The Movie Experience Film Blog

Student ID: 19026811

Watershed and Odeon comparison

The city of Bristol has many cinemas of different kinds on offer that together help to cement Bristol as one of the more active cinema-going communities in the region. Two in particular that I have visited recently include the art-house cinema known as the Watershed and also a multiplex cinema under the brand of Odeon.

The Watershed is situated nearby the Bristol harbour and even gracefully overlooks the water enabling for a pleasant view. This therefore gives the Watershed a distinguished appearance that sets it apart from other cinemas due to its unique locale which is suitable considering that it is an art-house cinema. The structure of the cinema itself stretches far back along the harbour-side with an antiquated architecture that furthers the unconventional image the cinema itself presents. The foyer inside is quite small, typically there is only one person situated at the box office; there is also a stand of flyers advertising other activities and attractions within the city. Generally the main aesthetic of the interior is quite baroque with wooden flooring and panelling which gives a less commercial feel and atmosphere to the place when compared to that of a multiplex cinema. The impression is less uniform and more naturalistic which coincides with the films they have on show here that tend to be classified as ‘indie’ cinema or films that generally appeal to a more niche audience. The cinema screens themselves and cafe are located upstairs which is accessed by the staircase next to the box office. As one goes upstairs one will notice small cards pinned alongside the wall with each one having individual comments and reviews written by members of the public concerning the Watershed or the film that they saw here. This kind of feature allows for a greater sense of community within the cinema as people will feel that they are getting their own voice and opinions represented. It creates a visual manifestation of the film-loving enthusiasts that visit here regularly or those who are simply attending for the first time.

On the upper floor there are three screening rooms and a rather large ornate cafe that tailors directly to the rest of the aesthetic the cinema has on display. The screening rooms are fairly small and less elaborate in comparison to a multiplex due to the cinema retaining an authentic and simplistic design where the films are the main priority. The cafe on the other hand is quite spacious and flagships the local community to a great extent with artworks depicted on the walls detailing the imagery of Bristol. It is very apparent that the cafe gathers a large number of the locals as the atmosphere is busy and talkative. People of all ages congregate here and from different backgrounds. Small lecture classes gather round lengthy tables as the lessons unfold, usually with a laptop in the centre. This is an ideal social zone for students too, as many convene here for lunch and drinks (of which there is a large choice to purchase from). If the interior is deemed too ‘active’ then sitting outside along the pier is also an option. If nothing else one can feel welcomingly involved in a centre of culture with a community that values art to a high degree.

The other cinema I attended was the Odeon, a moderate sized multiplex, which is located within the city centre. In stark contrast to the Watershed, the interior décor is filled with blacks, blues and purples that creates a more institutionalised atmosphere. From one perspective it is as if the design is attempting to emulate the appearance of an actual theatre. There is no adjacent cafe here though, instead it functions much like a typical multiplex cinema with a highly lit box office where a variety of popcorn flavours and sweets can be purchased. The ticket prices are fairly cheap here too, especially for students, which is at least one similarity to the Watershed. Also like the Watershed the screens are upstairs but with only four available, a comparatively small amount for multiplex cinemas. Inside, the screening rooms are large and spacious, especially in comparison to the Watershed. The seats are even on raised flooring here although they do lack an ideal amount of leg room and also cup-holders which subverts the norms for typical multiplexes.

Whereas the Watershed predominantly exhibits art-house independent films, the more mainstream multiplex cinemas, such as the Odeon, show films that likewise conform to its venue. This can include the latest comic-book blockbuster such as Joker (2019) or even the newest entry in the Star Wars franchise. To accommodate these more demanding films, the cinema integrates a higher level of technology to enhance the cinematic experience. This includes (when in comparison to an art-house cinema) bigger screens, better sound technology etc. Generally the crowd here consists of an audience that can be described as the ‘mass audience’ as it caters to all people regardless of their identity. Overall these two cinemas help represent two different kinds of the movie experience.

Exploring how cultural capital enriches the viewing experience in Moulin Rouge! (2001)

At its core, Moulin Rouge! is channelling a greatly romanticised view on life, as evident by the prominent bohemian subject matter that exalts unconventional artistic endeavours and morals. Conforming to this idea, the film’s construction presents the overall style and tone of the film in an eccentric manner that requires, to a certain extent, a broad range of cultural capital from its audience relating specifically to popular culture within film and music. The text functions as a bricolage that engages the audience through a familiar narrative by featuring pre-existing works bestowed upon in a new and interesting style. “Moulin Rouge! remains thoroughly and self‐consciously intertextual from the moment that its opening credits start rolling” (Larson). A spectator whom understands these references will undoubtedly have a more enriching viewing experience than a spectator who does not, thus reinforcing the concept of cultural capital.

