{"id":9,"date":"2025-02-28T10:27:20","date_gmt":"2025-02-27T21:27:20","guid":{"rendered":"https:\/\/mediastudies.pinehurst.school.nz\/cody-burnand\/?page_id=9"},"modified":"2025-09-03T20:33:35","modified_gmt":"2025-09-03T08:33:35","slug":"research","status":"publish","type":"page","link":"https:\/\/mediastudies.pinehurst.school.nz\/cody-burnand\/research\/","title":{"rendered":"Research"},"content":{"rendered":"\n
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Thriller conventions- Research<\/h2>\n\n\n\n
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Severance<\/strong><\/h3>\n\n\n\n

Season 1, Episode 1: Good News about Hell<\/p>\n\n\n\n

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  1. Make notes on Lacey\u2019s repertoire of elements as you watch the episode.<\/strong><\/li>\n<\/ol>\n\n\n\n
    Element<\/strong><\/strong><\/td>Conventions<\/strong><\/strong><\/td><\/tr>
    Setting<\/strong> (mise en scene\/locations)<\/em>      <\/td>  Office \u2013 with aspects that look similar to an insane asylum <\/strong>with the <\/strong>Featureless, sterile, and repetitive workspaces, symbolizing the monotony and dehumanization of corporate life.   Costumes as suitable office attire, making the text seem all the more immersive for the viewer and making the piece realistic while also presenting an ominous atmosphere, forcing the viewer to second guess themselves to whether or not something sinister is actually going on.   In addition the this, the costumes are bland and lack any representations of character traits, this dehumanizes the characters and  <\/td><\/tr>
    Characters<\/strong> (representations, stereotypes, behavior, body language, specific actors\/stars) Consider Propps character types.<\/strong><\/em><\/td>  Woman is trapped- woman is the victim which is a typical stereotype.   Male character is scene to be In Control which represents the typical stereotype of the workplace, where men have more power than woman.    <\/td><\/tr>
    Narrative events<\/strong> (how is the narrative ordered and structured? Is it elliptical?)<\/em><\/td>  The episode begins with a flash forward to a scene which the first 20 minutes of the episode will build up towards. The remainder of the episode follows both mark and Hally   The narrative of Severance<\/em> Episode 1 is nonlinear and mysterious. It switches between Mark\u2019s work and home life, showing their separation. The episode begins with Helly waking up confused, revealing information slowly. Key moments, like moving between work and home, are missing, reinforcing the severance concept. This structure keeps viewers unsettled, just like the characters.  <\/td><\/tr>
    Iconography<\/strong> (well known or recognizable people\/objects\/buildings\/mise en scene\/props\/costume, setting, symbolic codes)<\/em><\/td>   the elevator acts as a symbolic, ominous location that transports employees between the oppressive office space and their personal lives. The elevator’s movement feels like a transition between these 2 worlds.   the building which the company is located in is a sleek, sterile, and unnervingly minimalist corporate office, devoid of personality and warmth  <\/td><\/tr>
    Style <\/strong>(technical and audio codes e.g. camera use, editing, sound, lighting, color)<\/em><\/td>  Camera angles consist of many wide shots Aswell as a centered camera, making all scenes seem symmetrical and orderly, mirroring the order and control of the office.  <\/td><\/tr><\/tbody><\/table><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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    Research 1 part 2: Thriller Conventions:<\/h2>\n\n\n\n
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    Story Arcs <\/strong>within the episode: make note of which are resolved by the end of the episode, and which will continue into the season.<\/em><\/td> <\/strong> mark seems to be dealing with the pressures of his personal life and his work at Lumon Industries. The episode opens with him returning to his job at the company, which uses
    the “severance” procedure to separate work and personal memories.   Hally is desperately trying to escape after her mind has been erased, mark is unable to watch.<\/td><\/tr>
    Todorov\u2019s Narrative Theory: <\/strong>In what ways does his theory apply (or not apply) to this episode.<\/em><\/td>The episode does not reach a resolution or new equilibrium. Instead, it ends with more mysteries and questions, postponing the traditional attempt at repair.   Severance<\/em> subverts Todorov\u2019s model by beginning inside<\/strong> the disruption. The “equilibrium” for the audience is never truly clear\u2014are we meant to see the workplace as normal or unnatural?   The fragmented storytelling, switching between Mark\u2019s \u201cinnie\u201d and \u201coutie\u201d life, disrupts a clear cause-and-effect structure.<\/td><\/tr>
    Binary Oppositions: <\/strong>list and explain the oppositions present in the episode. How is this adding to narrative conflict?<\/em><\/td>  The central opposition is between the severed workplace (“innie” life) and the personal world outside (“outie” life).   This contrast highlights the ethical and psychological tension of severance\u2014Mark\u2019s innie exists only at work, while his outie has no memory of his job.    The audience sees the emotional struggle of both versions of Mark, creating a conflict over whether severance is a liberation or a prison.<\/td><\/tr>
    Themes: <\/strong>What themes can you identify in the episode and how are these being portrayed so far?<\/em><\/td> <\/strong> Mark\u2019s character embodies this conflict, as his two versions exist separately, yet their struggles reflect a deeper connection.  Lumon Industries enforces absolute control over its severed employees, dictating their behavior, thoughts, and even emotions through strict policies. The contrast between Mark\u2019s bleak, isolated outie life and his disconnected innie life suggests a critique of work-life imbalance. Helly\u2019s panic at realizing she has no personal past emphasizes the psychological horror of having no sense of self. In addition to this the panic that she is experiencing, contrasts with the bleak and dull nature of the setting, adding to the sense of thriller. Mark\u2019s decision to undergo severance is tied to his grief over losing his wife, showing how trauma can push people to seek extreme solutions.<\/td><\/tr><\/tbody><\/table><\/figure>\n<\/div>\n\n\n\n

