1.Explain two ways in which the narrative (events and characters) in the extract fits into the action adventure genre. Use examples from the extract.(10)
Binary oppositions of good versus evilare apparent in this sequence, based on character which is typical of Action Adventure films - Maleficent on one level seems to be thestereotypical antagonistwhile Stefan seems to be, as crowned king representing the power of good. Maleficent is seen to exhibit demonic powers, whichanchorsthis reading by turning a bird in danger into a human man. Her physical representation - pointed ears, horn and a cold stare also reinforce this conflict. Action Adventure films often contain very one dimensional, simplistic characters and in the clip, Maleficent and Stefan seem to fulfil these roles - King Stefan has recently been crowned andreaction shotsfrom the gathered throng in the castle reveal this status and according to the clip he appears to be theprotagonistalthough this is questioned later.
The sequence also suggests asingle stranded, simplistic narrativethat ishybridisedwith fantasy that has non-graphic, although dark representations that can be enjoyed by a younger target audience - typically, although the sequence suggests these dark powers it is presented to the younger, primary target audience of Action Adventure films in a non-threatening, innocent way linking directly with fairy tales. A keyconventionfor Action Adventure films is an accessible narrative formass audiencesand the idea of an animal/human transformation, magical powers and a possible revenge narrative would be engaging to this particulardemographic.
2. Explain how each of the following is used to create effects:
- Soundtrack
- Editing
- Mise-en-scene
- Camerawork(20)
Soundtrack
An orchestral soundtrack produces meaning for audiences and createsnarrative enigma- initially dramatic thenon diegetic musicreduces in tempo to piano and horn music, potentially reflecting the sadness and plight of Maleficent. Stringed instrumentsanchor this connotationas she wanders alone, isolated. During the transformation scene the sequence combinesdiegeticdialogue but punctuates specific words and sentences with musical emphasis – when Maleficent states: “I saved your life” the music become sinister as audience see there will be expectations of service in return. The music in this scene creates a negative and a positive feeling, reflecting the good and evil deeds they are discussing.
When Maleficent asks Diaval to be her wings, the speed of the soundtrack increases which also happens at the end when he flies back from the castle - the music is associating flying with freedom and haspositive connotations. When Diaval reaches the castle, Stefan’s coronation is accompanied by a regal piece of music, reinforcing his new found status and power but is in conflict with Maleficent’s angry reaction as she walks into the moors. Thehigh production valueorchestral music builds to a climax and has warring connotations as the stone walls fly up, paving the way for her entry into the forest.
Editing
It is important for editing in this sequence to establish character and location this has been achieved and there are as many cuts to character ascutaway shotsof the different settings.Straight cuts, orhard cutsare mainly used, but tosignifythe change from night to day at the beginning of the clip, adissolve cutis used that cuts between Maleficent in darkness and alow angle shotof a scarecrow. Immediately following this shot, the transformation sequence follows and after Diaval is turned into human form, editing is used to establish character relationships between him and Maleficent. It is important for Action Adventure films to tell a story andediting in this sequence almost replaces the role of a narrative voice overbut also by cutting to shots that make narrative development obvious.
Mise-en-Scene
Initially we see an isolated setting, in dramatichigh contrastthat reinforces Maleficent’s own plight, and status as Queen of the Moors. The dark lighting, black and bluecolour paletteindicates night-time with the black Raven appearing in the frame as sinister. This dark representation changes to day as we see a scarecrow in a field that again,anchorsthe desolate, rural location but also explains the reason why the peasant is trying to kill the Raven. His (the peasant) dress code, primitive club and netting suggestmedieval connotationsin terms of time period, but also his poverty.
Inbinary oppositionto this we see the immaculate make-up, hair, skin tone and dress of Maleficent which also contrasts with Diaval in human form - blackened skin and straggly hair which reinforces Maleficent’s status, and power as a fairy and as Queen of the Moors. Her facial expressions reveal her confidence while Diaval looks nervous and uncertain.