As a musical, Moulin Rouge! encompasses a diverse selection of songs that were mainly written prior to the production of the film. Coinciding with the turn of the millennium during the pre-production phase, Luhrmann decided to reflect the contemporary world within the setting of 1900 Paris by using existing and familiar songs in an innovative approach. Luhrmann described this by saying that “the world was moving forward into a new time and back into an old time” (selinakyle). This demonstrates how the film seamlessly weaves together older songs with newer songs in an overtly stylistic form that represents the binary opposite of old and new. Furthermore whilst many of these selected songs will be antecedent to the audience, the majority of the tracks are anachronistic within the world that is established within the film. Such examples include Nat King Cole’s Nature Boy (1948)which is introduced at the start of the narrative, sung by Toulouse-Lautrec, a supporting character. This particular song serves as one of the film’s primary themes throughout the narrative with the lyric: “The greatest thing you’ll ever learn, is just to love and be loved in return” maintaining a prominent presence amidst the character’s dialogues and motivations. Luhrmann’s thought process behind selecting these specific tracks was that “every song had to help tell the story” (selinakyle) and it is clearly evident from the lyrics within Nat King Cole’s classic hit that Luhrmann took great inspiration from them for the protagonist. Even though the song was written decades before the film was made, it provides a perfect summation for Christian’s character (played by Ewan McGregor). Additionally it fulfils the cyclical technique that Luhrmann was aiming for due to the song being anachronistic within the film’s own setting, thus establishing this constant blend of chronology in relation to the film, both internally and externally. For audience members already familiar with the song, they will likely have a preferred reading of the text as they will have subsequently experienced a new perspective of the song and how the film has constructed it’s core narrative around it.

According to Luhrmann “hundreds of pieces of music” (selinakyle) were scanned in order to achieve his vision for the film. As mentioned earlier a wide range of artists spanning multiple eras were chosen with the intent that their songs would help to dynamically illustrate the story and reinvigorate the concept of a musical. Some of these artists include David Bowie, Madonna, Elton John, Nat King Cole, Kiss, T-Rex, Queen, Nirvana, The Police and DeBarge to name just a few. Songs from these respective artists repeatedly feature throughout to help progress the plot whilst also developing an elaborate musical spectacle. Often songs will regularly overlap or be presented in the form of a medley that is congruent to the frenetic and ostentatious theatrics shown on-screen. This builds a fantasy illusion that isolates the world of Moulin Rouge! into its own unique space and time as the subversion of regular musical conventions creates an imaginative and overwhelming experience. Complementing this bohemian approach is the rapid and occasionally disorienting editing that resembles the style of a contemporary music video. As this film was made during the late 90s to early 00s, the growth of music video consumption was accelerating mainly due to the popularity of MTV during this era which is further evidence of cultural capital amongst the mass audience being reflected within the film via the editing. It is due to this representation of mass culture being so explicit in Luhrmann’s unorthodox take on the musical that has led to some criticism from critics labelling his films as relying too heavily on style over substance. The emphasis on what is viewed as mass culture within the film is one of the reasons why Luhrmann’s artistic choices has incited some critical reception. It is viewed as not conforming to the ‘higher’ levels of cultural capital. Whilst the film’s soundtrack does feature popular songs from a contemporary period it would be unfair to wholly denigrate the production as lacking any sense of culture. On the contrary, the film required extensive hours of research during pre-production in order to capture the look and feel of an authentic turn-of-the-century cabaret club. This was captured in the mise-en-scène via the costumes and sets thus grounding the film within this periodic setting.

Another significant element of the film’s construction that embeds a higher level of cultural capital is the invocation of operatic conventions amidst the cyclone of other cultural allusions. Predominantly there are three operas from which Moulin Rouge! draws inspiration from namely Puccini’s La Bohème and Verdi’s La Traviata. This is evident from the “central focus on the creed of “truth, beauty, freedom, and love”” (Hudson, 258) which applies strongly to Bohème and the bohemian lifestyle that the film conveys. Effectively, this demonstrates the merger between a perceived lower class of cultural capital with a higher class as operatic elements are infused with contemporary pop songs. The originality of this combination helped spark a reinvigoration of the musical genre which simultaneously allowed audiences of different tastes to both like and dislike the artistic mediation of encoded cultural capital. The film has many playful and engaging characteristics which means that there is something in it for everyone to enjoy, consequently this would also deter some spectators who could find this amalgamation distastefully lavish.

The operatic inspirations from La Traviata are arguably even more apparent although references to both merely remain superficial and don’t conjure up the “more essential aspects of an operatic genre” (Hudson, 260). It is the relationship between Satine (Nicole Kidman) and Christian that echoes the characters within La Traviata and audience members, specifically those acquainted with knowledge on opera, will have an enriched viewing experience as they will recognise familiar narrative ideas. Luhrmann has utilised former operatic narratives to help establish his own take on the genre and, like all great story-tellers, reintroduces them to new audiences. Even viewers already familiar with these stories will be able to appreciate what the director is attempting, perhaps even more so than those unfamiliar due to their higher level of cultural capital allowing them a greater understanding of the narrative structure that is unfolding.

Luhrmann also draws upon what he considers to be the film’s most “fundamental narrative” (Hudson, 260) with the overt parallel to the Orpheus myth. Every character and action within the narrative has its own direct parallel to what occurs in the Orpheus myth. The character in the myth is described as extraordinary which relates to Christian in Moulin Rouge! who is frequently touted by other characters as being “talented”. Luhrmann reflects this by having Christian sing songs that were written after 1900 which connotes that Christian was ahead of his time. By following the structure of this tragic myth the film elevates the level of intertextuality to a more prestigious degree. It therefore requires a greater depth of cultural capital from the viewer in order to for them to understand the higher cultural source that has been mediated in the creation of this film.

Ultimately, Moulin Rouge! accomplishes in dazzling the audience with a garish and layered spectacle that can be enjoyed with ignorance but can also be appreciated further with a prior understanding of the extraneous texts that Luhrmann has fastidiously embedded within. The film fuses together both lower and higher forms of cultural capital that will indisputably enrich a spectator’s viewing experience of the film.

