple both appear on the screen together (Altman, 1987, p. 108). It is clear that the genre of the music/dance has definitely changed over the years from classical to post classical to modernist and at present to post-modernist. The classical myth that is elaborated by musicals is that boy meet girl, they put up a show, they engage in an emotional conflict and later on embrace as a form of resolution in the musical finale (Duff, 2000, p.47). The basic tenets of musical remain the same even though musicals have evolved and are different now. There is always an expectation of some romantic involvement as well as a resolution at the end of the musical zenith (Christopher, 2001, 29). Changes of the genre film has been due to a some various reasons but that of classical to post classical was as a result of the world war two (Gledhill,2012,p.40). The existence of the relationship that was between both men and women were adapting to the new family setting and economy and the people began exploring the countries which they had never thought of. It was clear that time was definitely changing and as result Hollywood went along with it (Schatz, 1981, p. 36). In the American in Paris the genre tends to deviate from the norm since it is based on the post war in Paris as well as the lives of the people who live there. The show is therefore not a film that is just put together even though there is a number which is performed on stage by Henri Berel. The main focus of this film is based on the conflict that existed between the protagonist American exGI Jim Mullingan’s art and the love he had for Lise (Altman, 1989, p.107). Mullingan is a role that is taken up by Gene Kelley the man who reinvented the musical in 1950s for the MGM. His performance based on his dancing, persona and singing clearly bring out the concept of the post classical genre. His art is important to him as well as his love for Lise. Gene Kelly is able to bring out the character of Lise in singing and dancing and expressing herself in a natural way.Lise is able to realize her inner and outer beauty because of Kelly. Kelly’s perspective of life also changes due to the spontaneity that he urges in her. It’s all beautiful ending as both are in love with each other thus the character of Kelly changes to that of a light-hearted music man from a lonely painter. The finale of the musical film is not as expected and it shows different types of venues as well as artistic styles. The musical finale does not follow the norm of a happy ending but instead it ends up with a disastrous end in Lise and Henri relationship. This is due to the fact that Lise thinks that she owes a lot to Henri for him keeping her safe during the occupation. The difference that exists between Berel and Mullingan is clear: Berel is fond of the stage as well as the classical music which he is used to while Mulligan is regarded as an artistic spirit that sings and dances and loves all genre of music especially contemporary. The concept in the experimental approach is based on an inspirational artist and this tends to show that the director of the film Vincent Minelli coordinated some of the past idealistic concepts of the genre with recent new styles of contemporary music and dance. All these were aimed at getting that dreamlike weird aspect where everyone engages in singing rather than talking (Altman, 1989, p.108). The iconography that is depicted from the Hollywood musical is generally based on something like a stage scenario. In real sense the location of the singing and dancing is not based on the stage but in Paris (Schatz, 1981, p.38). A scene from the film shows Mulligan as he teaches a couple of French student a song ‘I Got a rhythm’ which is a Gershwin song in front of his home which is located in an apartment building. In another scene he sings out the song ‘our love is here to stay’ to Lise as they both dance in the moonlight on the riverfront. The departure that is depicted based on the stage scenario gives an example of how the musical/dance genre has changed over the years to fit the expectations of the audience. Based on the monotony of the same old songs, Hollywood had to embrace more creativity in making musical films without changing its concept. Genre films must evolve the same way that people change from one generation to another (Grant, 2003, p.67). Another reason that led to the change of the genre came to light after the modernist period. This occurred when there was restructuring of the genres as a result of the way the society viewed the social issues which included homosexuality, AIDS and basically the whole concept of sex. The mind of the public was definitely growing and this led to the awareness of challenges that emerged in the movie genres for example like that of the accepted heterosexual in the musical love story. Directors began to focus more on bringing up new techniques that would make the genre of musical to be more relevant in regards to the society that is not just coming from century but also from the millennium. Musicals gained popularity due to the unrealistic concept that they portrayed (Cooke, 2003, p.45). The public audience wanted more truth and thus Hollywood had to change again. The Angry Inch and Hedwig are noted as a huge deviance far from the classical form of the musical/dance genre. In this the focus is on the hybrid of a man and a woman all in one character rather than on the normal focus that was based on a couple. Actually the whole film focuses only on Hedwig needs in trying to find her other half (Trask & Mitchel, 2003, p.45). The urge of Hedwig to be recognized coincides with the need of Mulligan of becoming an artist based in Paris. Even though some may argue that they are not good they still aim on looking at something that is worth in their arts. The conflict that emerges in Hedwig is the fact that the protege Tommy Gnosis of Hedwig has stolen all the songs that were there and ends up becoming a rock star after breaking her heart. Together the band follows Tommy all over the country for a tour and it is during this tour that audience are able to learn of the relationship that existed between them through the performance of the song. In comparison to the American the Hedwig actually performs to the audience unlike Gene Kelly