Wednesday, 16 March 2016

University Projects:

Hello People of the Internet,

Once again I have been terrible at multi-tasking! How anyone manages to keep a blog running, alongside university work, I do not know....they must be magic!

Despite my incompetence, this is just a quick post to share some of the work I have created whilst at University. All the work was created, thus belongs to, my respective groups and I. It has been a great experience, working with new technology and new people, both to build the skills I need for a future career in the media industry, as well as developing new friendships along the way. Some of the people I have worked with, on these respective projects, have come to be my closest university friends. I am thankful for their individual talents and ability to handle my stress....and believe me there was a lot of stress.

Anyway, I hope everyone reading this enjoys the things I have/am creating. I know I have a long way to go, many more skills to learn, to develop my abilities. However, if this post makes at least one person smile, enjoy themselves, then I can rest easy knowing I am on the correct path to the future I desire.


For now, I hope you enjoy my little corner of the Internet.


Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

P.S. I have had to compress the videos in order to upload them to the blog, so excuse the video quality. I still have many skills to learn, there is much room for improvement, but I believe I have made a respectable start. So I hope I have uploaded these correctly, and that people are capable of accessing them!

These pieces are perfectly imperfect! I had such a great time creating both, and l have learnt so much already. 

Film Adaptation of Max Ophüls Caught (1949) using modern context:

Through reinventing Max Ophüls’ opening, we intended to not only address the psychological association of appearance and wealth in modern fashion and advertisement, but also wished to extend the themes and exploration of human aspiration, which Ophüls raises in the film Caught (1949).
By including a male character, we hoped to suggest that unlike the contemporary 1940's society of Caught, men are not exempt from the desire for a ideal appearance; men now worry about living up to societal expectation as much as women do.

Whilst Ophüls' long takes and certain lines of dialogue  were useful to us in mapping a parallel scene, we decided to introduce modern technology and a male character, to ensure that modern context was present to rejuvenate the opening. Modern technology, using and shooting headphones and an ‘iPad’ throughout our scene, allowed us to comment on the growing abundance of media outlets and consequent reinforcement of an ‘ideal’ image and lifestyle. This permitted us the chance to explore ‘equivalents’. We embraced Ophüls’ close ups of the female figure in magazines, by using similar fashion advertisement, but also extended this by showing audiences how the internet has exacerbated the need for consumers to achieve an expected material happiness.

As cinematographer for this project, lighting became one of the most important aspects for me to exploit. Adhering to V.F  PERKINS’ theory, I sought to ‘conquer the visible world’, using light to fulfil two objectives. I wanted to ‘possess the real world’s appearance’, positioning our artificial lighting near windows, for example, to enhance the expected natural light sources. More importantly, following Ophuls’ own choices, I sought to conform to a ‘traditional aesthetic’ by ‘presenting the ideal’. I used lighting to softly light actors, ensuring they ‘glowed’ to connote our themes, and the narrative driving force behind Caught, of characters seeking happiness through ascending socially or via unrealistic appearance.

Television Project: Constructing a scene for British Soap Opera Eastenders with a focus on CLASS:



Christine Geraghty comments, “British soaps offer the notion of a harmonious community, but the chimera is rarely pinned down. Soap opera format denies the final ending…the community can never therefore be finally and securely established, which would be implausible, thus threaten the soaps commitment to realism” 

By introducing a visual conflict between middle class and working class, between Martin and the social worker, we intentionally ensured that a sense of ‘community’ was present but unstable. There was a relationship between these two classes in the characters, as is realistic because modern society is an amalgamation of many classes, but in being juxtaposed against one another, our drama was evident and our scene’s dialogue was propelled forward.

NOTE: Music used in the clips...unfortunately not mine and is owned by the respective artists (Aloe Blacc and Paramore respectively)

Books Used: 

Geraghty in Buscombe, Edward. 2000. 'British Television: A Reader'. (Oxford: Oxford University Press)
•Perkins, V. F. 1993. ‘Film As Film’ (London: Perseus Books Group)


Saturday, 9 January 2016

University...is something that is currently happening.

Hello People of the Internet,

It has been a long time and much has changed. I am now a fully-fledged Film student, with one University term complete and under my belt. It has flown by so quickly yet at the same time it seems like a lifetime ago since I was a college student living at home; it is a rather confusing contradiction.


I have enjoyed myself thus far but must admit that University has failed to live up to my expectations. Whilst I admit that my expectations were unreasonably high, I still argue that University is something weird and possibly inexplainable. Living on campus is like living in a bubble; the outside world perhaps invades once in a while but a lot of the time it can feel quite isolating. Despite this, I have made some amazing new friends, many that share the same interests and humour, and I have grasped many opportunities that I hope to have far into the future. 
Undeniably, I am a socially anxious person and this accounts for some of my feelings but University is already changing me for the better. I feel more confident when out and about, if only slightly, and by studying film full-time it has been undoubtedly confirmed to me that this is the industry I want to be in. Even within the department, so many different and interesting people have been brought together. People with captivating opinions and unique viewpoints about the world.

I guess I just wanted to write this post, for myself, to reassure myself that going to University was the best choice. I have had struggles but I feel that it was the best step to take, not only to better myself personally but also gain the skills needed to survive in the industry. I know I will probably enjoy my second year more, with the wider choice of modules that will be available to me, but I am definitely content right now with the University and people I have met there. Frequent trips too London's theatres and amazing new friends doesn't sound too bad at all, does it?