Bibliography:

selinakyle. “Backstory – Moulin Rouge! Part 1.” YouTube, uploaded by selinakyle, 8 December 2011. https://www.youtube.com/watch?v=vbZNqUXA1Nk
Moulin Rouge!. Directed by Baz Luhrmann, 20^th Century Fox, 2001
Hudson, Elizabeth. “Moulin Rouge! and the Boundaries of Opera”. The Opera Quarterly, vol . 27, Number 2-3, Spring – Summer 2011
Larson, Katherine R. “Silly Love Songs: The Impact of Puccini’s La Bohème on the Intertextual Strategies of Moulin Rouge!”. The Journal of Popular Culture, 2009.

Group Reflection:

Working as a group definitely proved beneficial for each one of us as it allowed for a group collaboration that helped strengthen each of our individual aims for our own essays. Ideas were shared and discussed between one another where we would suggest improvements for each other’s work if necessary to ensure the best possible result. In order for this collaboration to manifest we would convene either in the library or in a workshop, additionally further communication ensued online via a group chat. Despite this, we did encounter a minor setback early on where one of group members left our group but we managed to prevail nonetheless and the work remained unaffected.

For the overall design of the blog, again, we collaborated to confer on the presentation of the blog. The online application we used was WordPress which none of us had any prior experience of using before so that initially proved a challenge, especially as we each had to upload our work onto the same WordPress account. It took some time for us to implement a tab feature which could separate each of our individual works in an organised fashion but eventually after persisting with the plethora of functions and design options available on the website we managed to gain a reasonable understanding of how the website worked. Conclusively we determined that a simple, yet professional, appearance was what we were striving for and that is ultimately what we settled with.

There was an equal output of contribution from each of us in terms of task allocation and no particular aspect was designated specifically to an individual. We each had an equal level of knowledge on both the work involved and how to present it. From this, it was easier to share ideas and contribute equally. We could have organised our time-management better however as perhaps we left the blog design a little close to the deadline.

For my own film essay and cinema recount I felt could have, again, planned better and organised everything earlier allowing me more time to structure a more cohesive essay. Regardless, the work was completed on time and the help I received from the other members of my group proved highly effective and allowed my work to reach a greater level than if I was working individually. I feel this sentiment is something we each shared altogether. In summary, the work was an interesting learning experience that required online blog skills, group skills, library skills and an in-depth knowledge of film analysis. Within the blog there is each an individual voice of filmic knowledge that covers a wide range of topics that will hopefully make for absorbent reading. Taking everything into consideration the process went smoothly and we each ended up producing a uniquely intriguing online film blog for those likewise interested in film.

Student ID – 19017751

Watershed Thick Description

Situated on Bristol’s bustling waterfront, alongside a plethora of bars and restaurants, Watershed is now an exciting hub for the ever-growing creative art scene the city has to offer. Boasting an eclectic mix of independent and world cinema, including their currently longest running film, ‘Bait’. A poster on the front window, clearly advertises and highlights the extensive list of what’s on and forthcoming. Films including ‘The Peanut Butter Falcon’, ‘Monos’ and ‘The Last Black Man in San Francisco’. Looking at the weekly listings in the front window, immediately gives you the sense of what kind of audiences they are marketed towards and therefore causes you to assume what type of audiences go to this cinema. Certainly, a more alternative, non-conventional moviegoer, someone who appreciates the art-form of independent cinema.

Watershed has a prominent blue and white sign on the front of the building, this colour scheme continues throughout the building. As you walk in to the small box office/foyer area downstairs, which offer an extensive selection of snacks you’d typically expect to see in a cinema but also an equal display of healthy options that fit in with Bristol’s popular healthy eating culture. You immediately notice an array of films and posters advertising the various events they host here. One particular focal point which stood out, was the amount of film festivals the cinema has on offer. Including; Afrika Eye, Slapstick Festival (which I attend annually), Encounters and Bristol Festival of Ideas. What I found very interesting and equally important, was the number of these festivals that are focused on young and inspiring film-makers from around the world. Watershed bases its ethic on a strong sense of community involvement that provides a platform for these inspiring film-makers to express their ideas, highlighting the sense of inclusiveness and support. As you continue upstairs to the naturally well-lit cafe and bar, you instantly notice the almost run-down aesthetic that the building illustrates, keeping the large industrial vents and its original steel structures. Before opening in 1982, the Watershed was originally used a transit shed and fell into a state of disrepair. After a major refurbishment, the building was kept alive and still manages to maintain its rustic look.

Across town, situated in the colossal Cabot Circus shopping centre is the Showcase cinema. Surrounded by commercialised commodities, the showcase has a more formulaic aesthetic; high ceilings, tall walls, spacious and a dark purple colour scheme. Although a multiplex is recognised as a convenient cinematic experience, it can still be seen as a banal, tedious encounter for some. It features numerous screens, dotted around the foyer, highlighting the forthcoming listings, which include ‘Terminator: Dark Fate’, ‘Joker’ and ‘Malificent: Mistress of Evil’. This immediately gives you an insight into the audience the cinema attracts. Carrying on past the ticket desks, there is a long counter on the left, with multiple tills, selling popcorn and largely Coca Cola products. On your right-hand side is a trendy bar area which offers an array of drinks including cocktails and champagne. The cinema in general has no emphasis on locality in terms of produce. Indicating the principal focus is aimed at gaining financial capital as a company.

