Structuralism – Claude Levi-Strauss

 Levi-Strauss theory of Structuralism applied

Still image from Spider-Man: Into the Spider-Verse, 2018, showing Dr. Olivia Octavius transformation into Doc Ock, symbolizing the disruption of order and the beginning of chaos. 

In the opening scene, Dr. Olivia Octavius is shown and her relationship with Spider-Man is established. From a structuralist viewpoint, the scene's meaning is established by the contrast between chaos and order. In the beginning, Dr. Octavius is seen as an orderly scientist in her lab. But when she turns into Doc Ock—complete with terrifying mechanical arms—it symbolizes the end of order and the beginning of chaos. This binary conflict helps to craft an engaging story. The tension between Dr. Octavius's desire to further science and her turn into a villainous figure excites the viewer and promises a compelling narrative arc.

Miles's clumsy attempts at learning how to swing under Peter B. Parker's guidance are on display in the second scene. This scenario represents the binary opposition of competence and inexperience, according to structuralism. Peter is a seasoned Spider-Man who displays skill as he moves through the forest with ease. As a rookie who finds it difficult to learn the basic skills of web-slinging, Miles symbolizes inexperience. The ideas of mentorship and the learning process are explained in detail using this binary opposition. The scenario highlights the necessity for instruction and practice by highlighting the obvious differences between an expert and a beginner.

Gwen Stacy is introduced in the last scene, giving some background information and justifications. Using the structuralist lens, this scene can be analyzed by contrasting isolation with connection. Gwen's story of losing her best friend and deciding to live alone in order to stop the sorrow highlights how disconnected she is from reality. But her coming to Miles's reality and the possibility of making new friends among Spider-People point to a change in overcoming that loneliness. The creation of recognizable character kinds is made easier by this binary opposition. Gwen is introduced as a distinct and captivating character in the Spider-Verse by the way of her first image as a lone wolf in contrast to the other Spider-People's unity.

More Levi-Strauss theory of Structuralism in film

Still image from They Live, 1988, showing the hidden messages such as the money which implies 'THIS IS YOUR GOD' highlighting how important money is to society, and how we're controlled indirectly.

John Carpenter's "They Live" opens with a sequence that introduces Nada, the main character, and his discovery of the sunglasses that contain hidden messages. By contrasting the ordinary reality Nada first encounters with the frightening subliminal messages revealed by the sunglasses, the sequence sets up the central tension of the movie. According to structuralism, this scene depicts the binary opposition between ignorance and consciousness. Nada's first impression of the world is one of ignorance, full with eye-catching commercials and seductive taglines. He can see the surroundings in clear black and white when he puts on the sunglasses, displaying oppressive messages like "OBEY" and "MARRY AND REPRODUCE," which denote a conscious state of mind. This conflict serves as an explanation for the primary message of the movie, which is that the masses are controlled by hidden forces that control their thoughts and desires without people noticing it.

As Nada wears the sunglasses later in the sequence, the binary contrast between appearance and reality further highlights the main struggle of the movie. The contrast between the ordinary aspect of a grocery shop, filled with items that appear ordinary, and the subliminal messages included in those items would be the main focus of structuralism. The picture changes to black and white, revealing merchandise shelves adorned with labels such as "CONSUME" and "STAY ASLEEP." In order to establish a strong narrative, this scenario seeks to highlight how widespread the hidden control is, extending to even the most routine facets of daily existence. The spectator is left wondering how Nada would handle this dishonest situation as the binary opposition becomes clear to the extent of the deception and the risk it means.

A brief interaction between Nada and what appears to be an ordinary businessman closes the scene. The businessman's face appears as an ugly alien skull through the sunglasses, highlighting the movie's theme of covert forces controlling society. According to structuralism, this interaction represents the binary opposition between the human and the alien. The businessman's actually normal human look is a front for the alien force in charge of him. This alien form's exposure represents the power structure's covert reveal. It is through this binary opposition that distinctive character types are produced. The scene creates the "us versus them" dynamic that pushes the story and allows the audience to empathize with Nada's struggle against this oppressive alien rule by clearly distinguishing humans and aliens.

Genre Theory – Steve Neale

 Inferring genres of trailers based on genre theory

The genre is a mix of science fiction, action and fantasy based on the trailer for Everything, Everywhere, All at Once, 2022. 