The Best Of My Holiday's Viewing:

Having had a month off from University for Christmas, trust me it came to a shock to me as well, I have had the chance to watch plenty of films and television. I know everyone is just dying to know what I thought was the best...so here are my thoughts!

JOY:

I finally made it to the cinema to see David O. Russell's latest film, after having waited nearly a year to see it, and I was largely impressed. For a film about the creation of the 'Miracle Mop', it was surprisingly entertaining. I am undeniably an enthusiast of large franchise films; I will always be most attracted to the spectacle of fantasy and action genres. However, Russell once again makes the mundane captivating. The narratives of 'real people', again seen within 'Joy', have the power to awaken emotion and identification in even the most detached audience member. I will admit that I found the family dynamics in 'Silver Linings Playbook' (2012) more convincing but 'Joy' still manages to hook its audience members from the beginning. It is Jennifer Lawrence's 'special power', breathing energy into the character of real-life Joy Mangano, that holds the narrative together; becoming the calm centre of an emotional storm, it is Lawrence that the audience follows and 'roots' for. 

I would give this film 4/5, until I create a more exciting rating process. It is a great watch, if only failing in the slightest sense of not living up to Russell's previous films, although I only believe it failed to do so because my expectations were so high after waiting for so long for the film. 

SHERLOCK: The Abominable Bride


WOW!!! 'Sherlock' returned with a spectacular one-off special. Watching this, I was immediately amazed at the captivating, complex narrative as well as the sheer perfect 'Televisuality'. There are probably very few people who have not discovered the 'joy' of the series 'Sherlock', but if you haven't given it a chance yet, do it...now! 'The Abominable Bride' offered everything I want out of any film, let alone any television episode. The creators managed to seamlessly intertwine the narratives of two time periods in a whirlwind of thrills and action. I do not want to say too much about this special, my writing would fail to do it true justice and I do not want to spoil anything, so all I will say is take the time to really watch this and soak it in.

I definitely give this special a 5/5! The show had a lot to live up to, considering fans have been waiting so long for new material. Personally, the episode did not only live up to my expectations but surpassed them. Watching this episode on New Year's Day, not only rounded off some great christmas holiday viewing, but very nearly became one of the best things I watched all year. 


So...I hope you enjoyed this post and I will hopefully write again when I have settled back into University. It has been a difficult break for me, despite the great viewing, and I will not go into details but writing and various media has helped me to escape. Despite recent difficulties, I go into this year with clear personal goals on what I wish to achieve personally and academically. This blog provides and outlet for both areas and will help me to document my University life. This little corner of the internet is my escape and I only hope other people can enjoy my writing and opinions.



Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

Note: Images not mine...except the natural photography and Globe Theatre :)

Thursday, 17 September 2015

The Time has Arrived...

Hello People of the Internet!

   Well...the time is here! Summer is officially over! This is officially the last post before I become a fully fledged University student this Saturday! I reiterate from last week's post...I AM TERRIFIED! I guess the fear comes down to the fact so much change is happening at once. Everything is changing! So, this is just an incredibly short update to say that though the next week may be slightly mental, thus difficult to post, I really plan to stick to posting if for no other reason it both relaxes me and helps me get some of my thoughts about specific films, straight and clear. Change and new environments can be incredibly daunting but if you find something that remains a constant, it can be a definite comfort and thus help you to relax and consequently embrace what is different. This blog will be one of the constants that will hopefully help me relax...even if some posts descend into simple 'blabbering' and just a 'stream of my own consciousness'. Hopefully, University will allow me to grow and improve as a person, thus this blog will grow and improve at the same time.

    One way I am already looking to improve myself, as a film student specifically, is to expand my limited and narrow taste in films. I have set myself a challenge to watch five films in one week, films that are cult favourites or/and critically acclaimed. I am a rather regimented person, sticking to schedules and goals. If you are like me, a person very much on the side of order, you will know. All I would need to say is one word...lists! Oh the humble list has so much power in its ability to calm the anxious mind! I have a list of this weeks five films and am currently working my way through them slowly but surely. The list includes:

1) The Shawshank Redemption directed by Frank Darabont 
2) Fight Club directed by David Fincher 
3) Pulp Fiction directed by Quentin Tarantino 
4) The Godfather directed by Francis Ford Coppola 
5) Se7en directed by David Fincher 

     And I must say the Shawshank Redemption and Fight Club are very good films and undoubtedly deserve the praise they often get! Also, it has reiterated a lesson to me about judging too early. Fight Club specifically, with its renowned narrative twist, was nothing like I thought it would be. The directing style along with decision to have a narrator was completely different to what I expected. Arguably, as a film viewer, I  very much have a preferred genre and niche! Ask me questions on Harry Potter trivia and I would probably talk all day, without taking a breath! Fantasy and big blockbuster films, specifically franchises adapted from novels, will always hold my interest and dominate my love for films. However, if nothing else I have learnt to both give older films a chance and to widen my viewing into more genres!