    GENRE RESEARCH: <\/h2>\n\n\n\n

    HOW HAS GENRE CHANGED IN RESPONSE TO TECHNOLOGY, SOCIO- CULTURAL SHIFTS AND AUDIENCE? <\/em><\/strong><\/p>\n\n\n\n

    EXAMPLE: HORROR<\/em><\/strong><\/p>\n\n\n\n

    Technology:<\/strong><\/td>Socio-cultural Shifts <\/strong><\/td>Audience: <\/strong><\/td><\/tr>
    SPECIAL EFFECT +CGI: Digital effect advancements have changed the horror genre to more creative branches and story lines as more is possible<\/td>REPRESENTATION & DIVERSITY: the horror genre has adapted to reflect social issues and avoid stereotypes (eg. A man as the victim, and the women as the killer is scream 5\/6) while also incorperating subplots which make marginalised communities feel seen (lgbtqia relationships) <\/td>SHORTENED ATTENTION SPANS:  Short horror films and micro horror shorts on tik Tok. Also introduction of horror tv series which condense plots into 20 minute episodes which are easier for viewers to binge watch and keeps them engaged <\/td><\/tr>
    PORTABLE TECH (I PHONE): Allowed new ways of horror such as found footage which are more realistic for a viewer (film examples: unfriended, searching, the Blair witch documentary) <\/td>POLITICS AND SOCIAL EVENTS: post event such as covid 19, have impacted horror films to take on dystopian scenarios such as pandemic , zombie apocalypse etc <\/td>HYBRID GENRE DEMAND:  Horror had merged with different genres such as comedy as there is a demand for this from audiences for something new and creative (Steve Neal genre theory – difference) <\/td><\/tr>
    STREAMING PLATFORMS:  Allowed for the blending of niche genres to thrive as they reached a wider audience and became the norm. (Eg. Found footage horror) <\/td>EMERGING FEMISISM: female led horror protagonist which is not just seen as the \u2018hopeless victim\u2019 ( NOT HORROR but barbie did this) <\/td>GLOBALISATION: audiences have been exposed to different sides of the horror world (k-drama horror), what ever is most popular at the time will affect what is coming out in that genre. <\/td><\/tr><\/tbody><\/table><\/figure>\n<\/div>\n\n\n\n
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    Film Opening Convention- Research<\/h2>\n\n\n\n

    Although there are many different ways in which to start a film, film openings often include a set of typical conventions for specific purposes such as: \u21e8<\/p>\n\n\n\n

    Some common ways of starting a film include: <\/p>\n\n\n\n

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    • Suspenseful opening <\/li>\n\n\n\n
    • Antagonist\/Protagonist introduction <\/li>\n\n\n\n
    • Flashback <\/li>\n\n\n\n
    • Establishing shot<\/li>\n\n\n\n
    • Engaging visuals<\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n
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      In class, we have analyzed a range of film openings to consider their conventions and how the film opening works to engage the audience.<\/h2>\n<\/blockquote>\n\n\n\n

      Here are my film opening analysis sheets\u2026<\/p>\n<\/div>\n<\/div>\n\n\n\n