who just bursts out into song. There are only minimal scenes where Hedwig sings when she is not on the stage but still the film is able to maintain the unrealistic aspect of a musical. This is due to the fact that the songs usually turn into musical productions that are aimed at portraying what the characters are all about. For instance this is shown when Hedwig reacts to the song angry inch by jumping over the speaker and tries to fly over the patrons of the restaurant. With regards to the classical form there is definitely resolution for all climatic musical numbers. Hedwig discards all her costumes during the wicked little town reprise and go back to Hansel the girly boy wisps. She then leaves her concert just to go join Tommy in his. The similarities that exist between Hansel and Hedwig are clearly shown when Tommy begins s to sing to her and she begins to cry. The conflict resolution is when Tommy apologizes for breaking her heart. Therefore Hedwig realizes that her other half was just waiting for her at the other side. Hedwig returns to the stage as Hansel with the makeup smeared all over her and begin to sing the song Midnight Radio. Her utopia is a strange white world. Hansel lets go of Yitzhac and hands over the wig to him so that he can start working on his dreams of being able to be a star. The conflicts that exist between both couples are resolved. The embrace that is shown at the end is a form of metaphorical embrace of the male and female faces coming together in order to complete each other as a result of Hedwig finding her better half (Christopher, 2001, p.28). Hedwig is able to challenge the cultural norm that exists by being able to deliver music as a transvestite rock star hence sugar-coating the pill through alterations of the public’s perspective of homosexuality using the musical generic formula. American is able to follow the cultural norm as well as the ideologies of the time in which they were created. Boy meet girls, they both dance then boy breaks girls heart, he begs for her forgiveness and later embrace as a form of reconciliation (Trask & Mitchel, 2003, p.5). This was based in large productions ending as depicted by Mulligan from his vivid imagination. Most of the musical conventions have been misplaced an d switched around but despite this the musical genre continues to hold firm to the notion surrounding romantic entanglements as well as the culmination of the conflict which later results into being a huge musical number(Altman, 1987, p. 108). Modern musicals like Moulin rouge, Hedwig and even the recent ‘Brother where at though’ and also Coen Brothers O elaborate that music is not the focus of the film but better still the characters usually break into song and dance in different scenes of the movies and this shows that the genre has definitely changed over time. There are a number of issues which are usually addressed and the love story becomes the artistic vision focus of the director. Though the content and the form may vary the intention always remain the same. The value of entertainment that is exhibited from all forms and walks of life from the musical perspective appeals equally to both the young and d the old (Caughie, 2000, p.80). People may change their perception based on the specific nature of the era to which they are in but as this happens also the genre present adapts to the changes. However, the adaption never strays far away from the dance and song as entertainment. According to Schatz et.al, 1981, the deepest concern of genre based on the basic cultural issues may tend to remain intact. In order for it to remain vital its films must be able to keep up with the audience expectations which may exhibit a changing conception of the genre issues (Schatz, 1981, p.36). The musical/ dance genre basically translates itself in emotional terms to illustrate what the conflict between the characters is. The American in Paris movie show the self-reflexivity where Gene Kelly must decide on either becoming an artist in Contemporary dance and music with Leslie Caron and leave his career as a painter which is supported by Nina Foch the spinster dowager. Self-reflexivity is also shown in the Hedwig as well as Angry inch where Hedwig must decide on either having a career of stalking an ex-lover or finding her better life or also her career as an unrealized singer (Schatz, 1881, p.39). Therefore, it should be noted that not all films are able to fit a specific genre and hence the genre theory is regarded as one that restricts the film makers’ artistic freedom and possibilities due to the fact that they must adhere to some concepts in order for the film to become a success commercially (Bignell, 2008, p.45). It is clearly based on the analysis of the musical/dance genre that filmmaking may end up resulting in formulaic, repetitive and predictable productions which may end up preventing the audience from seeing the film. The audience may tend to compare it to other genres which are the same and disregard it if it does not fit the required past standards. This clearly proves the fact that films of the same genre usually rely on intersexuality and therefore audience expectation is thus proven to be very important in the production of a film. References Altman,R.1987.The American Film Musical. Indiana University press: Bloomington Altman, R. 1989. The American film musical. Bloomington, Indiana University Press. Caughie,J.2000.Television Drama:Realism,Modernism and British Culture Oxford University Press. Bignell,J,2008.Television and Genre in An Introduction to Television Studies London:Routledge. Christopher, C .2001.Cinema journals.University of Texas Press.pp.28-39. Cooke,L.2003. British Television Drama:A history London:BFI Duff,D.2000.Modern Genre Theory Longman. Feuer,J.1993. The Hollywood Musical.2nd Edition.Bloomington:Indiana University Press. Gledhill,C.2012.Gender meets genre in postwar cinemas University of Illinois Press. Grant,B,K.,2007. Film Genre: From Iconography to Ideology Wallflower Press. Grant,B,K.2003.Introduction & Tudor,A.Genre from Grant.Austin:University of Texas Press Trask, S., & Mitchell, J. C. 2003. Hedwig and the Angry Inch. New York, NY, Dramatists Play Service. Schatz,T.1981 Hollywood Genres. Temple University press: Philadephia. Read More