     From films, no matter how cliche the concept is, I really believe we can learn a lot. When you give films that you would not normally try a chance, and then end up enjoying such films, it teaches you to both relax and give other opportunities in life a chance. Reading back through this post I seriously see  no real plan to the writing or any objectives. It is not a review, though possibly it has loosely become a recommendation for those few, who like me, have not yet watched all these widely popular films. If I am to ask you to take anything from this post it is to bear with me. I am still young and trying to find a direction in my life and I think this blog has begun to reflect this, as it will continue to do so as I enter University. Consisting of film reviews and recommendations, interspersed with posts of vague comments on life I hope are at the very least uplifting, this blog is considerably eclectic. I ask that any readers stick with me and simply watch as many films as possible. I am a firm believer that films and television hardly 'rot our brains'. The ideologies or concepts encoded into media texts, with mediation by someone's personal morals and ideas, can teach us a lot. Films can open your eyes to opinions and experiences not thought of already, and all this from the comfort of our own homes.

     If you are a interested in films or simply someone that watches them now and again, or even someone interested more in literature, my main opinion is that variety is the way to go! Watch and read as many genres as possible! I am far from any kind of authority on the subject, just a random person lost in the sea of internet code and webpages. But if you have found your way to my little corner of the internet I hereby challenge you. I challenge you to find as much variety as possible, in the media texts you consume in daily life. By all means if you enjoy fantasy, continue to read and watch fantasy. But if that little voice in your head, that normally urges you away from a bleak looking cover of a political thriller novel, or from a historical dramatic film, pipes up...don't necessarily listen to it! Same with general life...never continue with something you are not enjoying just because you feel the urge or need to try something new, but on the flip side do not be too scared to try new things. I am going to try and listen to my own advice, it is going to be hard but there is no harm in letting go sometimes.

Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

Note: Images are mine...I hope they put a smile on your face...they have no theme just randomly chosen because I thought they were uplifting!

Wednesday, 9 September 2015

The Great Gatsby...pushing against the current...

Hello People of the Internet!

This post is rather late but only due to the fact that, simply put, things are still mental at the moment. University is less than two weeks away and that is completely terrifying! Most of my time at the moment is spent running around like a headless chicken, desperately trying to get the last few things I 'need' in order to be ready. The truth is I can collect everything together, all the things on my list, but I am never going to feel prepared and never going to be ready. I am under no illusion that I have a struggle ahead of me. I have never been the most confident or most independent but I think that I am ready for the challenge..I hope anyway.


     For this weeks post my attention, once again, has moved back to past college work. 'The Great Gatsby' is an awesome novel by F. Scott Fitzgerald, a necessary read at least once in your lifetime. It has provoked an awesome film adaptation by the inspiring director/writer 'Baz Luhrmann'. Chances are, you have more than likely already seen the film adaptation by now, considering it was released two years ago in 2013, but if not you must watch now...stop reading and watch. In his usual style the director constructs an overly extravagant and often gaudy mise-en-scene, perfectly representing the decadent world of thrills and luxury seen in Gatsby's house (played by Leonardo DiCaprio) used to impress love interest Daisy (Carey Mulligan). The directing style reflects and becomes the epitome of the 1920s American Boom setting. Overall, I recommend watching the film yet also taking it just for what it is. When a great book is turned into a film, the film will undoubtedly face great scrutinisation and never live up to the wild imaginations of readers' minds. However, my personal philosophy when it comes to film adaptations is that they only add to any book's universe. Any film adaptation may fail to live up to it's literature predecessor but it should be seen more as an accompanying media text rather than a replacement or bid to be as good as the writing it is based upon. As with 'Great Gatsby', the film may be flawed, it's scenes often fall short of Fitzgerald's descriptions of a world of 'unreality', but it only fails when compared to the novel. It must only be seen as something extra, slightly separate. The performances are suitably emotional; the setting still perfectly juxtaposed between the the decrepit 'Valley of Ashes', the moral decay of the 1920s American society and it's weak industrial foundations of the Boom, against the thin facade of rich luxury and happiness, on 'West Egg'.

Here is an essay of ideas, analysing themes in the novel. Read and enjoy if you are interested just please don't copy the general ideas and writing....they are the property of my mind and all its anxious and crazy qualities. The essay compares 'The Great Gatsby' with 'Atonement' which coincidentally is another great book/film pair that you should check out.

Appearance and reality in The Great Gatsby and Atonement according to Social influences 

     Both The Great Gatsby, by F. Scott Fitzgerald, and Atonement (Ian McEwan), suggest appearance is an illusion compared to reality and these illusions, are consequences of divisions between social classes. False personas from characters are seen, compared with truthful characteristics. The time periods, settings, force people to present themselves a certain way. In The Great Gatsby, the ‘roaring 1920’s’ are portrayed through Jay Gatsby and Daisy’s societal actions in particular. Nick’s narrative, shows a needed social security, defines relationships. In a pre-World War Two Britain, seen in Atonement, constrictions of class, cause people to act falsely. Cecilia seemingly hides her attraction to Robbie, as he is beneath her in traditional hierarchy. Characters can misconstrue these appearances thus the narrative becomes unreliable. 

    Firstly, with The Great Gatsby, themes of appearance versus illusions are explicitly expressed with how Jay Gatsby conducts himself. His act is controlled; a perfected façade, hiding his low society origins and struggle to gain wealth. It’s guessed that it may ‘ve been gained through ‘bootlegging’ alcohol (illegal during America’s prohibition). Nick, the narrator, describes Gatsby as acting with a ‘strained counterfeit of perfect ease’.  Gatsby’s uncomfortable reuniting with Daisy; the atmosphere is ‘strained’. However, being described as ‘counterfeit’, specifically references the fact that Gatsby is a fake portrayal of sophistication. 