Still image from Everything, Everywhere, All at Once, 2022, showing the sci-fi elements as seen in the trailer.

Here, iconography and narrative considerations are important. The trailer's chaotic structure, which switches between several realities and tones, disrupts traditional linear storytelling. Its extensive iconography, which includes anything from martial arts fights to chaos in IRS offices, also characterizes its approach to merging genres.

By mixing several genres together, misleading the audience, and highlighting existential and cultural effects, this movie specifically challenges norms of genre. The heavy focus on absurd humor and multiverse ideas highlights the audience saturation effects in the post-superhero movie world.​

The movie is an action-sci-fi mix those mixes superhero-like abilities with existential questions about identity, family, and choice which expands audience appeal. A key to its impact is in the way it combines emotional and humorous moments with intense action scenes.

The genre of Phantom of the Paradise, 1974, is rock musical, horror, and satire based on the trailer.

Still image from Phantom of the Paradise, 1974, of the masked man appearing in the shower shot.

Here, character conventions and iconography dominate. Classic horror and musical elements are shown through the visual style of gothic clothes and rock-opera theatrics, as well as characters like the disfigured protagonist and the evil song producer. The perception of the genre depends more by these images than by the story alone.

The movie mixes genres in a way that criticizes commercialism and the music business. By focusing on the sale of art, which was particularly important in the 1970s music scene, it plays with cultural effects.

The quick tonal shifts that happen when the drama/chaos of people yelling and dancing gives place to a horror-like scene with an unseen threat posed by the guy bathing make this genre hybridity clear. It's a unique mix of rock music and gothic horror, with both elements used on purpose to parody the excesses of each genre.

The genre of Electric Dreams, 1984, is a romantic sci-fi film, with some comedy elements.

Still image from Electric Dreams, 1984, showing the main characters that'll eventually fall in love after some chaotic events.

Since the film focuses on the charming story of an uncommon love triangle involving a man, a woman, and a sentient machine, audience appeal is key. This maintains a lighthearted, humorous tone while highlighting the science fiction aspect that involves human-technology connection.

By including a sentient computer in the love triangle and highlighting the social and cultural context of the 1980s growing tech obsession, the movie challenges the conventional romantic comedy.

Its unique combination of science fiction and romantic comedy lightens the otherwise dark concept, which is part of its appeal. Genre piggybacking and mirroring of contemporary audience consumption experiences is the genre hybridity in the film.

Narrative Equilibrium – Tzvetan Todorov

Identifying Tzvetan Todorov's Theory in an extract from Mission Impossible - Rogue Nation, 2015

Still image from Mission Impossible - Rogue Nation, 2015, of the man running to the side of the plane, ready to jump so he can get inside the plane.

Still image from Mission Impossible - Rogue Nation, 2015, of the man that is already stick to the package and is ready to escape with it.

We're presented to the hero (Ethan Hunt) who jumps on the plane to take care of the dangerous package on it. 

The helper to this hero is Benji, who seems to be a professional hacker capable of hacking into the plane system. 

We're able to figure out that the villains are the individuals who have hijacked the plane with the dangerous package.

The clip opens with a serene, green field in which one of the characters, Benji, appears to be disguising himself. The other characters are then shown in a series of back-and-forth, straight cuts. This creates an equilibrium. 

The disruption happens when the equilibrium is disrupted when the hijacking occurs, throwing the situation into chaos and then the hero does a bold attempt to get the package himself which is in the plane who is taking off.

As the hero successfully joins the package to himself in order to skydive them down the plane, a new equilibrium is established. 

Disequilibrium appears to influence a significant part of the clip, demonstrating the existence of in media res. The jet is already in motion and the hijacking is in progress when the video opens. Without any intro, we are thrown into the dense middle of events.

The scene cuts between Ethan Hunt's perspective inside the plane and the perspectives of his team members remotely monitoring and assisting him from a control show develops multiperspective narratives.

Equilibrium Theory Applied

The clip's goal is to increase the suspense and impact of the plot by structuring it with narrative equilibrium. For example, by setting up the story in a mid-action disequilibrium issue that looks to be in media res shortly, viewers of the movie are going to feel the same tension and anxiety as the protagonists. The plot is wrapped up utilizing elements of the theory to show its intensity, and this settles when a new equilibrium is established with the door opening and the successful exit off the plane. 