Cutting to the castle, objects and props such as the crown, the thrown, elaborate candelabra and furniture reveal a scene of wealth and opulence. This is reinforced by the dress code of the court which is elaborate, again reflecting status, but also their duty to the newly crowned king. Cutting back to the forest we see dark contrast again, but also the use of impressionistic green light tosignifythe magical powers of Maleficent. The stone walls, normally solid structures fall away as she walks into the forest, again, reinforcing her power over nature.
Camerawork
Wide shotsset the scene for audiences as we see dramatic backdrops and rock faces which cuts to Maleficent inclose up, still at night timeencoding narrative enigmasand mystery. Alow angle shotof a scarecrow reinforces the dramaticmise-en-sceneand also helps to establish narrative during the bird/human transformation scene. Maleficent isframed centrallyin the background as she witnesses the bird about to be killed but thencuts to close upas she weaves her spell. A series ofshot, reverse shotsestablish the hierarchy between Maleficent and Diaval while the scene cuts to another dramatic skyline in terms ofcinematography, and then into the castle.
The crown is shown in close up which issymbolicwith the camera thenzooming outto give more information to audiences. The castle scene, uses a range of shots including awide shotof the court andaerial shotsof the throne to contrast with the rural isolation the previous scene has just taken place in. As the camerazooms outfrom the castle, we see architecture that furthers the medieval connotations, but also ensures connections are made with fairy tales andtraditional narratives. As Maleficent’s anger is realised by shooting a spell into the night sky, the kingmoves into close up to reveal his reaction, and his understanding that he is aware she knows he has been crowned. Along shotreveals Maleficent walking towards the camera as the walls crumble which then cuts to anaerial tracking shotmoving into the forest to reveal her own kingdom.
You should use at least two examples from the extract for each element.
3. Discuss the representations in the extract. Refer to stereotypes in your answer. Use examples from the extract. You might consider the representation of:
- Gender
- Status
- Realism (20)
Maleficent is astrong female representation- she is determined, powerful and with the ability to control men, as shown with the transformation of Diaval. Her physical representation is morestereotypical, only in that she has long hair, wears make up and is athletic but the actress Angelina Jolie brings hersecondary personato the role. Jolie has played Lara Croft in Tomb Raider, another Action Adventure film and has a reputation for playing dominant female characters who are resilient, but also attractive for male audiences. It is however, a male that has taken some of her powers away as indicated in the sequence - the power to fly which ended when Stefan cuts off her wings.
It is implied in sequence that there as a romantic relationship between the two that ended when Stefan sought power and kingship - this is revealed when Maleficent states that he did “this to me” just to be king. On one level, this suggests a vulnerability to her character, almost an Achilles heal but this is overcome when she brings Diaval into her dark kingdom. In the transformation scene, Diaval is seen to be grateful to her and appears as having a muchlower status, not least because she tells him that he owes her his life. Her status is also apparent through herbody language and posture, as Queen of the Moors - she seems regal in contrast to the poorly dressed peasant who has arestricted language codeand clumsily tries to kill the Raven (Diaval).
Status is further explored at court where the ‘great and the good’ are assembled to witness the coronation of King Stefan. Even though there appears to be a distinctbinary oppositionbetween those that inhabit buildings, and those that live on the moors, or in the forest in many ways Maleficent is framed as having the same status. She too is well dressed, has elaborate make-up, anelaborated language codeand the ability to cast a spell without ‘getting her hands dirty’. The castle represents however, as a building shows the key differences between two different groups, one appearing to be more grounded inrealismwith the other living a more fantasy existence.
Thecodes and conventions of the fantasy genrewhich this Action Adventure film is hybridised with suggests a range ofnon-realist representationsthat are accepted by audiences - this makes characters very much open tostereotyping. The creatures in the forest are represented in a grotesque, humorous way in comparison to the clean lines of the court and castle. Their form is elaborate and they are seen as ‘the other’ in comparison to human form. Even though Maleficent is in human form, she has pointed ears, horns and long nails to differentiate her from other humans. This idea of difference runs through the clip inbinary oppositionand allows audiences to identity with character and willfully accept narrative development.