Watershed however, is more than a cinema, it’s a place to socialise or to use as a creative space. As you walk into the bar/cafe area, it has a thriving atmosphere, full of scholars, students and on this occasion, tucked away into the corner, an OAP club playing bridge. The well-stocked bar, clearly prides itself in offering a wide range of different local beers, from breweries such as Butcombe (Bristol), Twisted (Westbury) and Bath Ales, as well as Bristol based Wogan coffee who provide the cafe with their produce. I also noticed a young, potentially student-based team who work behind the bar. All of these elements add to the community etiquette that the Watershed so proudly conveys. Beyond the bar/cafe area and separated by a red brick arch, you’ll find three rooms dedicated to conferences, private meetings and events, all of which have alluring views of the harbourside below. In addition, Watershed is home to the Pervasive Media Studio, which is a diverse space exploring creative technology.

There are currently three, well sign posted, screens in Watershed (soon to be four) which vary in size. With a capacity of two hundred, Cinema One is the main screen in the building, boasting state of the art technical specifications and the host to all of the major films that they offer. Cinema Two and Three containing forty-two and one hundred seats respectively, used mainly for smaller screenings, lectures and presentations. In comparison to the staggering thirteen screens that the Showcase contains, this is a noticeable difference that resembles the consumption ethic the multi-plex applies. In addition to purchasing your ticket at the Showcase you are offered an array of different seating options varying in comfort and of course cost, which vastly differs from the small, bunched up seating on offer at the watershed. For a six-foot four man, I must appreciate the Showcase’s seating options but yet acknowledge that the Watershed’s audience are generally more interested in the film on offer as opposed to comfort.

After seeing ‘Once Upon a Time in America’ at the Showcase, it was evident that these cinemas are built to house the Hollywood blockbuster and can’t deny that you get the full, immersive experience for the duration. After walking around The Watershed, you can’t help but notice the importance of the local influence and the impact it has on the venue. Everything from the sponsorable cinema seats (which contain individual plaques) to the personal democratic reviews and messages that people leave on the wall above the stairs.

Even though the Showcase is a convenient and comfortable way of experiencing cinema, its priorities lie within the constraints of gaining profit. On the other hand, Watershed is firmly concreted within Bristol’s thriving artistic scene, offering a contrasting and alternative experience.

A Bohemian Rhapsody: Audiences, Taste and Spectatorship in Moulin Rouge (2001)

Moulin Rouge! is a romantic musical and also the final film of Baz Luhrmann’s ‘Red Curtain Trilogy’, a collection of films which coincidentally have no relation to each other, unlike a conventional trilogy. The one thing they do have in common is the theatre motif that reappears across the three films. Strictly Ballroom (1992) uses dance as the main theme, poetry in Romeo and Juliet (1996) and finally song in Moulin Rouge! ‘’To varying degrees, all of his films have embraced romance and decadence, fantasy and ribaldry, the body and the bawdy’’ (Wallace, 2014). The use of song and referencing of popular culture, becomes vital in the type of spectator the film attracts, forging a distinguishable soundtrack across a multi-generational audience.

Given the historical context of Moulin Rouge!, the film uses a selection of contemporary pre-existing music, an element that gives an entirely alternative take on the conventional soundtrack which invites a multigenerational audience to watch. This is because of the relationship that certain spectators will have with particular songs that feature. For example, the work of Elton John may impact the emotions of an older audience whereas the use of Nirvana’s ‘Smells Like Teen Spirit’ could have the same emotional effect but on a younger, more current, rock driven audience. “The relationship his audience has with these songs is unusually specific’’ (Van De Merwe 31). These relations can be put down to personal preference of course but also taste.

Peter Bourdieu believes that ‘’Taste is not about individual opinion, it’s about education and class power’’ (p18), which highlights that taste is associated with a particular background, education or class. ‘’…their relation to the various legitimate arts, painting, music, theatre, literature etc…’’ (p18). Bourdieu identifies art forms such as theatre and ballet to be under the ‘high culture’ bracket, which he believes to are associated with taste and a significant education. However, he also points out that forms like popular music and Hollywood films are linked to bad taste and with the working/lower classes. So, by applying Bourdieu’s views to the musical spectacular that is Moulin Rouge!, would induce a largely varied audience. But this would also imply that the audience for this film would have bad taste, due to the abundance of pop culture references throughout and the fact that it is a Hollywood smash. The number of pop references during Moulin Rouge! test the knowledge of the audience throughout, from the sultry courtesan Satine (Nicole Kidman) who during the performance of ‘Diamonds are a Girls Best Friend’, resembles Marilyn Monroe’s performance of the same song during Gentlemen Prefer Blondes (Howard Hawks, 1953), to the can-can dancers that perform at the Moulin Rouge, who are known as the Diamond Dogs, a reference to David Bowie’s 1974 studio album. All of these factors require a certain amount of cultural capital but given its ‘mass audience’ status, how important is this for the spectator to fully engage? Whichever way you look at it, it can’t be denied that Luhrmann’s extraordinary fantastical style can be appreciated from a general point of view and needs very little knowledge to understand what is being portrayed in terms of the narrative.

