How Do Narrative and Genre Features Create Meaning Essay

As film audiences we cook an expectation of particular conventions, which certain film musical styles snuff it with and if these expectations atomic number 18 met, then viewing pleasure is certified. This is a result of our understanding of generic conventions, which derives from past experiences with films we have seen. The film industry understands this, but is however, constantly attempting to ? live on these genres sometimes for artistic reasons and sometimes to secure financial revenue. The narrative of a film is the sequence of events which are organised in a structure to ramify and develop a plot.It is just as important in function as the genre is, with regard to securing audiences and satisfying their expectations and audiences will have particular anticipations for a narratives different segments. By this we can observe that a film producer is dependent at least partly on the blessedness of the films target audience for the proceeds at the box office. This essay will discuss how a 10-minute sequence from James Wans ? Saw (2004), make use ofs mevery conventions from a few different genres and it considers how the narrative ties in with this.The film in itself illustrates so m all of the conventional rules attached to a thriller, that we have learnt to accept as ? normal. I would describe this sequence as a pastiche as it is not only thrillerish but thither are also elements of detective genre. These are all traits within a horror movie. The clip begins with what we believe is detective Tapp carrying out surveillance on Dr. Gordons house. He is filming their bedroom window and talking, but to whom we have no knowledge. As the television camera moves from the television system screen to a side wall, the frame reveals a digest of images, of who we assume to be Dr.Gordon. It also shows that he has perhaps been recording phone calls from within Dr. Gordons household. The mise-en-scene (stacks of empty coffee cups and take away trays) illustrates t hat detective Tapp has been there for quite some time, and it is now evident that he is in fact alone. Suddenly, we are confronted with a wall plastered in a mass of newsprint clippings. We realise that this is not official police work, it could be straw. This convention of the obsessed detective is a usual element of thriller films as well as in crime films. A cross fade is the utilised for the introduction of the conterminous frame.Fades are commonly employed to suggest a flashback or for the use of sorrowful forward in time, but in this caseful we consider that it is a flashback, though we are still uncertain. This car scene involves Dr. Gordon being taken home plate by detective Tapp. Unlike others, this film concentrates solely on the plot and the characters and the director ensures this through the way there is never or rarely any flat coat situations which might distract the audience. Everything excluding the characters is darkened out, leaving the audience nothing to observe but them and their conversation. The next scene reveals Tapp at his desk, watching evidence from the ? reciprocating saw case, we can see that his desk lamp is focused on a mound of file work which may be more significant than the ? fretsaw case, work which he evidently does not see as priority. Detective Tapps back is turned to this mound of work and he is focused on the television screen, scrutinizing the video tape. Also, the mise-en-scene shows only a few newspaper clippings on the side of his work space in this scene, which might be suggesting this is the beginning of his ? stalking behaviour. With one desk lamp on in the stainless room it is evident that all of his other colleagues are going or have already gone home.This face of behaviour (working over hours when everyone else has left) is suggestive of reclusive characters with little or no social or family life, having nothing but work to look forward to and these characters are usually found in crime-thriller movies or psychological-thriller movies. This ? work obsessed character is reinforced when his work colleagues invite him to accompany them and he declines without even removing his gaze from the television screen. The character of Tapp is played by the actor Danny Glover, frequently associated with the perform-crime-thriller sequel films ? Lethal Weapon.In these films he also plays a detective officer a lot involved in action, so it comes as no surprise that we have expectation of the narrative to place him in a place of police action. Again, the background is dark, suggesting that nothing else matters to this character, including his partner, Sing, who remains behind. Sings demeanour implies that Tapps behaviour is possibly recent and unusual, transpiring only, through the ? jigsaw case. The frame illustrating half of the exonerated on Sing may bring connotations that he is in half a mind near Tapp, he is unsure about what has happened to him and why.After noticing something a bout the evidence, Tapp hurriedly beckons Sing back. In this scene we see Sing under a more (although not much more) prominent light in melody to before. Tapp is still the one mostly saturated in light, he is the one with the information and we see that as Sing learns and gains more information, the light shed on him also increases. The snapshots that the clip uses of the derelict warehouses, remind us of a stalker ? the way that detective Tapp stalks Dr. Gordon and the way ? jigsaw stalks his victims. This type of stalking behaviour