        Despite generous wealth, Gatsby’s never accepted into high society, due to the fact his lowly farmer origin is drastically different compared to East Egg inhabitants. Gatsby has risen in wealth; believing he needs money to please Daisy. He has reinvented himself into this false ‘counterfeit’ but dresses in ‘pink suits’, showing he lacks understanding of social etiquette, unlike those born wealthy. His ‘perfect ease’ is an imitation of a gentleman’s actions; it is not natural. Importantly, he still ‘stalks’ around Nick’s cottage; creating an impression Gatsby is less refined and feral. He’s suffocated in high society, hiding behind this ‘dignified’ appearance. Later, he even explodes with supressed anger in the Plaza Hotel. Until then, a mechanical façade appears, acting as if a puppet ‘on a wire’, performing this refined ‘counterfeit’ for Daisy’s benefit. 

    At one point, Nick states, ‘Gatsby got himself into a shadow’. Gatsby ‘conscientiously’ operates to ensure his lower class flaws aren’t discovered by Daisy, tarnishing his image. He manoeuvres into a ‘shadow’ so light cannot uncover cracks in his performance; uncover his secretive past. By moving into ‘shadows’, Gatsby withdraws from the situation. Alternatively, the ‘shadow’ foreshadows Gatsby’s death. The ‘shadow’ juxtaposes with hope, shown through ‘sunlight’ after ‘rain’, stifling his chance at love. It represents Gatsby’s imminent demise by John Wilson from the Valley of Ashes, the setting itself society’s ‘shadow’. 

       Eyes are important in Gatsby; windows uncovering false pretences. Gatsby’s eyes become personified as ‘unhappy’, even as he attempts to appear relaxed. Daisy’s eyes begin ‘bright’, and ‘happy’, but become ‘frightened’ with the reality of killing Myrtle. Largely important, is symbolism from ‘Doctor T.J. Eckleburg’s’ eyes, this advertisement becoming a representation of God for unstable Wilson. Eyes that ‘see everything’. However, they’ve grown ‘faded’ in a ‘non-existent’ face. There’s absence of faith and hope in the Valley of Ashes and this becomes an excuse for loose morals in 1920’s America, reinventing oneself becoming normality. This idea that anyone can achieve prosperity, the American dream, becomes an illusion; unachievable on mass. Even in Atonement, eyes are telling. Robbie’s are ‘boyish marbles’, alluding to a childish age when Cecilia and Robbie interacted without society’s dictation or ideologies affecting their actions. The ‘mélange marble’ colours, show a hectically confused nature. Robbie embraces his origin, unlike Gatsby, proudly announcing his ‘housekeeper’ mother, but tries to smother other attributes. He distances himself with a Cambridge education. 

        Furthermore, Daisy conforms to society’s expectations. A beautiful façade put forward masks an unhappy reality. Arriving at Nick’s cottage, Daisy is wearing a ‘three-cornered lavender hat’. This colour creates femininity, painting her as perfect ‘wife material’. Also, Daisy’s trait to blend in with her surroundings is presented. Trees surrounding Nick’s cottage are ‘lilac’, similar to the ‘lavender hat’, implying to readers, Daisy is this ‘bright’ character craving attention, using her ‘rippling voice’ to enrapture male attention. But, also, she relies on social security of high society, blending to secure her position. 

       Daisy’s a stereotypical delicate woman, often wearing innocent ‘white’ to reflect her namesake of a beautiful flower. She seamlessly belongs, compared to ‘counterfeit’ Gatsby. It’s second nature for Daisy to hide sadness; remain presentable. Her mesmerising voice is a ‘wild tonic’ drugging men into dazes but has ‘artificial tones’, implying this seductiveness is a conscious effort.  Oppositely, the fact Daisy’s aware of her less powerful situation, in 1920’a society, shows she will never truly belong. She states the best thing a girl can be is a ‘beautiful little fool’. Daisy tries hard to perfect her appearance, due to feeling isolated. She tries to steal power back from ‘dominating’ Tom but her knowledge it won’t help, forces her to wish she herself was a ‘fool’, not worried about limitations for women in this era. Equality of genders, from Daisy’s view, is an intangible illusion.   

          Even ‘frightened’ by seeing Gatsby, Daisy remains ‘graceful’. It’s important she remains beautifully poised; beauty being the only power woman had in a male dominated society. Consequently, readers are unsure to Daisy’s true personality. Cecilia similarly conforms to expectations placed upon her, therefore is frustrated with her attraction to Robbie. Fragments of the vase ‘writhe’ and sibilance like ‘synchronous, see-sawing motion’, reflects a sexually charged atmosphere between the characters. However, Cecilia stifles this and exercises authority over Robbie because she doesn’t believe in a shared future.  Consequently, she hides from herself and uses a ‘condescending’ attitude, focusing on his ‘inadequacies’. She wishes to ‘punish’ him because, as a wealthy and sophisticated woman, she’s expected to marry someone equally as wealthy, ensuring the Tallis family remain secure. Therefore, Cecilia views her attraction as Robbie’s fault. A significantly divided society, before war comradeship, has forced Cecilia to become snobbish, hiding away from the reality of her feelings. 