The ‘Red Curtain’ concept was started by Luhrmann to ‘’…entertain, enchant and stimulate the audience rather that to depict everyday reality’’’ (Koch, p1). In Moulin Rouge! he depicts this by keeping the traditional values of a conventional musical and blending in the modern musical elements, much like you’d see on a MTV video from the nineties. Continually intertextualising between elaborate song and dance throughout. Luhrmann intended the three films to depict a form of storytelling by utilising the different artistic expressions that are applied to each film, creating a powerful and lavish narrative. One reoccurring element that appears in the trilogy, is the evident beginning and ending of the narrative. An obvious fundamental aspect, but also highlights the uncomplicated foundations that the films are based around. For example, in the opening scene of Moulin Rouge!, we see a rather charismatic man, stood on a grand theatre stage who vigorously introduces the opening titles while the red curtains slowly pull apart. This immediately gives the spectator a clear indication of the film’s beginning, similar to one that would be portrayed at an actual theatre. The sequence also allows the audience to immediately identify with the film’s flamboyant nature.

What makes Moulin Rouge! different from other musicals are the daring visuals and originality of the narrative as well as what is portrayed on screen. Raking in a staggering £138 million at the box office (worldwide) since its release, the film was generally well received, ever since its initial screening at the Cannes festival. There were however, some mixed reviews from several critics, with many saying it was over the top and convoluted, questioning the deliberate inauthentic narrative and exaggerating the concept. Peter Travers from Rolling Stone magazine said that ‘’Surely Paris in 1899 never sounded like this’’, which is absolutely true. Many also felt that it steered too far away from the romantic, musical melodrama they were expecting. However, without the non-stop, million mile an hour dynamic, this film may not have been how the audiences received it. ‘’…McGregor’s rendition of Elton John’s ‘Your Song’ functions simultaneously as the films authentic emotional refrain and clearest marker of its thoroughgoing inauthenticity’’ (Watson, p123).

Spectatorship is all about being disconnected from the reality, falling into the immersive experience you’ve chosen to be part of. ‘’The use of formulas in films is likened to a sleep of consciousness, where audiences are lulled by the familiar and the predictable’’ (Lovell and Sergi, p4). After undertaking a number of surveys, with the intention of comparing audiences, Lovell and Sergi revealed that the number of mass audience interested in ‘Light-hearted genres’ including musicals was far greater than an elite audience. There was a clear distinction between the ‘mass’ and the ‘elite’, with the mass audience evenly spread over a number of genres, including comedy, musicals and Sc-fi. However, the elite audience was far more favoured towards the ‘serious’ genre e.g. drama, crime and biography which maybe feature more of an ambiguous narrative or ending. This highlights that the mass audience are susceptible to a more accessible type of film and genre, ‘‘happy endings, colour, life and death endings’’ (Lovell and Sergi, p18). But overall a broad selection of choices was made, ultimately associating the mass audience with an eclectic, well-rounded taste. While the elite audience drew more critically acclaimed films from the poll, generally perceiving ‘’cinema as art rather than entertainment’’ (Lovell and Sergi, p18). When comparing these findings to Moulin Rouge! It is clear that it would be difficult to pinpoint a precise and distinct audience type, as Luhrmann succeeds in a genre defying, dazzling and breath-taking piece of cinema.

To conclude, Baz Luhrmann had the assumption that the audience should have a basic understanding to the countless references that are explicitly portrayed throughout the film. During the marketing of the Moulin Rouge!, Luhrmann and his team encouraged the public that it should be viewed by a varied audience, to witness his reinvention of the musical. Particular ideologies from the film certainly altered the opinions of some critics, but has to be said that a critical audience are likely to hold more cultural capital in order to understand the film as a whole. This is in no way to say that mass audience wouldn’t understand the film and it’s ideology’s, more the sense that their interpretation may be skewed slightly yet still fully appreciate the film for what it is. Whichever way the film is portrayed, it is undeniable that Baz Luhrmann created a unique, spectacular contemporary musical which is truly unforgettable, affirming Luhrmann as on the most creative auteurs of the generation.

Bibliography

Bourdieu, Pierre. ‘Distinction: A Social Critique of the Judgement of Taste’. London. Routledge, 1986, pp. 16-23

Koch, Anett. ‘’The Visual Aesthetics of Baz Luhrmann’s ‘’Red Curtain Cinema’’ ‘’. GRIN Verlag, 2014. pp.1-3

Lovell, Alan and Sergi, Gianluca. ‘What audiences go for: elite and mass taste’.Cinema entertainment: essays on audiences, films and film-makers. Open university press, 2009, pp. 4-22.

Travers, Peter. ‘’Moulin Rouge!’. Rolling Stone. https://www.rollingstone.com/movies/movie-reviews/moulin-rouge-97846. Accessed 7th December 2019

Van de Merwe, Ann. ‘Music, the Musical and Postmodernism in Baz Luhrmann’s Moulin Rouge’. Music and the Moving Image Vol. 3, No. 3. University of Illinois Press, 2010, pp. 31-38.

Wallace, Amy ‘’Deep Inside Baz Luhrmann’s Creative Chaos’’. The New York Times. https://www.nytimes.com/2014/02/09/magazine/deep-inside-baz-luhrmanns-creative-chaos.html. Accessed 6 December 2019.

Watson, Paul. ‘Genre Theory and Hollywood Cinema’, in Nelmes, J. Introduction to Film Studies. 4^th edition. London. Routledge, 2007.

Group Work Reflection

After deciding on my group, we aimed to meet up as frequent as possible to go over design ideas for the blog, as well as sharing ideas for our essay and thick description. Unfortunately, time escaped us and we left very little time for design. However, we decided to share the login details for the WordPress site, so that we could edit or update the blog if we felt we had suitable ideas to improve it.