again, colligate in with the conventions of the thriller genre.The next frame portrays both Tapp and Sing looking onto a map, both saturated in an equal amount of light. They are just as important as each other here they need each other to make a break through. This is reflected in their names, Tapp and Sing ? when combined structured it creates rhythm and music, an outcome. This convention of crime/detective partners having a connection between thei r names, and their names revealing traits of their characters when they are together, is usually found in detective-thriller/action genre films, e. g. in the action ? crime-thriller ? Lethal Weapon the main characters are called ?Martin Riggs and ? Roger Murtauth. The way that the first letters of their names are arranged, mirrors the way that the characters work in diametric ways (M. R. as oppose to R. M). On the car journey to the derelict factory, everything in the background is darkened out, thus creating the feeling of suspense and mystery. Also, with barely any street lighting, it could be proposed that this road is not popularly accessed by the public, signifying there could be danger here. These are all generic conventions of a thriller film. The mise-en-scene mainly supplies us with dark and dull colourises, i. e.black and metal grey, which run throughout the film, connotating mystery, a cold and possibly even pain and depressing feelings, which create the theme for the e ntire movie. As the two detectives ascend the stairs, they are entering darkness again a sign that they dont know what is ahead of them. The use of a handheld camera panning the scene allows for a sense of first hand experience to take place, again correlated with thriller films, i. e. ? The Blair Witch Project. As they tone-beginning the ? workspace of this scene, we notice how lighting is positioned over specific areas, where there are ?projects developing.Each of these are concealinged by a red cloth. To some, i. e. the police characters and some audiences, the colour red would have connotations of danger. In this case, the colour red signifies passion. The red cloth is used by ? jigsaw to signify passion for the projects that he has covered in the cloth. One main theme can be found in all of the characters in this clip ? they are all deeply passionate and devoted to their work. Conventions of a horror genre can be found in the next upcoming scene. Here we witness the detecti ves discover a seemingly peanut man entrapped in a death contraption and we soon after determine when ?jigsaw returns, that this merely a ? test run for a later on purpose. Sinisterly, ? jigsaw wears a cloak with a strip of the same cloth that he has used to cover his projects, he is truly devoted to this work and the interconnected cloak almost makes it seem like this is his ? team. As the detectives leap out of their hiding places and confront him, ? jigsaw stamps the contraption to a start, leaving the detectives panicking and him in control of the situation. Again, by using a hand-held camera with an over the shoulder shot behind the ? jigsaw, the audience sees the ?jigsaw as the largest intention and therefore the dominant party in this scene consequently the detectives literally look small in this scene, clueless under the grasp of this psycho. This hand-held camera technique also delivers a sense of panic to the audience. Subsequently, fast editing shots build suspense and panic, leading to the peak where one person on each side of the room manages to escape ? the victim escapes his death, and ? jigsaw escapes the detectives, one a split second after the other. For that minute split second we have the uplifted hope that the detectives have gained control of this situation.Our hopes are sunk however as Tapp is slashed across the throat and ? jigsaw escapes. This is an expectation that audiences have become acquired with in thriller movie narratives. This film delivers many expectations as well as offering new interweaves that may never have been supplied to a thriller audience before. In this next frame which shows Sing running along a corridor, two main genres come into place horror and action thriller. The frame shows conventions of horror films through its use of the green coloured steam coming from the mouldy pipes along this gory corridor.The narrative of a police officer chasing a criminal is typical of an action thriller film. The scene where Sing is trying to protrude through the cobwebs to get to ?jigsaw as he lays ? dead on the floor is significant. This barricade of cobwebs is an illusion to cover the trip-wire which will be the cause of Sings death. This illusion is a reminder that nothing is as it may seem, a principle of psychological-thriller films. As Sing collapses dying, ? jigsaw rises, evidently still alive another illusion. The last scene of this clip begins with a close up of the scar on Tapps neck, gained when he was slashed by ?jigsaw. At this instant, our prior beliefs that this was all a flashback are confirmed. A scar takes time to heal and where Tapps physical scars have healed, his mental scars have not. We see him frantically talking to a framed picture of Sing, as well as talking to himself. A framed picture usually contains family or friends people who are close to you, and so, it is reinforced to us that Sing was his only family. Tapp blames himself for the death of Sing, perhaps why, althoug h he has already been discharged from the force, he feels he needs to close this case as he owes it to Sing. Word count 1,927.