          Furthermore, narrators are unreliable; therefore readers are given false appearances compared to reality. Briony ‘s unreliable because she’s too young to understand sexual tension between Cecilia and Robbie. When she views the ‘vase incident’, her privileged upbringing means she sees this ‘commanding’ lower class man, forcing her sister to undress. She presumes because Robbie is less privileged, he is experienced with dangerous ‘black mail’ and ‘threats’, like rumours of Gatsby implied. A darker reality is expressed through Briony’s innocent misunderstandings. She doesn’t see love Robbie feels; adoration shown in viewing Cecilia as an ethereal and ‘frail nymph’. Her view of reality is warped, thus she falsely convicts Robbie. Briony has been susceptible to ideologies of high society; therefore readers question her reliability Alternatively, Briony’s ‘schoolgirl crush’, not her upbringing, could have caused her to knowingly accuse Robbie in a fit of jealousy. Her selfish need for redemption, entitles her to untruthfully ‘write a different ending’, one where Robbie and Cecilia survive. Briony only cares for her identity as an author. She compares herself to ‘God’ with her power over words; believing it ‘not impossible’ for the dead couple to be at her birthday, just because she deems it so. Nick’s similarly unreliable, despite stating he is ‘reclined to reserve all judgements’. Nick generates obvious affection and admiration for Gatsby. When Daisy and Gatsby meet, Nick feels embarrassment for Gatsby, when the ‘clock’ is nearly broken. His face ‘assumes a deep tropical burn’. Nick is very empathetic towards Gatsby, even feeling his embarrassment. This implies Nick’s recall of events is highly subjective and biased. Nick describes servant ‘Finn’ as ‘demoniac’ when he interrupts Gatsby and Daisy. Nick is sympathetic to Gatsby’s story and plight for love., so much so, he wants Gatsby with Daisy even if Tom’s marriage is broken. Gatsby has taken over Nick’s world; it’s blasphemous and ‘demoniac’ to go against him.

           Finally, in The Great Gatsby, symbolism is important. When the ‘clock’ appears insignificant and ‘old’ in Nick’s cottage, it really represents time Daisy and Gatsby have lost. The fact they almost believe it ‘smashed in pieces’ on the floor suggests that tension in the room, implies the couple think they can’t recapture past memories. They’re ‘broken’. Despite what the two appear as, both refined higher-class socialites; they are different ‘breeds’ of people. Gatsby will always be ‘James Gatz’, of new money, who does not understand traditional ‘old money’. Gatsby fears it’s too late for reconciliation. His fingers ‘tremble’ and, momentarily, his emotions take over. He’s less controlled despite the composed  ‘at ease’ exterior. Atonement’s symbolism appears through the ‘vase’ representing love between Cecilia and Robbie. However, their love is broken into ‘fragments’ before it blossoms, instead of having lost love like Gatsby. The sophisticated ‘vase’ juxtaposes with the simile as it snaps ‘like a dry twig’. With two people hiding feelings, according to class expectations, love becomes fragile like a ‘twig’. The word ‘twig’ reflects a coarse Robbie, whilst the ‘porcelain pottery’ reflects frivolous well-bred Cecilia through alliteration. They are polar opposites (like Gatsby and Daisy), believing they cannot work.

      Ultimately, Fitzgerald’s Great Gatsby highlights the appearances hierarchical societies expect, of refined gentlemen and delicate women, can stifle relationships. Appearances of happy women like Daisy, who hide their actual sadness, have created ideas that wealth is the only thing needed. In reality, wealthy people of ‘West and East Egg’ are no happier than those in the Valley of Ashes. Gatsby reinvented himself, but even wealth doesn’t keep him from becoming a ‘counterfeit’ in pursuit of Daisy. Daisy won’t leave the social security of Tom Buchanan, because of his family’s reputation. Robbie and Cecilia’s love had a chance at survival, as Robbie reinvented himself through education (not illegally like Gatsby). He may struggle with acting as refined as Cecilia, becoming easily ‘irritated’, but the pair should’ve overcome class divisions, had Briony’s innocence not warped reality, seeing danger where only frustrated love existed. 


The 'Great Gatsby' quote “So we beat on, boats against the current, borne back ceaselessly into the past.” becomes relevant and even more poignant to me with University closer than ever. I very much feel up against the 'current' lately and will probably face many struggles. I will look back at the 'past' frequently for comfort. However, I may be pushed back 'ceaselessly' and find it daunting to separate myself from the comfortable past, a feeling  intrinsic to human nature, but it is something that has to be done. I therefore step forward on shaky legs..ready to conquer the challenges that will be thrown at me. 

Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

Note: Images not mine!

Sunday, 30 August 2015

Romantic Horror!

Hello people of the Internet!

    I am not going to lie, I wasn't sure what to review or recommend for this week's post. However, by chance, I happened to be reading through past college essays and came across my coursework investigation into Gothic Horror and Romance on television. I can remember how much I actually enjoyed writing this essay and reading around the chosen area of genre, particularly hybrid television. Gothic horror is something that has always been close to my heart, a fascinating genre that gripped me from the very first time I read 'Dracula' by Bram Stoker. However, unashamedly I admit to also being a fan of the more recent romanticised era of horror. It can be claimed that vampires as a horror convention have transformed from something in which to solely fear, the epitome of sin amongst a religiously dictated society, to somewhat of a love symbol, a perfect 'unattainable' or 'dangerous' sense of love but still...the point stands. With this concept, I began to compare two shows I myself love and completely recommend. The 'Vampire Diaries' and 'Penny Dreadful' depict two different 'cycles' in horror but more importantly raise a theory that the two genres, romance and horror, are not entirely the polar opposites people first believe. This is why the genres have created a modern hybrid sub-genre, romantic horror, that has been incredibly successful amongst recent audiences. I read many captivating stories, visited many interesting websites for the source material in this essay (books I highly recommend for any horror or general media enthusiast) as well as watching the pilot episodes of both shows. So...there you go!

