On the Baseline - How how established the GENRE
What is genre and why is it significant?
Genre is a French word that means type or kind. Neale (1980) describes it as “a set of expectations.” Fowler (1989) argues that “genre makes possible the communication of the text.”
The key concept of genre relates to the codes and conventions shared by texts and the generic features they share. A text is classified in a genre through the identification of key elements (paradigms) which occur in that text and others of the same genre. Genre provides an important frame of reference which helps readers to identify, select and interpret texts. Media producers can re-use conventions, creating formulaic and conventional products that are familiar and appeal to the target audience, but that are also likely to succeed and therefore less risky for the producer / production company.
What genre is the production?
As part of the advanced portfolio I produced a trailer for a film “On the Baseline” which was a hybrid genre combining key conventions of chick flicks and sports films (sports flick!). The film followed a tennis theme and revolved around the development of a relationship of a new women’s doubles partnership comprising of a champion and an “underdog”. The main target audience for the film was teenage girls with a secondary niche audience of tennis fans.
My creation of the sports flick genre supports both Abercombie’s (1996) view that “the boundaries between genres are shifting and becoming more permeable” and Christine Gledhills comment that “Genres… are not discrete systems, consisting of a fixed number of listable items.” I looked to use some of the conventions of both genres to create a kind of “bricolage” effect which resulted in my teaser trailer not being entirely formulaic but including enough familiar paradigms to capture the interest of my target audience.
How were conventions of the genre identified?
According to Katie Wales, “genre is …. an intertextual concept” in that relationships with other similar texts is a way of creating meaning and appeal to the audience. In my production references to other real media texts and conventions evident in similar productions helps to establish familiarity for the audience and to help them understand the meanings and representations made. Wikipeadia was used to identify conventions of genres and obtain lists of relevant films to analyse (although I realise that the source is not totally reliable) then Youtube and IMBD were used to analyse trailers. The trailers analysed consisted mainly sports related films that tackled similar issues involving the underdog coming through to triumph over adversity (ie Bend it like Beckham, Wimbledon, Dodgeball, Coach Carter, A League of their Own) and chick flicks (ie Mean Girls, Not another Teen Movie) focusing on the culture of typical teenage girls.
What are the codes and conventions of the production?
Genres offer an important way of “framing” (Bordwell 1989) texts which assists comprehension. Genre knowledge orientates competent readers of the genre towards appropriate attitudes, assumptions and expectations about a text which are useful in making sense of it. In A2 my confidence improved as I identified institutional techniques which have become conventions of both genres and creatively combined the 2 to create a hybrid genre “sports flick” that would appeal to a main and secondary niche audience of tennis fans. Through research into the conventions of real media texts it became apparent that the themes explored in chick flicks and women’s sports films are very much the same which is why they are so appealing to the same female target audience. Themes of conflict are evident in both genres whether it be an interpersonal conflict between the protagonist and another character the conflict seems to lie on some personal issue or goal eg winning a competition.
Chick flicks conventionally focus on:
Personal relationships often with friends
A strong emotional tone expressed through explorations of the main character’s feelings
A female main character and tension in her relationships
A female protagonist embroiled in some sort of conflict or another
A defining characteristic of chick flicks is the requirement that the main characters be youthful and attractive.
Vulnerable females desperate for love
Characteristics defining to women’s sports film genre include:
The main character or team overcoming a difficult obstacle
Process of proving oneself as an athlete to friends, family or society
Portrays the female main characters as multi dimensional
In sports films issues of gender roles, gender dominance and masculinity vs feminity arise.
Sometimes contain a subplot relating to an undercurrent of love.
This is the type of combined genre knowledge or “cultural capital” I would expect or anticipate my target audience to have.
How is genre established throughout the trailer?