During the process, we were all very happy to share our work with each other in order to touch on any improvements or changes that could not only improve the individual work but the overall quality of the blog as a whole. We needed our blog to stand out and look professional as well as being easy to navigate between our individual posts. It very soon became evident how easy It was to get carried away with the design and potentially neglect our actual work. We didn’t want anything flashy or convoluted, just an easy to navigate blog. I pointed out that considering our very basic WordPress skills, it would be best to keep it as simple as possible.

With an impending deadline around the corner, we all agreed to keep the blog design to a minimal. We just included ‘Main Title’ and a tab for each of our names, corresponding to the individual sets of work. I personally found WordPress quite a difficult and confusing platform to use, with my colleagues both agreeing. There were lots of restrictions in terms of what could be accessed, this was due to having a ‘basic’ free account as opposed to ‘pro’ account which obviously needs to be paid for. This blocked us from using particular layouts and add-ons, which could have improved the look of the blog.

I definitely thought that we all had a balanced input into designing the blog, although I thought that we could have met up a bit more, whether it was in class or at the library. We utilised any spare time during our Friday workshop sessions to work on the blog design and to look at other groups as examples. Generally, I found writing my essay a fairly straightforward experience, but the others were always happy to help with any issues I came across and vice versa. We hit a few minor problems whilst uploading our work onto the individual tabs on the site, but used guidance from the information we had gathered during our ‘Introduction to WordPress’ workshop in Week 2.

If I could change anything, it would be to arrange more meetings and delve into the blog design process in more detail. Although I am happy with the blog, I definitely feel like it could have been a little more aesthetically pleasing, with more time and attention. Overall, working in the group was an enjoyable and engaging experience where I never felt out of place, worried about asking questions or putting ideas forward. I wouldn’t hesitate to be part of the same group if a similar task were to arise in the future.

Student ID: 18034822

Thick Description

The first cinema I visited was the Watershed: a trendy, multi-art venue with a café and bar, its main attraction being the cinema upstairs that screens films you would never normally get to see in a standard multiplex- e.g. art-house and foreign films, such as So Long, My Son. It is located on Bristol’s harbour-side, somewhat out of place at first glance, situated on a row of restaurants and bars. When you go inside the Watershed however the café and bar area is bustling and serves a variety of drinks and food, from small plates to main courses and sides, showing that it’s not so out of place after all- though this isn’t something the average person would know from the outside looking in. Standing outside, all you can see of the Watershed is the small, modern-looking reception area, decorated with white walls and minimalist furniture. There are four screens above the main desk that provide brief information on the screenings and what other events are currently taking place there. In the corner tucked away is a humble selection of snacks, ranging from 50 pence granola bars to popcorn and confectionary. It may seem intimidating to somebody who hasn’t been to the Watershed before, as it doesn’t exactly provide a warm and welcoming atmosphere, instead being seemingly focused on looking ‘trendy’, with its bare red brick walls and minimalist décor. Going past the reception and up the staircase, you will see posters advertising current films, and if you turn right, you’ll find a seating area with floor to ceiling windows, allowing natural light to flood the rooms, continuing the venue’s theme of a modernist architectural look. A red brick archway separates this room from the larger seating area located next to the café and bar, and going beyond this room you will find conference and meeting rooms that are open for the public to use, demonstrating the Watershed’s purpose as an institution that connects with it’s community and has a purpose beyond simply being a cinema.

The second venue I visited in carrying out this research was Showcase Cinema de Lux, located in Cabot Circus, which provided me a completely different experience. Contrary to the Watershed, my initial feelings towards this cinema were that I belonged. As their ultimate aim is profit, the venue must feel welcoming to any potential customers, and it’s something they do a good job at. Going through the entrance you will find yourself in a huge and bustling room. The floors are carpeted and the lighting is very soft which provides a cosy atmosphere, and on your left as you enter are machines that you can use to purchase tickets, meaning you can go and see a film without ever having to interact with another person- emphasising convenience and thereby profit. There is a large counter with multiple tills at which you can buy food and drinks- with most of the choices being big name brands such as Coca Cola, and these brand names are plastered over television screens and posters telling you what to buy. Again these are the staples of a well-run, profit-first multiplex institution. There are seats available in this large lobby area, but only a few, and not enough that it’s inviting you to hang around. They’re also arranged in such a way that it is clearly seating for individuals rather than groups, again suggesting that it’s not somewhere you’re meant to stick around. Also in this lobby area is a bar, serving food and drinks, with tables to sit at, though it is a much smaller bar and seating area than the one in the Watershed, despite Showcase being a much bigger venue. Up the escalator is where you’ll find the screens, as well as an exclusive ‘Director’s Lounge’, a lavish looking champagne and cocktail bar exclusive to customers who opted to purchase tickets to a film screening in the ‘Director’s Hall’. As well as this exclusive bar, there are a few more seats- though again they seem to be there for short term convenience more than anything- as well as a generous 13 screens. The types of films shown at Showcase are very much what you’d expect- mostly mainstream, big-budget flicks such as Frozen 2 or Joker, often belonging to franchises or existing IPs. To their credit however, Showcase do a great job at immersing you in the world of these films, with luxury seating much more comfortable than the seats in the Watershed, and even superior to other multiplexes. The screen sizes are fantastic and the image quality is 4K. The audio- Dolby Digital Sound- is also of a very high quality and these things help massively to immerse you in the world of the movie.

