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Media Studies Summer Task
What are thesimilarities and differences between two clips?
What are thesimilarities and differences between two clips?
1. Casino Royale opening scene, http://youtu.be/HNvzNWuzI9Y
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2. L.A. Noire Upon Reflection, http://youtu.be/HQyWNFBK94Q
Theopening scene to Casino Royale sees along shot establish the somewhat luxurious, overseas location of Prague, CzechRepublic, immediately connoting an upper-class mise en scene to the audience. Theclip has been rendered black and white, again adding to the obvious classical sophisticationof the occasion and the events that we expect to follow. By quickly asserting aclassy, elitist, more intellectual setting – through chic costumes and modern props– the viewer will be enabled to grasp the archetypal representation of JamesBond, the protagonist. Although a man of action who frequently finds himselfexposed to the hidden uglier side of life, he maintains great refinement and elegance,reinforcing the upmarket genre at which the film is pitched. The perpetual tastefulnessof Bond’s world that is consequentially created helps an audience indulge inescapism, which perhaps heightens audience appeal.
Ina similar sort of way to which the greyscale filter featured in Casino Royale addresses connotations ofhigh-class living and wealth, the voiceover introduced at the start of L.A. Noire forms an equal environment ofmuch desired stylishness, culture and riches, but allows the gamer toacknowledge the nasty side of the city as well. Though arguably Hollywood andthe majority of Los Angeles are lathered in more glamorousness than Casino Royale’s still-very-plush set,combined with the opening soundtrack of casual jazz and expensive attire, JamesBond deals with deviants and rogues in situations enveloped in extra class and quality.The lighting in the villain’s office in the first video is heavily shadowed,making the antihero appear enigmatic, mysterious and unpredictable. Once more, L.A. Noire’s mise en scene sharedshadowy scenery, alluding to comparable dark connotations of evil and theunknown.
Stereotypesare never challenged in the short duration of either audiovisuals. For example,when Bond confronts the antagonist in his office, he both outsmarts and outwitsthe older man with smooth ease, and in doing so does not oppose conventionalarchetypes of ageism and the young beating the elderly due to the relative aidof faster physical and mental capacity. The generic views reinforced instead ofbroken in L.A. Noire are probablymore subtle, but still exist. Like many action-adventure thrillers (games aswell as films) in the media, women are marginalised massively. Whilst the Casino Royale clip achieves this by excludingfemale presence virtually entirely, L.A.Noire depicts the female inhabitants of the city as ‘dreamers’, which, whencontrasted beside hard-boiled male cops and fearless male criminals, becomesalmost discriminatory, as it advocates the female population to be perceived asobstructions – maybe to male success – as well as trophy figures for after theyhave ultimately succeeded.
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Unitingall women negatively and categorising them as one absolute is a pattern thatlots of patriarchal media copies. Underestimating a woman’s capability toperform tough, often physically demanding challenges, and ability to handleweapons of destruction implies that the route most scenes in L.A. Noire descended into are simply toodifficult and too violent for females to endure, which isn’t wholly accurate.Likewise, the beginning of Casino Royale’sopening sequence entails little speech and a lack of sound, but falls hastilyinto violence, reiterating to its viewers that the films target audience ismale-dominated. Each exotic set – Prague, and Lahore in Pakistan – contain patriarchalpopulations and offer as much opportunity of danger as they boast luxury andglamour. This yet further states the predominant gender orientation of the filmand suggests that men are somewhat socially superior to women, who cannot befound so readily experiencing the finer things in life within the extract.Alternatively, L.A. Noire paints anunfair image of females by applying a parallel concept; the ladies in Los Angelesappear to be the only residents with enough freedom from duties to indulge inacts requiring little responsibility, such as watching movies at the cinema.This results in them seeming careless and serving no greater purpose than thatof distracting hardworking men from advancing as they deserve.
Bothextracts utilise rather differing camera angles and shot types. Casino Royale cuts straight to a lowangle shot of the antagonist, from roughly the shoulders up, after the longestablishing shot referenced previously sets the scene. By cutting practically instantaneouslyto the primary source of threat, the audience can gain insight into the powerand superiority of Bond’s opposition. He is, because of the shot type selected,portrayed taller, stronger, almost omniscient, and omnipotent, enforcing from theoff the jeopardy he can impose and place people in. Even in latter scenes, in whichhe can be seen conversing with Bond, low angle shots are still used in order toremind the audience that at the present time he still has the upper hand overthe protagonist.
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| Violence and representation: Fighting commences in a public toilet, resulting in the death of a foreign man |
RockstarGames, publisher of L.A. Noire, optedto install fewer close up shots on the other hand. Their absence meant thatdespite the player actually undergoing a more interactive experience whileplaying the game, it doesn’t feel it in comparison to watching Casino Royale, which incorporates closeups to include the audience in the action as oppose to ones positioned fartheraway to see situations as a bystander. Viewers might feel that they areexperiencing at the same time as James Bond, but observing their character in L.A. Noire, despite the latter being thegame of the two.
Anotherfeature that differs between CasinoRoyale and L.A. Noire,distinguishing James Bond – our known and loved, loyal protagonist – from thecop characters in the second clip is the fact that he leaps into the heart ofthe action while they piece together what remains of it. Bond, who globalaudiences are familiar with, believe him to do the right thing almost alwaysand automatically – we know him to be brave and good, but the cops you are toplay as in L.A. Noire are lessreliable and trustworthy.
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Withthe addition of fast-paced editing, the fight scene in which Bond catches theman fleeing him produces even more archetypal roles for the audience tointernalise. As the discord unravels and develops a tendency to get messy, morehand-held filming is included (jumpy camerawork was previously present as thepray took off running, trying to escape his predator – the protagonist – as hepursued him upstairs and through a hall of doorways), constructing a chaotic,hazardous sense of panic as the conflict continues to death. The compositionsresume balance after the captor is killed. The defeat, however, furtherreinforces traditional stereotypes of foreigners in action-adventure thrillers.While the native protagonist exits the scene as more of a hero than he was whenhe entered it, the foreign man drowned in the attack dies having beenoutsmarted and outwitted by Bond, just like the elderly villain he later goesonto beat also. A birds-eye-view angle is inserted in amidst the battle too,placing viewers in ‘control’ of the hectic scene, for they can see both partiesinvolved with more
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| Escapism and reality: Gun possession is glorified in both extracts, as handling weapons becomes normality |
claritythan either parties can make out one another. Contrastingly, in L.A. Noire,when one out of the two protagonists is ambushed by a suspectedmurderer they are questioning, medium close ups are the only shot typeemployed. As the section reaches disequilibrium, the viewer remains at adistance from the action – only when the disagreement is resolved are close upsused again.