Altman (1999) argues that genres can be classified by both semantic features (music, character types, familiar objects and settings) and syntactic elements such as plot structure, character relationships and so on. The conventions of real media texts influenced my creative and technical decision making by helping me establish genre throughout the trailer through both semantic and syntactic features:
Structure of the Narrative
My trailer followed a simple linear form of narrative which relays events in chronological order. It follows a conventional narrative structure in that: in terms of plot development there is a logical relation between one event and another; a sense of closure at the end (although the audience is left with an enigma); the story is focused on the characters and a narrative style that attempts overall to be more or less objective. The trailer revolves around a goal orientated plot in which the main character takes steps through the narrative to achieve a well defined end (winning a tennis doubles championship). This quest and personal journey propels the story. The structure of the narrative also complies with many aspects of Todorov’s theory of equilibrium as it follows a common pattern of movement from a stable equilibrium to disruption of the equilibrium to a reordered equilibrium.
Themes
The trailer has a wide range of themes and polysemic meanings: comedy, girl rivalry, friendship, relationships, teamwork and ends up being constructed into a fairytale underdog win signifying “girl power” for the convenience of the audience to enjoy. The ongoing “cat fight” between the antagonist and protagonist is a predictable feature of a chick flick and a familiar situation for teenage girls. Whilst the need to overcome obstacles and prove self worth is often evident in womens sports films. The preferred reading (Hall) of the trailer is designed to provide the audience of teenage girls with a feel good factor and sense of satisfaction from witnessing and willing a partial resolution to the story as the champion and underdog make friends. They are also left with an enigma (will the girls triumph in the championship) that can only be solved through going to see the full length feature film.
Stereotypical Characters
Stereotypical characterisations from the chick flick genre where adapted and incorporated into the trailer using Strauss’s concept of binary oppositions as the basis. Throughout the majority of the trailer the champion and the underdog are shown as the two binary opposites. The champion is athletic, outspoken, fast, mean and serious. She is the stereotypical “chick flick” Queen Bee (inspired by Mean Girls) and the mise en scene presents her as a tall ,slim, well polished female tennis player, a ‘Male Gaze’ (Mulvey). She is also a stereotypical sports girl whose portrayal draws upon Winships theory of notion developing a “fake consciousness” by presenting the teenage audience with an ideal version of themselves and what most aspire to be. In contrast, the underdog is presented through her performance in action shots, close ups of facial expressions and the selective use of dialogue as unathletic, slow, silly, unconfident and too nice. Stereotypical features are signified through the use of costume (eg leopard spotted headband, bright make up) and props (oversize clown like tennis ball). She is presented as being a “plastic” who is out of place in the sporting world. However, the audience witnesses the gradual erosion of the binary opposition between them as the trailer progresses and it becomes apparent that they may be much closer in attitudes than the binary opposition may at first suggest. Eventually, the stereotype created for the underdog is subverted.
Conventional technical features - use of a Voice over
The Bend it Like Beckham trailer used a voice over to provide narration throughout rather than just to introduce the initial action whilst I replicated this I also subverted the traditional convention of using a deep male voice by using the voice of the main character to narrate events from her point of view. An immediate connection with the audience was made as the main character outlined the setting, situation and dilemna of the film from her point of view. The voice over is a convention frequently used in chick flicks. The cocky mode of address and tone adopted by the main character was designed to help establish the chick flick “bitch” character.
Showing the development of relationships through Pace and editing
The Wimbledon film demonstrated the importance of relationship building in both chick flicks and sports films. This was reflected in the fast motion action sequence involving the 2 players training together. The fast motion emphasizing the race against time and the speed at which the underdog was improving. The montage of shots finishes with the 2 girls performing synchronized star jumps in perfect time together with the connotation that they have formed a partnership and are working positively together. The sequence is accompanied with non diegetic sound in the form a “Rocky” inspired soundtrack I composed on Garageband to add to the motivational and upbeat tone being set in the scene.
A slow motion and pause on the handshake following a practice game in which the underdog beats the champion denotes a significant change in the relationship between the 2 girls and provides what Barthes terms a “symbolic code.” The slow motion close up was also used when the girls were shaking hands again to emphasize the bonding taking place. On reflection, the handshake between the 2 players at the end of a practice match in which the underdog won symbolised a surprising change in the character of the champion. Whilst this was emphasised through the use of slow motion, zoom in and pause I do feel that I could have made more of this event by changing aspects of the mise en scene in subsequent shots particularly the costume and appearance of the underdog to give her a more professional image thus creating a sense that she was beginning to belong and be accepted in the tennis society into which she had been thrust.