This is a long post, I do not suggest anyone need to read it in its entirety but if you do, I simply hope it interests you and that you enjoy. 


With reference to ‘The Vampire Diaries’ and ‘Penny Dreadful’, does modern horror on television require codes and conventions of the romantic genre, in order to be successful? 

          Recently, horror has been romanticised with romantic codes and conventions. A hybrid genre has been created, where romance and horror intermingle. The question is, why has this fusion occurred and more importantly, whether hybrids have become more popular than traditional gothic horror that avoids romantic mise-en-scènes. The French word ‘genre’, meaning ‘type or kind’, is often associated with ‘cycles’; ‘referring to groups of films made within a limited time’. [1] Looking at television, this suggested ‘cycle’ is evident. ‘The Vampire Diaries’ and ‘Penny Dreadful, both show two ‘cycles’ or waves in horror. ‘The Vampire Diaries’ arrived September 10th 2009 in the midst of a ‘vampiric craze’ that swept the media. Consequently, the series bought the biggest premiere since the 2006 CW network launch; an audience of 5.7 million people watched the premiere. [2] ‘Penny Dreadful’, a more modern horror show, provides a move away from this newly discovered hybrid genre. This show differs from the ‘Vampire Diaries’ and centres less on a romantic love triangle surrounded by paranormal dangers. ‘Penny Dreadful’ is no less successful, having won ‘Most Exciting New Series’ at the Critic’s Choice Television Awards. [3] Ultimately, romance has been introduced and resulted in a successful hybrid genre, whilst traditional gothic horror has been reawakened. Turbulent romantic feelings, heartbreak or lust, can aid audiences in engaging with fantastical horror, though because both shows are successful, it may not be necessary.



           Firstly, with romance’s introduction, ‘Vampire Diaries’ subverted the conventional horror vampire. This stereotypical monster evolved into a symbol of eternal or unattainable love. With ‘Vampire Diaries’, the vampire has become a heroic character (Vladimir Propp),[4] compared to the original evil villain. Author Neil Gaiman, has discussed ‘vampiric evolution’ and references genre’s ‘cyclical’ definition, believing that ‘vampires go in waves’, though have currently ‘reached their saturation point’. [5] He discusses that vampires now need to be ‘elegant’ and ‘sexual’ in order to attract audiences (scopophilia) and thus they directly juxtapose with previous horror representations. For the majority of ‘Vampire Diaries’ opening, Stefan (Paul Wesley) wears a black leather jacket, connoting him as this conventional romantic ‘bad boy’ character. Interestingly, character Bonnie implies through teenage, diegetic dialogue (‘romance novel stare’) that this element of darkness entices Elena. As she stares at Stefan, a POV shot pans forward. The audience feels attraction.

         Attractive vampires, seen in Stefan and Damon Salvatore (Ian Somerhalder), introduce a romantic love triangle with protagonist Elena (Nina Dobrev). This love triangle is conventional to romance. Producer Kevin Williamson believes that ‘high school is a horror movie’ [6] and this belief has clearly been imposed on his series. The modern day setting, allows both genres to mix seamlessly. A typical high school mise-en-scène is seen; evident in many other romantic shows. Elena, the female protagonist, meets Stefan and in doing so, the archetype ‘boy meets girl’ romantic narrative is introduced. Furthermore, Matt (Zach Roerig) appears in a deep focus shot, alienated from Elena in the foreground. Matt becomes the generic jealous character of romance; posing a threat to the main relationship and creating another element of conflict. This keeps the audience ‘hooked’, alongside supernatural horrors e.g. vampires and witch Bonnie (Katerina Graham).

        Philosopher Noël Carroll theorizes that horror appeals to ‘curiosity’. He states ‘art- horror is the price we are willing to pay for revelation of what is impossible or what ‘violates our conceptual schema’. [7] The initial night forest setting of ‘Vampire Diaries’ is highly conventional. An element of chiaroscuro has been used to create necessary sinister tones. Shadows invade the foreground of the shot as it pans towards the right, with backlighting to reinforce this unnerving effect. Silhouette branches merge into one shadowed web to foreshadow to the audience that a tangled web of chaos will erupt (as expected in horror). As Todorov states, Elena’s equilibrium will be disrupted with the vampires’ introduction. Close ups of vampire teeth and blood unsettles the audience, but the love triangle and scopophilic vampires provide audiences with more ‘unknown’ relationships to ‘unravel’, without having to ‘pay’ for more violence.

        Reaching ‘saturation point’, as Neil Gaiman states, explains a shift back towards traditional horror, within recent ‘Penny Dreadful’. ‘Penny Dreadful’ reanimates the gothic archetype vampire villain from Bram Stoker’s ‘Dracula’. The romantic heroic vampire has faded, whilst conventional monsters are resurrected. As Neil Gaiman states, vampires should now be ‘outsiders’ luring their prey in. [8] Their return to villainous roots successfully appears in television horror as the romantic craze ends. Vampires are seen as feral creatures in episode one of ‘Penny Dreadful’. Close ups of red eyes and drooling fangs reiterates this. There is no redemption or sympathy for these characters as opposed to the Salvatore brothers. Sir Malcolm (Timothy Dalton) has to take power back from these vampires. Traditional vampiric lore is used in a low angle, as he stakes a vampire to take back authority. As David Russell suggests, there is ‘uncontrollable flux and violence’ [9] in the horror genre. The horror genre undergoes ‘cycles’, romance being just another ‘uncontrollable’ change as audiences’ interests evolve. Romance softens the attacks in ‘Vampire Diaries’, but ‘violence’ becomes more prevalent in ‘Penny Dreadful’ as the vampiric craze fades. Horror must undergo these ‘cycles’ or waves’ to survive; romance provides a fresh approach and appeals to a wider audience.


