Written Report on TV Subgenres

Written report on TV Subgenres

Within the television industry there are various genres – including TV Drama. However, based on various audiences this genre can be grouped into subgenres, which have their own codes and conventions, as well as a different storytelling style to the others. A few examples are Soap Operas, Teen Dramas, Medical Dramas, Crime Dramas and Period Dramas.

Soap Operas

The Soap Opera is one of the most popular forms of Drama watched on TV, drawing in many viewers. This is because the storylines, issues and characters featured within them mimic that of real life and therefore are identifiable to viewers. Generally, conventions for this subgenre follow the activities of a community of people in a middle or working class area. The target audience for these dramas are typically women and adults, perhaps parents, who find interest in the happenings of ‘real life’ drama. However, the programmes feature many different social groups and ethnicities to attract as many viewers – plus a typical pre-watershed viewing time allows children and families to enjoy the storylines too. The narrative, therefore, is quite simple, cutting between problems between various characters each episode at a fast pace. This is easy to follow and builds tension methodically towards the end of each half hour slot. Due to similar audiences, Soap Operas all have standard – though slightly unique – visual styles, mainly using Close Up and Medium Shots to focus on character and dialogue. Mise en scene will be that of everyday communities, and there is not much creative opportunity as the target audience is not interested in this. Main examples include Eastenders, Coronation Street, Emmerdale and Neighbours.

Teen Dramas

Teen Dramas – as suggested in the title – are programmes which feature and appeal to a largely teen and young adult audience. As a result, the subgenre incorporates a different visual and narrative approach to the Soap Opera. Firstly, the storylines will centre on issues affecting youths rather than all sorts of people – focusing mainly on drugs, health, sexuality and socialising. This is easier for the target audience (male and female usually between 16 and 21) to relate to. Narrative will probably be of a faster pace as well, to reflect teenagers’ lifestyles – possibly linking to current music and technology to add interest. To synchronise with when teenagers watch TV, Teen Dramas will run after the watershed as well. Social groups incorporated are similar to Soap Operas in that a variety of religions, races and social backgrounds are featured, however the characters are mostly teenagers themselves. Visually, this subgenre will vary from standard TV cinematography as well, so that the target audience are drawn in by a more exclusive and imaginative style – despite interested in the issues in the storyline, aesthetic plays a more important role in engaging viewers here. Examples of Teen Drama include Skins, Misfits, and Being Human.

Medical Dramas

This subgenre is intended to appeal to a slightly more intelligent and sophisticated target audience. Though the viewer will be parents and adults who are at home Saturday evenings, the context of Medical Drama extends past midwifes. They are usually set in or around a Hospital or other Health Facility. Conventionally the programme is set in a modern environment and characters will be doctors, patients and other staff. Much like Soap Operas, the storylines will revolve around external plots (for example a car accident) or internal story arcs (an affair between two doctors, for instance). The narrative is slower in pace than other subgenres due to the nature of the programme – there will be a more intelligent focus on the characters rather than an endless list of scenarios to draw the viewer in. Social groups portrayed in Medical Dramas are adults and children, though of a higher class normally – the majority of characters after all are educated and in the nursing career, which links to audiences from a University background themselves. The subgenre is normally filmed in a similar way to most dramas, with standard framing and colours, though as previously mentioned the hospital setting affects mise en scene. There is a lack of exterior locations and so cinematography is generally clinical and unimaginative. Examples of this subgenre include Casualty, Holby City and The Royal.