The handshake scene is followed at the end of the trailer with an establishing shot showing the two girls walking off court in slow motion together suggesting to the audience that they are no longer rivals but ‘a team’. By the end of the trailer the audience has been cleverly positioned to hope that the two girls finish their emotional journey by uniting to win a championship.
Focus on emotion through the use of Camera shots and angles
Close ups were used throughout the trailer to show the emotional struggle of the underdog particular when she tells the audience “I’ll never be good enough” or the anger and frustration on the face of the champion.
Establishing shots are used to show both girls simultaneously when training to initially give the audience a view of the different abilities but also allow them to witness the coming together of the girls at the end of the sequence. The emphasis on emotions and the development of relationships is a key feature of chick flicks and sports films. The use of high and low angle shots are designed to represent the mutually accepted and established authoritative relationship between the underdog and the coach.
Presence of Humour
Also, in order to meet the audiences expectations of the conventional humour in chick flicks sound was used creatively to insert humour into the trailer. A scene from Dodgeball was the inspiration for the footage of the underdog struggling with a training routine and a “boiing” sound effect was inserted as she collapsed in a push up. A sound motif was also used to denote the presence of the motivational coach.
Incorporating Sporting Iconography that appeals to the secondary niche audience
In terms of sports films, a common theme across the genre involves an underdog triumphing against the odds which is the key narrative theme of my trailer. Sports films also tended to contain references, iconography, technical language or sayings that held a special significance to fans of the sport. My trailer reflected this convention in the use of: a famous John McEnroe saying “You can not be serious, ” to add humour to the moment the champion meets her new partner; use of title “On the Baseline” which will have connotations amongst tennis fans relating to being on the defensive; the Wimbledon related “Triumph and Disaster?” line used to trigger a narrative enigma. The trailer is also set entirely on a tennis court which adds to the verisimilitude.
Have generic conventions been adhered to or subverted?
The importance of the conventions associated with particular genres and real media texts was influential in helping me meet the expectations of my target audience demonstrating that “Individual creativity is stimulated by the work, ideas and achievements of other people. We stand on the shoulders of others to see further.” (Ken Robinson).
However, in hindsight trying to comply with chick flick conventions I may have missed opportunities to be a little more creative. For example, through the conventional use of a voice over I did not consider the possibility of creating a multi strand narrative whereby the different perspectives of the 2 rivals (binary opposites) were presented to the audience for consideration. My trailer followed a simple linear form of restricted narrative which presented the story from the point of view of the main character. The more creative use of a multi strand narrative, combined with the clever use of parallel editing would have positioned the audience in the heart of the battle between the antagonist and protagonist – metaphorically being hit from one side of the court to the other! Steve Neale argues that pleasure is derived from “repetition and difference” (Neale 1980) there would be no pleasure without difference. In this respect I could have incorporated a bit more difference!
However, the character portrayed by the champion is intentionally not totally stereotypical and has been designed to challenge dominant ideology by raising interesting questions about the representation of gender, particularly the way in which strong women are often signified through masculine characteristics such as competitiveness, determination and desire to win. The representation supports Judith Butler’s (1998) suggestion that we should see gender as free floating and fluid rather than fixed as it dependent on performance acts (how we behave at difference times). My trailer also supports Angela McRobbie’s claim that “There has been a change in focus from representation of the passive, dependent female to a more confident focus on self.” In addition, Mulveys concept of male gaze would apply in part to her appearance eg long blond hair, slim physique, tennis clothing symbolising a confident, successful girl. However, I did want to avoid the objectification of the female characters in the trailer particularly through the use of aspects of mise en scene. For example, the costume in my trailer is predominantly the clothing and equipment needed for the sport and related fitness activities the young women take part in – tennis. The clothing is functional and worn for a purpose rather than to accentuate feminine characteristics. The props (such as rackets, balls, fitness ladders, medicine balls, weights, ropes) also emphasize the physical strength and ability of the key antagonist. Also the setting of the trailer on the tennis court means that the characters are placed in an environment that is stable and not reflective of them as individuals – this removes the opportunity for women to be objectified by the audience.