       Overall, horror in ‘Penny Dreadful’ is more evident with the first use of red shown through blood. Also, in the title sequence, a romantically innocent, pure flower (connoted via the colour white) begins to spill blood. The presence of blood is a pivotal convention to horror, the stark red signifying violence that is necessary to horror narratives. The flower drips blood to connote, that seemingly innocent character Miss Ives (Eva Green) hides something darker. This innocent outer façade, covering something darker, commonly occurs in romantic horror hybrids. However, importantly, despite the fact ‘Penny Dreadful’ focuses on horror, compared to ‘Vampire Diaries’, both focus little on ‘gore’, compared to insubstantial threats. Using ‘Penny Dreadful’, gothic horror is described as an ‘offshoot of Romanticism, weaving stories rife with ancient horrors, dark passions, and doom. It’s bloody, but the focus is never on the gore.’[10] Distinctively, modern horror avoids a constant bombardment of ‘gory’ visuals. Penny Dreadful’ is excellent in following conventional corruption of gothic horror; reanimating Gothicism by focusing more on earlier foreshadowing of ‘doom’ or ‘dark passions’ that frighten audiences.

        ‘Penny Dreadful’ uses a stronger sense of horror in 1891 London, thus ‘reanimates the gothic horror genre’. [11] Compared to ‘Vampire Diaries’, chiaroscuro is more heavily evident. Long shots of shadowed streets, with fog and low lighting concealing frame edges, establish a gothic setting, perfectly reminiscent of traditional horror. In total, three months of pre-production went into constructing a Victorian era London, showing horror has reverted to its origins. Gothic literature from Oscar Wilde, Bram Stoker and Mary Shelley (Dorian Grey, Dracula and Frankenstein), heavily influence this series. Using these influences, ‘expressionism’ is seen, where the ‘psychology of characters (feelings, sexuality, motivation) is evident in external manifestations and setting. [12] Penny Dreadful is as successful as ‘Vampire Diaries’, because its stereotypical gothic London mise-en-scène, allows a strong ‘expressionist’ effect. ‘Vampire Diaries’ seemingly relies on verisimilitude, the ability for a younger audience to engage with a realistic high school and youthful dialogue. However, ‘Penny Dreadful’ creates disturbing effects by projecting the characters’ darkness visually (low-lit frames and frequent shadows).

        Both shows compete in a medium that hinders their chances of success. Commercials, on television, can interrupt the encoded tense atmospheres. Some critics believe that ‘the idea of watching horror on television, with gore and nudity replaced by commercials, often seems pointless’. [13] In comparison, film provides cinematographers with ‘a larger canvas’, allowing ‘the more demented among them to immerse the audience in nightmare landscapes’.[14] These limitations have instigated the romanticized hybrid. The romantic aspect works well with the ‘commercials’, injecting more romantic drama into each episode; cliffhangers such as will the hero end up with the princess, instead of breaks in horror tension. Ultimately, horror benefits when a continuous tense atmosphere is created, i.e. diegetic ‘creaking footsteps’ or ‘cracks of thunder’ within ‘Penny Dreadful’.  Instead, ‘Vampire Diaries’ creates a continuous, conventional love story with softer warm lighting, for the majority of the first episode. A wide shot of a sunrise, conventional to romance, connotes a sense of flourishing feelings between Stefan and Elena; a story that the audience eagerly follow.

      In contrast, these two examples, utilize the opportunity for long-form storytelling’[15] (‘serialization’). Eric Freedman states ‘the advantage of serialization is that it creates the demand it feeds…the desire to find out ‘what happens next’ only satisfied by viewing the next instalment.’ [16] Both these shows are successful, because ‘serialization’ urges audiences to watch further and sate their ‘curiosity’; romance injects further suspense.

        Alternatively, Aaron Smuts reinforces a suggestion that romance has been injected into horror to make it more believable through ‘Disbelief Mitigation’.  Smuts states that ‘the importance of mitigating disbelief is crucial. Interference with fear, by disbelief, is harmful…belief provides a semi-cognitive amplifier for viewers response’. [17] Arguably, because both shows use romantic relationships, in which audiences can personally identify with, they become more ‘real’. Fantastical horror in both shows, ‘Vampire Diaries’ witchcraft or ‘Penny Dreadful’s tarot reading, is unbelievable, with non-diegetic orchestral instruments reinforcing magical atmospheres. But when you add relationships between Elena and the Salvatore brothers, in front of curtains with flowers signifying romance, or lustful attraction between Miss Ives and Ethan Chandler (Josh Hartnett), the audience are better equipped to relate to experiences.