Crime Dramas

Crime Dramas are a subgenre which is far darker in tone and more complex in narrative. Due to this, the target audience differs from the previous programmes, who were primarily interested in everyday situations and characters’ relationships. Though Crime Dramas still have this, the subject matter and conventions set Crime Dramas closer to the silver screen than Television, for example stories involving murder, a focus on a detective or police unit acting as protagonists (juxtaposed perhaps with the suspects and killer who serve as antagonists), a thriller-style narrative with more twists and tension-building, and a bleaker urban setting used to put the audience in discomfort. Based on this unique formula, the intended audience will be adults of any age, though with an interest in crime, awareness of genre conventions from the cinema and more intelligence generally. This allows for Crime Dramas to experiment with more sensitive issues such as rape and murder in a less saturated way to that of Soap Operas. The target audience will not be put off by a more confusing narrative either, or longer episode time. Social groups featured will mainly be of the extremes – either high or low class in the case of suspects, juxtaposing various people together. However, the protagonist (normally to feature in the entire series) may be of a more humble, middle-class background to reflect the lives of the viewer more. As mentioned, the programmes are usually of a darker visual style. Framing and colours will be interpreted in a Hollywood style, therefore giving the subgenre a more professional quality. Editing and cinematography may stray to the point of horror, even. Good examples include Law and Order, C.S.I, NCIS and Taggart.

Period Dramas

These programmes have a completely different set of rules to Crime or Medical Dramas, and this therefore attracts a different target audience – however they are becoming more popular with people. Period Dramas are typically set in an old-fashioned time period, usually that of the 19^th and early 20^th centuries. Due to this, the issues raised in the storylines are unusual and different to those experienced by people today, attracting viewers for entertainment or education reasons rather than to watch kitchen sink drama (in the case of fans of Soap Opera). Episodes will follow a very sophisticated and theatrical style, which though different to the film industry is definitely very evocative – longer episode length also reflects the target audience, who are mainly female women and the elderly due to an interest in history and appearing sophisticated. Characters are usually from a higher class background, and so will the setting. In terms of narrative, the stories will focus on various characters like the other subgenres, though relating to changing society – issues including women’s rights, war, aristocracy, etc. Furthermore, social groups portrayed will evidently be different to those watching the programmes - there will be a lack of diversity and the characters will be white British mainly, however various ages will feature to interest the target audience. Visually, the palette will be softer and reminiscent of artwork at the time – cinematography therefore differs also to allow the viewer to recognise this more eloquent aesthetic style. Examples recently are Downton Abbey, Mr Selfridge and Little Dorritt.

Mise-en-scene analysis

The  protagonist is framed centrally, suggesting his importance. He is slouched, which reflects dominance, assurance in his environment and career, a laid-back attitude. His coat is reflective of the '70s and police-work, giving context to the scene. By wearing a tie, this also suggests his status over the supprting character, who is framed to one side and does not wear formal attire. His stance faces the central character, which further conveys the relationship between the two

Supporting characters are in the background of the frame, and out of focus, simply being used to fill out the setting. The scene is lit with key light to prioritise the protagonist from one side of the bar. Back light is provided naturally by the window, to give shadow to the other side of the characters from behind. Fill light is used to flesh out the environment as it is fairly dark, and the camera would require additonal light in the room to capture the images. Overall this gives a raw and natural atmosphere. The room features patterned curtains and wallpaper which also reflects the time in which the programme is set, and suggests an environment trying to be friendly and warm but unimpressionable.

The scene is taking place in a hospital, and so there are more clinical lighting choices. There is a balance of key light and backlight so that little shadow is created and the two characters are lit brightly. This reflects the clean and neutral aesthetic of the scene. The plain surroundings and neutral colours also suggests their careers, and a lack of personality to them due to the ethics of their profession.

The two characters are framed in a Two Shot, as despite a difference in status they are both important in the scene. They are both immersed in their duties, conveying professionalism. This is also achieved through their costumes and medical equipment which reflects their jobs. The male character is wearing an apron, and is physically tending to someone, which suggests a resourceful nature and attitude, though also less status than his colleague, who is overlooking him. Her stance shows intelligence and sympathy.

Within the frame, there is a cluttered composition. The room is comprised of furniture and items which reflects the character in the scene; the disorganisation therefore suggests her confusion and weakness. Objects are placed in the foreground of the room to give a sense of depth as well. The character is to one side of the frame, which allows for the cluttered surroundings and isolates the character rather than suggest importance.

The character's posture suggests defeat and loss, as she is looking down rather than at the level of the camera. There are connotations of domestication and old age through her dressing gown, which may just be due to the time of day or temperature but suggests the character is withdrawn, seeking comfort and shelter.