In hindsight, I can now also see how my role in this production was that of an auteur in that my own ideology, personality and outlook on life heavily influenced all aspects of the production (not just genre conventions). Particularly, the decision to create a hybrid genre which subverted some of the stereotypical representations of women as vulnerable females desperate for love often evident in chick flicks. Whilst the underdog complies with the chick flick convention the champion, in many ways, subverts it. The champion is more typical of the female characters found in sports films which tend to have a much more positive representation of the strength, determination and talent of women. This combination sits more comfortably with my own ideology as a teenage sports girl. The confirms Gauntlett (2007) opinion that people do not just get represented by the media anymore. Instead they use Web 2.0 platforms to make their own media, share it with the world and represent themselves – which is what I have done in my production.
How will the generic elements of the production appeal to the audience?
The identification of a text as part of a genre enables potential readers to decide whether it is likely to appeal to them. John Corner notes that “genre is a principal factor in the directing of audience choice and of audience expectations.” One of the key features of genre is to deliver certain gratifications to the audience. My trailer offers the audience a range of “pleasures” or gratifications:
- One pleasure may simply be the recognition of the features of a particular genre because of our familiarity with it. Recognition of what is likely to be important, derived from our knowledge of the genre, is necessary in order to follow a plot. In terms of story structure they are “pleasured” by knowing Todorovs pattern of equilibrium, disequilibrium, equilibrium unfold before them in a predictable and familiar way.
- Genres may offer various emotional pleasures such as empathy and escapism. The main target audience will quickly empathise with the contrasting female characters portrayed in the trailer. The character representations are in many ways stereotypical of those found in “chick flicks” in terms of appearance, clothing and gesture. The stereotypical Queen Bee and “plastic” bimbo are characters that will be familiar to teenage girls. The champion is initially presented as the stereotypical chick flick Queen Bee that many in the audience may wish to aspire to be. In contrast the underdog is initially the silly bimbo who gives the audience a sense of comfort when she comes out on top. Knight (1994) notes that “satisfaction is guaranteed with a genre; the deferral of the inevitable provides the additional pleasure of prolonged anticipation.
- Making moral and emotional judgements on the actions of characters may also offer a particular pleasure. The restricted narrative in the voice over initially positions the audience to accept the champions interpretation of events. As the trailer progresses their empathy switches as a result of the behaviour shown by the champion particularly the aggressive comment that her new partner is “useless.” The audiences sympathy and support switches to the underdog who tells the audience through a close up shot “I’ll never be good enough.”
- Konigsberg (1987) suggests that enduring genres reflect “universal dilemnas” and “moral conflicts” and appeal to deep psychological needs. The trailer contains universal dilemma in the form of girl rivalry, the desire to win and be successful. Moral conflict is also evident in the win at all costs mentality shown by the champion and the poor treatment of the underdog. The audience is invited to make a moral stand: Is winning all that matters? Should we write someone off so early? Do we help or abandon the underdog?
- “Cognitive” satisfactions may be derived from problem solving, testing hypotheses, making inferences (eg about the motivations and goal of characters) and making predictions about events. The open ended nature of the ending of the trailer presents the audience with an enigma which allows them to predict whether the pair will go on to win the championship.
In conclusion, in a short space of time the audience is taken on an emotional roller coaster ride moving them towards a range very emotive and ideological outcomes which combine: seriousness, feeling sorry for the underdog, laughing at how bad she is and then willing her to get better. All of which lead to a moral and obvious conclusion: we expect the underdog to come out on top in this genre of films. Hence, in some respects my trailer could be accused of “injecting everything with the sameness” (Adorno) by replicating many features of the conventional chick flick and the focus on simplistic representations. Central to these production decisions was the need to gratify my main target audience and the knowledge that challenging too many conventional expectations for the genre could threaten the integrity of the text. However, I have tried to challenge dominant patriarchal ideology with the outcome of the narrative which provides the audience with a positive representation of women as serious professional sport people willing to work hard to achieve a goal in life. As a producer I tried to fulfil a challenging balance that would engage my audience in gratification, suspense and surprise in a 2 minute trailer that reflected the brand image of my production company “Sports Flick Films” and my own personal ideology.
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