Discuss issues of representation of gender and race
Females in 'District 9' are under-represented, presenting them as just relations to the men. For example, when the 'Tania Van De Merwe' is being interviewed, the screen graphics present her as "Wife of Wikus Van De Merwe", providing evidence for the fact that the film could exist without female input.
The men are portrayed as violent and inhumane, with no regard for other cultures.

To what extent are you chosen texts typical of their genre?

To what extent are you chosen texts typical of their genre?

My first text, Sin city, lies within the hybrid genre as it combines both film noir and comic book conventions.

A particular convention used within Sin City that defines it as film noir is the use of the Femme Fatale which helps reflect the time in which this film is supposedly represented. Due to this being set post World War 2, the femme fatale's are used to represent the women of real life society; during the war, the women would have got a sense of what life was like without men, and what it was like to be independent and no longer oppressed. And so, when the men returned from the trenches, after possessing all the power, the women did not want to return to being reliant, instead they wanted to hold onto the independence they had. This is mirrored in 'Sin City' as the women are seen as strong and independent, which can particularly be referenced to Shelley. She is presented to be in control of Jack when he comes home drunk and she refuses to let him in, and belittles him with her language. She calls him a "jerk loser" on more than one occasion and pinpoints that he hits her in order to "feel like a man". She becomes the voice of reason at this time, as domestic violence would have been a regular occurrence, but by standing up for herself she reflects her Femme Fatale characterisation. 

Another particular Film Noir convention is the representation of the cynical protagonist, which is typical to Propp's theory of character roles. With this film being set post World War 2, and in the midst of the cold war, the male protagonists are shown to have little, or no value for their own life. This is proved by Dwight when he tells Shelly to let Jack in, and states "I'll take care of this". Despite the inevitable consequence of Dwight getting hurt, his approach to it is slightly unnerving as he doesn't seem to possess any sort of concern for his own welfare.

Finally, the use of the trench coat is both a convention of the Film Noir genre and the Comic Book genre. The coat is very typical to the stereotypical 'private eye' characterisation that is presented in Film Noir conventions, but equally has connotations of the Comic Book genre as it often acts like a cape. With particular reference to Dwight, he puts the coat of just before he is about to save Shelly from Jack. Highlighting his sense of heroism. 

Social Realistic Conventions in 'Fish Tank'

Hand held camera -  This convention is particularly noticeable when Mia is running, for example, when she comes downstairs to find the social worker in her house and overhears her mother talking about where Mia might have to go, she leaves the flat and runs down the corridor with her mother shouting after her. The movement of the camera is almost as if the viewers being taken with her, and forcing the audience into Mia's point of view, and seeing the world from a minority. 

Limited or no use of non-diegetic sound - This is particularly supported due to the lack of music during the film, and any music that is used is demonstrated throughout a visible medium. For example, whenever she dances there is a noticeable CD player. One interesting point is when Mia chooses to listen to her music through her headphones, and the audience are able to hear the same thing as they would if they were literally in the room with her. This is typical to its genre in the way that the film is presenting real life and nothing more. 

Social Change - A particularly important convention used for the social realism genre is the use of a particular time in history. 'Fish Tank' is a modern day film, and is based within the time when the UK was living in a recession. This is subtly presented throughout the entire film, one example being when Mia walks through the town and all the shops she passes are boarded up or closed down. 

 Film Noir Conventions 

• Use of a voice over - this gives the audience a clear view of their ideology and background. An example of this was in one of the final scenes of the film where John Hartigen directs the audience during his final few moments when he describes why he is about to commit suicide. His decision to end his own life in order to save Nancy's is very typical of his character - being the cynical protagonist.

• Hard lighting (high contrast and low key) - the use of this enables the audience to be able to distinguish the characters we trust, to the one's we shouldn't. Equally, some characters are shown half light and half dark, giving the audience a sense of how much corruption runs throughout the film as this can feel a sense of unsureity. A prime example of the impact lighting can have is shown when we first meet Kevin; his face is shown completely in the dark, making it clear that he is not a character we should trust. 

• Cynical protagonist - believing that people are motivated by self-interest; distrustful of human sincerity or integrity or doubtful as to whether something will happen or whether it is worthwhile. Traits of being cynical are often reflected in the male characters, as they tend to not value their own lives due to them being alive during the cold war. A prime example of this is John Hartigen supposedly dying for Nancy as a little girl. He quotes, "i'm going to die anyway", living up to his cynical protagonist characteristics. 

Comic Book Conventions

• High usage of over exaggerated non-diegetic and diegetic sounds - this is important to the comic book genre, especially in relation to the fight scenes. For example, when marv gets into a fight, his punches are overly exaggerated. This is clearly a product of post production, but elevates the impact of the fight and also possibly relates to his 'superhuman' strength.