There is use of key light in the scene which is intended to be coming from a window out of the shot. This is effectively used to cast shadow behind the characetr on the wall. Back light is also used to balance out the character and keep her in full light, so as to keep her in focus. This also adds to the atmosphere of the room by suggesting naturalness and a lack of colour - subliminally connotating the lifestyle and emotions of the character as well.

 The scene features two protagonists within the frame equally. This allows for the viewer to focus on the relationship between the pair of them, as extras within the scene are not centrally framed and are in the background. The environment uses the colour red through the low lighting and wall to effectively connotate the sexual and lustful nature of the programme, as well as link to the themes of blood (the bar serves blood as a drink for vampires). Use of props on the table adds to the authenticity of the scene as well.

The female character in the scene looks up at her counterpart, which suggests his dominance over her. Rather than conveying weakness, this portrays the character as being youthful, innocent and in awe of him. This is supported by her costume - a floral, low-cut dress which reflects her age and confidence. The man, however, is dressed in a dark-coloured shirt, which juxtaposes the two characters and suggests a mystery and darkness to his nature. The scene also reflects the characters feeligns and mood through the lighting. Key light is low and comes from the direction of the female protagonist, which leaves the man in shadow. This creates focus and prioritises the woman. Fill light is used to great effect as well, by creating shadow to the environment. This gives the conversation and the scene itself more romanticism through the stylish aesthetic.



This scene relies on framing and costume, rather than setting, to convey the scene and the characters. There is a deep depth of field, allowing for the camera to focus on the two characters. They are framed centrally, which will also suggest their importance. The two doors of the police box fill out the frame on either side, and subliminally suggests movement by contextualising where the characters are and their placement within the room - they are about to exit the room, conveyed through the doors opening out.

The costume of the female character is a bridal dress. This ought to denote that she has just been married, but her facial expression contradicts this, suggesting annoyance or shock. Her red hair colour also contrasts with the white dress, and connotates strength and defiance as opposed to purity. The colour of white creates focus for the character in the scene, and almost ironically reflects her personality in contrast to the Doctor. His posture and eye contact adds focus to the bride further, and as she slightly leads the way they are walking there she is further portrayed as the strongest character of the two. The Doctor's suit is intentionally smart casual, and suggests his casual attitude and humour through the casual way he wears the suit. An undone top button and loose tie adds to this feeling, and gives the scene a humorous nature as a result.

Back light coming from within the room is bright, and along with the key light gives a balanced feel to the scene, giving even light to the characters. There is a lack of shadow which allows for focus to be on them both.

Cinematography definitions - Angles and Movements

A list of camera angles and movements:

High Angle
In a high angle shot, the camera in this case is placed above the actor, and can be used to suggest the insignificance or lack of status of a character.



Low Angle
Taken from beneath the actor, a Low Angle shot can suggest the importance or strength of a character.



Dutch Angle:
A Dutch or Canted Angle places the camera off-position so that the frame is at a tilted angle, normally during moments of disorientation. This can reflect the confusion of characters.



Over the Shoulder Shot:
An Over the Shoulder Shot involves the camera being placed over the shoulder of one actor, normally during a conversation. These can also form the Two Shot, which features two characters within the frame. These are found frequently in Film and Television Dramas.



Crane Shot:
These shots can be taken from a high level or from eye level initially, and involves the camera being raised above the characters on a crane, allowing for a smooth camera movement. These are often used to introduce characters being introduced to new surroundings.



Point of View Shot
These shots are normally taken at eye level and involves the audience by making them a voyeur. They see what the character sees, and therefore sympathy is built for the audience and they can be portrayed as the protagonist.



Tracking Shot:
This camera movement involves the camera being moved either in or out, or side to side (crabbing), in order to follow or focus on a character. This term derives from the camera usually being placed on tracks to achieve smooth movements.

 

Pan/ Tilt
This involves the camera being on a fixed axis and turning from this point from side to side (a pan) or up and down (a tilt), which allows for a camera or object to be followed. This is usually to suggest the speed at which something is moving.



Zoom
A zoom does not involve any camera  movement, but suggests speed by quickly moving in onto an actor's face, for example, and bringing them into focus sharply. This can be used to shock the viewer or show dramatic impact.