          Overall, there is a polarization amongst horror critics, ‘loosely defined as ‘subjectivists and objectivists’. The ‘objectivists aspire towards a totalizing description of genre…clearly defined categories of iconography or themes’. Subjectivists, tend to focus on the genres’ less tangible emotional effects’.[18] Visually, horror and romance are polar opposites, however their ‘emotional’ effects, as defined by ‘subjectivists’, are closely interlinked. This may be why genres have successfully interwoven together. Whether it’s Elena’s emotional heartbreak over Stefan’s vampirism and secretive nature, captured in an extreme close up, or Ethan Chandlers shock over reanimating corpses from over the shoulder angles; the audience are subjected to a variety of strong emotions. It doesn’t matter whether it’s romance or horror. As Professor Jeffrey Goldstein argues ‘you choose your entertainment because you want it to affect you’. [19] Romance and horror, rely on base emotions that active audiences relate to; love and fear. People choose romantic horror because these emotions are conventional to the genres and provide a strong ‘affect’.

      Carol Clover argues that ‘horror tends to be made on the basis of imitation’. [20] This explains the ‘very Hitchcock’ reference in Elena’s dialogue, whilst situated in a conventional horror graveyard. In ‘Penny Dreadful’, a mother is attacked whilst in the bathroom, her horror-stricken diegetic scream, reminiscent of Hitchcock’s renowned ‘Psycho’ shower scene. Williamson is able to appeal to younger audiences through this hybrid genre. He is praised for ‘realization that young people feel as empowered in their roles as knowing cultural consumers…fulfilling their romantic longings’. [21] Romantic conventions can help target the ‘knowing cultural consumers’ of younger teenage demographics. Younger audiences have economic dependence on older generations, yet ‘Williamson’ credits his success on ‘realisation’ that younger people contribute considerably as television audiences and as horror enthusiasts. Therefore, Williamson has introduced romance to instigate ‘romantic longings’, encouraging younger audiences to develop a personal investment in characters by making younger target demographics and horror enthusiasts feel appreciated.[22]   


     Ultimately, “Genres do not merely exist in their own little worlds. They are intertextual…organic…feeding off each other hungrily…they play with audience expectations’. [23] Romance and horror have intertwined, ‘hungrily feeding of one another’. Kevin Williamson raises this idea, with the ‘Vampire Diaries’, that themes common to horror, like ‘immortality, lust and fear’ work well in romantic high school settings. He uses ‘life and death stakes…and prom night’ and addresses the challenge of ‘telling stories with emotion’ whilst keeping them ‘real and grounded’. [24] Romance enables the horror conventions to be ‘grounded’ and ‘real’. Through this setting, horror and romance aren’t perceived as polar opposites. These shows are successful hybrids; the genres mix so seamlessly, because horror has always been about romance amongst younger generations. Even in the slightly more horror-filled gothic ‘Penny Dreadful’, relatable emotions establish verisimilitude, ‘grounding’ the supernatural occurrences conventional to horror. These shows are successful because romance reinforces audience engagement with the darker side of television. The ‘cycles’ of horror may change, but audience ‘emotions’ behind these genres, will always dictate any shows’ survival.


Once again, I hope you enjoyed reading this essay. Though, unfortunately, the shows or images are not mine, nor the awesome concepts from source material, I did actually think of the general ideas in this post all on my lonesome so please don't copy. Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!!!

On a side note, in regards to 'Penny Dreadful', I HIGHLY RECOMMEND if not anything else, watching Bille Piper's monologue in the episode 'Memento Mori'. The writing is brutal and often uncomfortably blunt, however Billie Piper delivers it with emotional power that can leave you speechless. Fantastic! 

Bibliography: (Interesting sources you may enjoy exploring further!)


[1] Steve Neale, Genre and Hollywood, (2000) Routledge Taylor and Francis group London- page 9
[4] Propp, Vladimir Theory and History of Folklore: Volume 5 of Theory and history of literature (1984)- translated by Richard P. Martin, Manchester University Press- page 173
[6] Crissy Calhoun, Love you to Death: The Unofficial Companion to the Vampire Diaries (2010) ECW Press Toronto Canada- page 18
[7] Noël Carroll in Steven Schneider and Daniel Shaw’s Dark Thoughts: Philosophical Reflections on Horror (2003)- page 8
[9] David J. Russell in Refiguring American Film Genres: Theory and History (1998) edited by Nick Browne, University California Press- page 234
[12] Colin Stewart, Marc Lavelle, Adam Kowaltzke, Media and Meaning: An Introduction (2001) BFI Publishing- page 201
[16] Eric Freedman- Chapter 9 Television Horror and Everyday Life’- The Contemporary Television Series’ (2005), page 168
[17] Steven Jay Schneider and Daniel Shaw- Aaron Smuts’ Haunting the House from Within-Dark Thoughts: Philosophical Reflections on Cinematic Horror (2003)-Scarecrow Press, Inc- page 165
[18] David J. Russell in Refiguring American Film Genres: Theory and History (1998) edited by Nick Browne, University California Press- page 234
[20] Clover, Carol Men Women and Chainsaws: Gender in the Modern horror Film (1993) Princeton University Press- page 6
[22] Fourie, Pieter Jacobus, Media Studies: Institutions, theories, and issues (2001) Volume 1, Juta and Company Ltd- 297
[23] Colin Stewart, Marc Lavelle, Adam Kowaltzke, Media and Meaning: An Introduction (2001) BFI Publishing- page 202
[24] Crissy Calhoun, Love you to Death: The Unofficial Companion to the Vampire Diaries (2010) ECW Press Toronto Canada- page 19