When it comes to Showcase it is very clear immediately that it’s a modern multiplex, boasting multiple large screens and a welcoming atmosphere that makes it clear anyone is welcome. Once your film is over however, the only incentive you have to stay is the small bar area that also serves food- however, most will opt to find somewhere nearby that offers higher quality food for the same price. Ultimately you get the feeling that once they’ve gotten your money, they have no interest in keeping you around. While at first glance the Watershed may seem more intimidating than a multiplex cinema, it doesn’t take long until it feels much more welcoming and homely, with its large café and bar inviting customers to arrive early before the film- or to stick around afterwards, feeling much more like an area to socialise and relax than simply a place to get a some quick food or drinks. It also has numerous resources open to the public, offering venue hire for many different events from meetings and conferences to birthday and wedding celebrations. Watershed also runs multiple programs working with the local community, with goals ranging from helping young people develop skills in the industry to funding schemes for emerging technologies.
While Showcase is a great cinema for casual audiences, it is ultimately an institution focused on profit, while Watershed feels like a part of the community in Bristol and is a fantastic cultural hub that provides a more niche audience with opportunities otherwise difficult to find.

Cross-promotion, Franchising and Audiences for Alien (1979)

The huge success of Alien in 1979 birthed a cinematic universe boasting 6 films (as well as the spin-off franchise Alien vs Predator,containing two films), all with varying levels of critical and commercial success. The Alien franchise has continued to prove profitable to this day, with its most recent instalment in the series coming in 2017 with Alien: Covenant, a film that grossed a total of $240.9 million worldwide with a budget of $97 million. The success of this franchise ultimately stems from the worldwide phenomenon that the first film was- Alien made over $200 million from a budget of $10 million, and despite its critical reception being initially mixed, forty years later, Alien frequently finds itself on critics’ greatest films of all time lists, and is one of the highest rated films of all time on IMDb, demonstrating that it is a film loved by critics and casual audiences alike. The reason for the massive success of the first film is how revolutionary it was, particularly in the horror genre- it defied numerous tropes and clichés and it did so in a very interesting and effective way. It also found a perfect fusion of horror and sci-fi, with the fantastic design of the alien itself (or ‘Xenomorph’) being a huge part of this. Additionally, the film had more than enough underlying themes and subtext to encourage repeated viewings and critical analyses.

One of the many defied tropes in Alien that contributed to its success was the cast of the film- most of them were men aged forty or older, while the youngest in the cast was Sigourney Weaver at 29. This is a stark contrast to most horror films at the time- and even today- which often opt for a group in their late teens to early twenties. The characters in Alien weren’t a young, carefree or naïve group of young adults, they were, as Ebert points out in his 2003 review “not adventurers but workers, hired by a company to return 20 million tons of ore to Earth”- the group are constantly bickering about paycheques, and the fact that they don’t really want to be there in the first place perhaps provides additional reasons to sympathise with them. Another trope that the film boldly defies is that of the survivor- Ellen Ripley, the youngest crew member, and one of only two women, is the sole survivor from the Nostromo, the now iconic ship that the film takes place on. Ripley however is not only the last person alive but she actually defeats the seemingly unkillable Xenomorph in the films climax. The character of Ellen Ripley defies tropes in more ways than this, too- she’s not a conventional female protagonist for a film of the 1970s. Most notably the theory of the ‘male gaze’ (Mulvey) does not apply to her, which was particularly defiant for a film made in 1979.

Not only does Alien defy numerous tropes, it often criticises the very tropes that it avoids through its subtext and its themes relating to gender, sex, the patriarchy and the maternal.
In the Alien franchise, Ripley essentially plays the role of the ‘mother’. Her ‘misplaced maternal instincts’- searching for the ship’s cat- end up saving her from a death at the hands of the Xenomorph in Alien. In Aliens (1986) Ripley is maternal not towards a cat but instead the character of Rebecca, for whom Ripley risks everything to protect, becoming her surrogate mother (Irwin). Ripley’s character has an extremely maternal nature, and this leads to her being victorious on more than one occasion. The franchise is also steeped in the ‘horror of sexual violence and the effects it can have on survivors’ (Irwin). The alien ‘Facehuggers’ forcefully insert a phallic object into the victim’s throats, implanting its seed, and forcing the unsuspecting person to give hatch its offspring at a later time. The use of this parallel with rape is incredibly effective- not only does it fit with the rest of the film’s themes about motherhood and sex, but it mirrors something very real, something that women fear every day. It’s resemblance to something so real despite being science fiction is part of what makes it so scary and thus effective as a horror storytelling device, but it also places the same fears in the male viewers which is often much more alien to them than it is to women. Screenwriter Dan O’Bannon said in a 2002 interview “One thing that people are all disturbed about is sex… I said, ‘That’s how I’m going to attack the audience; I’m going to attack them sexually. And I’m not going to go after the women in the audience, I’m going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs.”
Femininity is also touched upon in the franchise, with the first two films especially following a sort of formula- “some essence of woman is extracted from the female heroine, put on trial through demonisation, then ultimately destroyed or chastised” (Vaughn 424). The women in the earlier films have nothing in common except the fight against the alien, which is something they also share with the men. “The feature that identifies them as distinct from men- their shared history of reproduction- is that which they are most set to destroy in the image of the alien and of which they are most afraid” (Jeffords 80). The most innately ‘womanly’ characteristic is perhaps the ability to reproduce, and that is the most terrifying thing in the Alien franchise- the vast swathes of Xenomorph eggs, the Facehuggers using people to forcefully implant and hatch their eggs, the alien that lays the eggs (the Xenomorph Queen) being the ultimate enemy in Aliens.