• Superhuman strength - this convention relates well to the theme of heroes and villains. All the male protagonists have traits of superhuman strength, making them very masculine and heroic. A prime example of this is when Marv bursts through the door, policeman get knocked down by the 'explosion' and he jumps down a flight of stairs.

• Trenchcoats acting as capes - This is a post modern take on the traditional cape, as it is able to relate to both Film Noir and Comic Book genre. When Dwight jumps out of the window, his cape flares out behind him as he is falling, giving the impression that he almost flying. Also, when Marv is about the murder a person, he takes his coat off, showing he is clearly aware that his actions are worng and not hero-like. 

Current essay

How far has the representation of women in the rhythm and blues genre developed over the years, in relation to ‘The Supremes’ and ‘Destiny’s Child’?

Throughout many generations of music, the representation of women has changed dramatically in relation to how they look, how they sound and how an audience views them. Throughout this project, my first aim is to explore how the rhythm and blues genre differs now compared to its origins, particularly investigating how it has adapted and evolved to move with the times.

Secondly I will discuss the ever-changing representation of females within the R+B genre with particular reference to the male gaze theory. I have chosen to base my investigation around tow particular case studies, firstly ‘The Supremes’, who “were not only the most commercially successful female group of the '60s but among the top 5 pop/rock/soul acts of that decade.”(1)

I then plan to compare and contrast them with a more contemporary rhythm and blues act ‘Destiny’s Child’. They could be seen as a post-modern evolution of the ‘The Supremes’ but one might argue that they were more successful and ideological.

The Supremes – Keep Me Hanging On

Lead singer Diana Ross – more camera time.

Matching outfits – sophisticated, long dresses. Classy. In keeping with the time.

Same scene – video consists of watching them sing, no scene changes. Simplistic. Does this mean they have the voices to keep the viewers watching, or was it because this was the extent music videos would stretch to at the time?

No narrative – no ideology, just there to sell their music and their voices.

Survivor (4,323,526)

Lead singer Beyonce – most camera time.

Narrative – aim to sell their sexuality – male gaze theory.

Ironically singing about independence.

Costumes – revealing and mostly consist of two pieces. Legs, stomach and cleavage are all on show. Beyonce seems to appear in a different colour, possibly highlighting her importance within the band. (focus)

Opening scenes – each member is immediately sexually objectified. Their body is shown before their face. Their body is almost oiled – iconography of sexulisation.

A large amount of scene changes, movement and dancing. The girls are being sexualised with their provocative dancing and costume choices. Does this distract from the fact that their music isn’t up to a higher standard as the Supremes or are directors just making use of the things we are able to produce in this era.

Why has the music video industry changed so much? Why are bands no longer able to just stand and sing and for audiences to be satisfied? Why must they contain a narrative to hold the audiences attention? Is it the music that has changed or society? 

How far has the representation of women in the rhythm and blues genre developed over the years, in relation to ‘The Supremes’ and ‘Destiny’s Child’?

Throughout many generations of music, the representation of women has changed dramatically in relation to how they look, how they sound and how they are viewed by an audience. Throughout this project, my first aim is to explore how the rhythm and blues genre differs now compared to its origins, particularly investigating how it has adapted and evolved to move with the times.

Secondly I will discuss the ever-changing representation of females within the R+B genre with particular reference to the male gaze theory. I have chosen to base my investigation around tow particular case studies, firstly ‘The Supremes’, who “were not only the most commercially successful female group of the '60s but among the top 5 pop/rock/soul acts of that decade.”(1)

 I then plan to compare and contrast them with a more contemporary rhythm and blues act ‘Destiny’s Child’  They could be seen as a post modern evolution of the ‘The Supremes’ but could arguably be said to have become more successful and ideological. Quote

The Supremes

The Supremes was an American female singing group and the premier act of Motown Records during the 1960s. Originally founded as the Primettes in Detroit, Michigan, in 1959, the Supremes' repertoire included doo-wop, pop, soul, Broadway show tunes,psychedelic soul, and disco. They were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group with 12 number one singles on the Billboard Hot 100.Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid-1960s, the Supremes rivaled the Beatles in worldwide popularity, and their success made it possible for future African American R&B and soul musicians to find mainstream success.

Founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglass public housing project in Detroit, formed the Primettes as the sister act to the Primes (with Paul Williams and Eddie Kendricks, who went on to formthe Temptations).Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson carried on as a trio.

During the mid-1960s, the Supremes achieved mainstream success with Ross as lead singer. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. Ross left to pursue a solo career in 1970 and was replaced by Jean Terrell, at which point the group's name reverted to the Supremes. After 1972, the lineup changed more frequently; Lynda Laurence, Scherrie Payne, and Susaye Greene all became members of the group during the mid-1970s. The Supremes disbanded in 1977 after an 18-year run.