Girl Meets Boy Conventions

Although this paper uses a mainstream movie, at all times you should use scholarly writing and language throughout the paper.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

Movies have the ability to transport people to different times and places and distract them from ordinary everyday reality. They allow for a range of emotions to be experienced. At their core, movies examine the human condition. There are plenty of deeper truths woven into screenplays and plenty of lessons to be learned, even when an individual is solely seeking entertainment.

The main setting of Trans-Sister Radio is within the small town of Bartlett, Vermont. The primary focus is set on Dana, a chromosomal-male college professor who is in the process of transitioning into the female gender. As a male, Dana is well-received by her community, even though she is perceived as strange and effeminate. She forms normal romantic relationships with women, has a fulfilling career, and is admired by those surrounding her, however she still feels incomplete. Unfortunately, what is missing from Dana is not externally noticeable, it is intrinsic happiness. From a young age, Dana suffered from gender dysphoria, a mental disorder that causes individuals to experience serious distress due to frustration with the sex and gender assigned at birth (APA, 2013). To alleviate the traumatic pain that has burdened her for decades, Dana makes the bold decision to partake in complete gender reassignment surgery. Trans-Sister Radio challenges the prototypical ideologies of character growth, morality, and relationships through its descriptive insight on transsexuality and thus gender.

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

The term “genre” is referenced frequently when describing film, literature, music, and other mediums of artistry, and yet attempting to define the term itself is difficult. Genre studies are rife with uncertainty and conflicting opinions on how best to define and research genre. Some theorists opt for a semantic approach, a broader categorization a genre that encompasses a large number of films, the building blocks of which are commonplace across that genre. In contrast to the semantic theorists, some prefer a syntactic approach, isolating select films which most ideally represent the themes and structural conventions of that genre. There exists a third interpretation, a semantic/syntactic approach, which takes into consideration all

The film, Boys don’t cry, is a commercial film based on a true story, which portrays the hellish life of a young female-to-male transgender named Brandon, originally named Teena Brandon. The film reveals the hardship and discrimination a transgender can, and most likely will, experiences in the American society. With the film, Andy Bienen, co-author, and Kimberly Peirce, co-author and director thought provokingly portray the deeply rooted homophobia and stigmatization of gays, lesbians, and transgenders found in America. Both Bienen and Peirce bring to the audience’s attention that “Heteronormativity results in stigmatization of gays and lesbians,” that “Sexual Preference implies a choice while sexual orientation is biological or

Soldiers Girl is a heartbreaking film based off of a true story created in 2003. The two main characters including Army recruit Barry Winchell (Troy Garity) and Transsexual drag queen Calpernia Addams (Lee Pace) unexpectedly fall in love when Barry lays his eyes on her in the local bar that she works in called Visions. While their love flourishes over time, it becomes extremely apparent that this would be nearly impossible with Winchell’s nosey bunkmate, Justin Fisher (Shawn Hatosy) who strongly disagrees with their relationship. This film does an exceptional job representing a transgender woman as one of the main characters, however she is more so portrayed as the catalyst leading to Winchell’s death in the end. The dominant message in this film is how Binary Thinking (“viewing, interpreting and judging reality in terms of mutually exclusive categories (X is either “this” or “that” and cannot be both)” can affect people In the Transgender community.

The movies under this category have attracted the attention of many reviewers because of some reasons. The films are widely appreciated because of their wider exposition of culture as well as sophisticated and rich subject matter. The show of culture and emotional expression that the movie contains has drastically changed the description of the category from action films to relationship film. Additionally, the movies

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

The producers will develop a test and the audience will tell the producers whether it is something they want to see or they are not going to see. This can affect the next text to be produced in an attempt to conform to the audience demands. Looking at the development of different types of genres and the development of films within the same genre, it’s possible to look at similarities and differences and identify changes in society and audience ideologies and tastes.

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

Genre theory is used to study films and put them into a classification so that audiences know what type of film it is before they see it. Genres are categories based on the story of the film, sometimes the actors and actresses, or even the directors. All films fall under a genre or sub-genre category. Romantic Comedy is an example of a genre which is light-hearted, humorous story involving people in love, sometimes overlapping with subgenres such as screwball comedy teen comedy, or gross-out comedy. ( Goodykoontz & Jacobs, 2014, table 4.1). This paper will focus on the romantic comedy genre and movie Rocky. It will take a better look at the specific conventions of this genre and how this movie fits the gangster genre.

The BBFC has commissioned me to undertake research as part of a project to ascertain to what degree films can be regarded as powerful within contemporary society. In this assignment, I will comprehensively explain the relationship between audiences and films with well explained examples. I refer to the different sectors relating to the topic that include the following:

All clearly feature the association between women and sex. Whether the director is female or male, this connection is still present. The equality of the sexes and the way the female identity is represented contains different connotations to the way it is viewed. “Women [being] displayed as a sexual object” is a common “motif of erotic spectacle as is plays to and signifies male desire” (Mulvey, 809)