The Xenomorph itself and the design of it also contributes to the success of Alien and the establishment of the franchise. The idea of being hunted by the ‘perfect organism’ is terrifying, and not only the design of the Xenomorph but also the way in which it’s presented is done brilliantly- mostly lurking in the shadows, never properly seen until the very end of the film when it is finally defeated. A viewer’s imagination can create something much scarier than special effects, and by using darkness to conceal the Xenomorph as well as it manoeuvring through the ship without being seen thanks to the design of the Nostromo, viewers are free to imagine the Xenomorph in whatever way they wish (to some extent).

Before 2000, there were only seven film franchises that had grossed over $1 billion. Today, just 19 years later, that number has grown to over 50. While inflation may be a factor, the biggest reason for this is Hollywood’s adoption of the ‘franchise model’. Films that already have brand recognition- whether they’re based on a book such as The Hunger Games (2012) or feature an established character such as Casino Royale (2006)- films that feature characters or locations the audience can recognise are much easier to market to them, which is why they’re known as ‘pre-sold’ films within the industry (The Economist).

Although Alien had zero brand recognition when it was initially released, it was a huge success and spawned multiple sequels, novels, comics and video-game spin-offs. There are many reasons why it became such a successful franchise. It’s a suspenseful sci-fi horror film that casual audiences can enjoy while also having plenty of depth for critics and fans to analyse- it is a very well-made film, with the fantastic design of the Nostromo as well as the alien itself becoming iconic (and picking up multiple awards upon release)- it defied tropes in an exciting way. Another factor in the establishment of the franchise is that Alien (1979) started so small- the entire film was set almost exclusively on one ship, with only one Xenomorph being featured. It allowed plenty of room for growth in subsequent films, and that is perhaps the reason the films of this franchise aren’t as successful today- there is not as much to build on, not as much to do differently. The lesser success of the more recent films in the franchise may also come down to lower quality writing- while in the earlier films the themes weren’t exactly subtle, they were anything but surface-level and left plenty of room to analyse. In the later films however, the films seemed to lose any subtlety completely- for example in Alien³(1992) the themes of rape and gender roles are overtly mentioned while in the earlier releases they were simply hinted at. While the most recent instalments in the franchise have been less successful, the fact that it is a franchise that continues to be built on today, still drawing in massive audiences, is a tribute to the immense quality of the earlier films in the series, in particular the film that started it all: Alien (1979).

Bibliography

Economist. “Film franchises- pottering on, and on.” The Economist, https://www.economist.com/graphic-detail/2011/07/11/pottering-on-and-on. Accessed 7 December 2019.

Entertainment. “How Alien Changed the Horror Genre Forever.” Entertainment, https://entertainment.ie/cinema/movie-news/how-alien-changed-the-horror-genre-forever-230859/. Accessed 5 December 2019.

Irwin, William et al. Alien and Philosophy: I Infest, Therefore I am. Wiley-Blackwell, 2017.

Jeffords, Susan. ““The Battle of the Big Mamas”: Feminism and the Alienation of Women.” The Journal of American Culture, vol. 10, issue 3, 1987, pp. 73-84.

Mulvey, Laura. “Visual pleasure and narrative cinema.” Visual and other pleasures. Palgrave Macmillan, London, 1989. 14-26.

RogerEbert. “Alien (1979).” RogerEbert, https://www.rogerebert.com/reviews/great-movie-alien-1979. Accessed 5 December 2019.

Vaughn, Thomas. “Voices of Sexual Distortion: Rape, Birth, and Self-Annihilation Metaphors in the Alien Trilogy.” The Quarterly Journal of Speech, vol. 81, 1995, pp. 423-435.

Group Work Reflection

When it came to working in a group, we decided that we would share the WordPress account for our blog in order to upload our work as we go, and also so that we could edit the blog design if we felt we had a good enough idea to improve it. We then met up on separate occasions to discuss what we had done in terms of the design and also to talk about our actual work and give each other advice if needed. Uploading as we went along also allowed us to proof read each other’s work and improve the overall quality of the blog. We wanted the design of it to look professional while being easy to navigate so the potential audience could easily locate any specific piece of writing. With the deadline looming over us, we also didn’t want to attempt to make the blog too fancy or complicate things without having the necessary WordPress experience to make it more stylistic. We all agreed that a minimalist style would work best. The tasks of organising and designing the blog were allocated pretty much equally, though if I had to do it again, I would set aside more time to get familiar with WordPress as this would result in a nicer looking blog overall.

During the process of making the blog I thought each group member had quite equal contributions and that we worked well together. However, one thing I would do differently in future is meet up in person more, and earlier- the first meeting we had was only around one week before the assignment was due, but if we’d have met up earlier perhaps we could have made the design of the blog even better- or perhaps given more advice on each other’s essays, as it’s easier to discuss things in person.

When it came to writing my own essay and report, the other group members did well proof reading and offering advice on it, and uploading our work to the blog as we went along helped with this. There were also times that I read their work after they uploaded it to the blog, and I was able to help them with theirs in return when they needed it.

Overall, the experience of working in a group was pleasant- we all did our part in the design and setup of the blog and we all managed to peer review each other’s work in a supportive way. Each of us had advice to give that ultimately improved the quality of the blog, and while we didn’t meet up until a little too close to the deadline, we had a group chat in which we discussed the blog and our work and we never felt that anything was left too late. The final result of this was a blog that we’re proud of and think would be an interesting read for any film enthusiasts.