Other cinematography terms:

Follow focus
This is an additional camera trick which can be used, involving two characters or objects within the frame (in the background and foreground). The character out of focus in the background will come into focus and the foreground out of focus, or vice versa, to show change or juxtaposition.

Rule of thirds
This is the theory used in the composition and framing of shots, by splitting the frame into nine sections or 'thirds' which intersect. At these intersections are the places onscreen wherein characters and objects are most usually placed, as they are easily in focus for the audience.

Depth of field
This refers to the amount of space or distance between objects within the frame. If there is a deep depth of field, the camera keeps all characters within the frame in focus. If there is a small or shalow depth of field, there is distance between the characters and one area of the frame is in focus.

Cinematography definitions - shot types

A list of definitions of cinematography terms:

Shot types

Extreme Long Shot

(Is used to contextualise a scene and establish the setting - can be called an Establishing Shot also)
 

Long Shot

These shots feature the entire body within the frame, usually to show where a character or object is moving in a scene.

Medium Shot
Medium shots provide additional detail to show characters' emotions but with enough space for them to move around in the frame.


Medium Close Up
A Medium Close Up is a variant of the Close Up, and normally features a character from the chest up.





Close Up
A Close-Up typically features a character from the shoulders up. These are commonly used in Television Dramas as they show facial expressions.



Extreme Close Up
A variant of the Close Up, these shots can be of a part of an actor's face or an object in order to show small details for dramatic impact.

Submarine Marketing Campaign - Above-the-Line/ Below-the-Line

Above-the-line

Being a British film (and not featuring any Holloywood stars or financing), Submarine relies on it's indie style and qualities to attract a niche market of film fans. There was no international cinema release and due to a solely British market there was little Above-the-line advertising, other than a trailer.

Promotional Poster:



Link to film trailer:
http://www.youtube.com/watch?v=4IVFfiv6wpY

Instead, Submarine relied on a lot of Below-the-line advertising due to being inexpensive and being more accessible to the target audience than through numerous trailers and merchandise like The Dark Knight Rises. The only star quality used to promote the film is the actor Ben Stiller, who had no involvement in the film other than an executive role and used his name to raise attention.

As opposed to The Dark Knight Rises, which could attract audiences through a marketing campaign, Submarine approached audiences via critical acclaim, and upon the film's release at local theatres its' award wins were used for promotional purposes.

Links to film reviews/ interviews:

http://www.guardian.co.uk/film/2011/mar/17/submarine-review

http://www.youtube.com/watch?v=9mEErpOlqgc

http://www.film.com/movies/sundance-interview-richard-ayoade-for-submarine

The Dark Knight Rises Marketing Campaign - Above-the-Line/ Below-the-Line

Above-the-Line advertising material for The Dark Knight Rises:

Due to the large budget of the film (financed by Warner Brothers, and a good percentage being spent on marketing), there is a lot of material such as posters and viral advertising to promote the film. Unlike 'Submarine', the producers can afford to take risks with advertising, and so an unusual campaign was used to spark interest and raise awareness of the film by word of mouth, similar to The Dark Knight - inviting followers over Social Networking site Twitter to post images they find of bat-signals scattered across the world.

Many teaser trailers and television advertisements could be afforded by the studio as well, so that as many people could be made aware of the film months in advance, whetting their appetites.

 

 

 

 

 

 

Below-the-line advertising:

 

As well as trailers and merchandise, a great deal of publicity came from reviews and press publicity involving the star talent to raise audience interest.

 

Links to online press interviews/reviews:

 

http://www.telegraph.co.uk/culture/film/9396277/Christian-Bale-interview-The-Dark-Knight-Rises.html

 

http://www.youtube.com/watch?v=-uTFuyks9fE

 

http://www.timeout.com/london/film/the-dark-knight-rises

 

http://www.totalfilm.com/reviews/cinema/the-dark-knight-rises

 

Due to the large-scale media coverage of the film, there were stories in the news which became associated with The Dark Knight Rises - in particular the Colorado Cinema Shooting at a late-night premiere of the film, showing a negative impact of below-the-line promotion.