Semiotics - Roland Barthes

 Analyzing a clip from Punch-Drunk Love, 2002

Still image from Punch-Drunk Love, 2002, of the harmonium being abandoned on the side of the road.

Still image from Punch-Drunk Love, 2002, showing the reaction of the main character had due to the events that happened.

The sign from this clip is the car accident. 

The signifier is the visual image of the harmonioum.

What is signified by the harmonium are the feelings of loneliness, and abandonment, while the car crash shows chaos and conflict.

The denotative meaning happens when the harmonium has been left in the road right after a car crash had just happened.

The clip's connotative meaning goes from a solitary office setting to him seeing a car crash and a harmonium being dropped outside.

The clip's hermeneutic/enigma code asks the audience to think about the reasons behind the harmonium's abandonment and the relationship it may have with the main character.

Semiotic Theory Applied

Presenting the tone and genre of the movie is the clip's main goal. Visual signals such as the harmonium are used to tell the viewer that something chaotic is probably going to happen. Especially, the opening shot of the sequence, which shows a man in a largely deserted office, conveys a sense of isolation and loneliness. A scene of a car crash and a harmonium left in the street come next. These seemingly random, unconnected events point to an unusual, possibly crazy, plot for the film.

Depth of Field in Cinematography

 1) Stills from existing media that use depth of field meaningfully

a. Still image from The Godfather, 1972 showing how deep is used to convey conflict or development.

In this still from The Godfather, depth is used to show conflict. The desk contrasts with the spacious room surrounding the main character, leading to visual conflict.  There's also a contrast between gloomy inside illumination and dazzling outside lighting, representing internal conflict.  

b. Still from The Joker, 2019 showing how shallow is used to convey character or development.

In this still from The Joker, narrow focus is used to highlight the Joker on the glass while also hiding his face. It highlights his solitude and distance from the outside world, representing his inner conflict and disconnection from society. The blurring barrier shows his struggle and anticipates his transformation into the Joker.

c. Still image from The Notebook, 2004 showing how soft is used to convey character or development.

The soft technique emphasis on the boat in this still from The Notebook, along with the calmed colors, has a beautiful element that suggests nostalgia and remembrance. The peaceful river and sunset atmosphere provide an enjoyable break from the protagonists' stormy love tale. This softness highlights their emotional link and silence, as well as the approaching changes in their relationship.

2) Stills I created using depth of field to demonstrate meaning

a. A still showing how deep is used to convey conflict, character, or development.

In this still, I portrayed a story through the use of a wall and an individual with some straightforward messages about how the individual is studying psychology with various objects that tell it such as the psychology book and the computer with an open window regarding psychology universities.

b. A still showing how shallow is used to convey conflict, character, or development.

In this still, I tried portraying the emotion of the individual by highlighting their eyes which should be able to describe the lack of interest in the blurred mess behind them, hinting to the viewer they were the ones causing it. 

c. A still showing how soft is used to convey character or development.

In this still, I tried to convey a soft focus, creating a dreamy, innocent atmosphere. The photo of a child playing with toys clearly conveyed this feeling.

Reflection: 

The main challenge I faced was achieving the desired depth in my still. I aimed to create a still that created the sense of telling the story without the necessity of words. I decided on three main things for the still: the background, the computer, and the book ensuring each part drew attention as equally as the others and contributed to a well-rounded view and potential storyline. Initially, I struggled with the distance, worrying it was too close to effectively apply the concept. When capturing photos directly in front of the individual and their surroundings, the details and meaning were diminished. To address this, I placed the camera so that the corner points of the frame were wide enough to show everything. This adjustment naturally added dimension to my photo, making the depth appear ‘deeper’ and allowing for more detailed expansion within the image. For shallow the still was quite hard to come up with but I believe the eye and background played their part correctly as they were able to show how the individual was uninterested regarding the mess behind them. It also may have done its job in telling the viewer the individual was the one behind the mess. On the other still, I successfully applied techniques to achieve the desired effect. For instance, to create a soft focus shot, I experimented with various methods, including adding different types of toys. Initially, the toys would seem too messy, causing a burden or uncomfortable effect on the viewer. But then I was able to get them in an organized way so they would seem just fine to the viewer.