# data[].attributes.body
a method for examining a text (film, literature, artwork, garment, human created thing) to uncover its meaning, themes, and messages

一种检查文本（电影、文学、艺术品、服装、人类创造的东西）以揭示其含义、主题和信息的方法

# data[].attributes.body
Textual analysis is not so much about simply understanding a film, but is rather about understanding why a text is constructed and interpreted in certain ways, and what this says about a broader society and cultural context.

文本分析并不是简单地理解一部电影，而是理解为什么文本以某种方式构建和解释，以及这对更广泛的社会和文化背景意味着什么。

# data[].attributes.body
• Script 脚本

• Casting 铸造

• Lighting 灯光

• Camerawork 摄影作品

• Genre 类型

• Context 语境

# data[].attributes.headline
A textual analysis may be guided by a theory 

# data[].attributes.subject
A textual analysis may be guided by a theory 

# data[].attributes.body
文本分析可以由理论指导

1. Feminist theory ：探讨社会、政治和文化背景下的性别不平等并倡导妇女的权利和赋权。

2. Postmodernism：挑战客观真理、权威和文化等级的传统观念，强调意义的流动性以及语言和权力在塑造我们的观念中的作用。

3. Posthumanism：质疑人类与技术之间的界限，提出模糊界限并提倡对情报和能动性进行更具包容性的理解。

4. Auteur theory：认为电影导演的个人愿景和风格是电影制作过程的核心，强调导演是电影的“作者”。

5. Postcololnialism：审视殖民主义的遗产及其对殖民化后社会、文化和权力结构的影响。

6. Semiotics：研究符号和符号以及它们如何在语言、交流和文化中传达意义。

7. Marxism：分析社会结构，强调阶级斗争和经济在塑造社会、政治和文化体系中的作用。

8. Queer Theory：挑战性别和性行为的规范观念，探索身份和性行为是如何构建、表现和体验的。

9. Critical Race Theory：挑战性别和性行为的规范观念，探索身份和性行为是如何构建、表现和体验的。

10. Critical Race Theory：审视系统性种族主义和种族不平等，强调种族与法律、政治和社会交叉的方式。

11. Genre Theory：

An analytical framework that categorizes and studies media texts based on shared characteristics, themes, and conventions, offering insights into how different genres convey meaning and engage with audiences.

一种分析框架，根据共同的特征、主题和惯例对媒体文本进行分类和研究，提供不同类型如何传达意义并与受众互动的见解。

# data[].attributes.body
Film Noir emerged following WW2.

电影黑色片在第二次世界大战后出现。

Drawing on early European film techniques, a slew of American directors (and European filmmakers who had immigrated) used a visual language that emphasised disillusionment and existential dread of the period.

借鉴早期欧洲电影技术，一大批美国导演（以及移民美国的欧洲电影制作人）使用了一种强调那个时期失望感和存在主义恐惧的视觉语言。

Common Noir elements include: Anti-heroes (detectives, criminals),

常见的黑色片元素包括：反英雄（侦探、罪犯），

Femme fatales (dangerous, seductive women with mysterious pasts),

致命女人（危险且富有魅力、拥有神秘过去的女性），

Dramatic / high contrast lighting (emphasising psychological splits), 戏剧性/高对比度灯光（强调心理分裂），

Stories of distrust, intrigue, crime, and the fight for survival. 故事涉及不信任、阴谋、犯罪，以及为了生存而战的情节。

# data[].attributes.attachment_caption
SHOWstudio: Noir - Dice Kayek / Marie Schuller

# data[].attributes.headline
Marie Schuller’s Noir (2013) fashion film

# data[].attributes.subject
Marie Schuller’s Noir (2013) fashion film

# data[].attributes.body
https://www.youtube.com/watch?v=pWr3p6Fra1Y

# data[].attributes.attachment_link.title
SHOWstudio: Noir - Dice Kayek / Marie Schuller

# data[].attributes.body
Iconography, Hybridity and Audience Expectations

Genre Theory refers to the study of film and media genres and how they are classified based on certain patterns and elements. The concept of genre is central to film theory and criticism.

类型理论指的是对电影和媒体类型的研究，以及它们是如何基于某些模式和元素被分类的。类型概念是电影理论和批评的核心。

Iconography:

Iconography within Genre Theory refers to the recurring symbolic images that carry meaning and are recognized as part of the genre's visual style. These include particular kinds of settings, props, costume designs, and character types that are unique to a genre.

在类型理论中的图标性指的是重复出现的具有象征意义的图像，它们作为该类型视觉风格的一部分被识别和理解。这些包括独特的环境设定、道具、服装设计和角色类型。

Hybridity:

Hybridity in genres occurs when elements of two or more genres are combined to create a new subgenre or a cross-genre film. This reflects the dynamic and evolving nature of genres.

类型的混合性发生在两个或更多类型的元素结合以创建一个新的子类型或跨类型电影时。这反映了类型的动态性和不断发展的本质。

Audience Expectations:

Audience Expectations refer to the preconceived notions and expectations that viewers bring to a film based on their understanding of its genre. These expectations can shape the way audiences perceive and evaluate a film.

观众期望指的是观众基于他们对电影类型的理解而带入的预先构想和期望。这些期望可以塑造观众对电影的感知和评价方式。

# data[].attributes.body
• Conventions – Frequently used stylistic techniques or narrative devices typical of (but not necessarily unique to) particular generic traditions.

• 惯例 – 经常使用的风格技巧或叙事设备，这些是特定类型传统的典型，但不必然是独一无二的。

这些是类型电影中频繁使用的风格和叙事技术。它们是类型传统的标志，帮助定义类型的边界和内容。虽然这些惯例可能在多个类型中出现，但在特定类型中特别常见。

• Iconography – Various objects that are found repeatedly in genre movies… archetypal characters and even specific actors.

• 图标性 – 在类型电影中反复出现的各种对象……原型角色甚至特定的演员。

图标性指的是在某个类型的电影中重复出现的特定的物品、设置、角色类型甚至特定演员的选择。这些元素立即让观众认识到电影属于特定的类型。

• Expectations – Genre films work by engaging viewers through an implicit contract. They encourage certain expectations on the part of spectators based on viewer familiarity with the conventions.

• 期望 – 类型电影通过一种隐含的契约吸引观众。它们基于观众对惯例的熟悉度，鼓励观众形成某些期望。

观众对类型电影有一系列预设的期望。这是基于他们以往的观影经验以及对类型惯例的了解。类型电影通过履行这种隐性契约——即满足观众对故事、角色和主题等方面的预期——来吸引观众。

# data[].attributes.body
• ‘In mass mediated society, we huddle around movie screens instead of campfires for our mythic tales. Comparable to myths, genre movies may be understood as secular stories that seek to address and sometimes resolve our problems and dilemmas, some specifically historical and some more deeply rooted in our collective psyches’ (Grant, 2007: 29)

• “在大众媒介的社会里，我们围坐在电影屏幕前，而不是篝火旁，听我们的神话故事。类似于神话，类型电影可以被理解为试图解决我们的问题和困境的世俗故事，有些问题是具体的历史问题，有些则更深地植根于我们集体的心理中”（Grant, 2007: 29）

这段话来自Grant在2007年的作品，它提出了类型电影在现代社会文化中的重要性与作用：

大众媒介社会：现代社会中，大众媒介，尤其是电影，已经取代了古老的传统，如围坐篝火旁听故事的习俗。电影屏幕成为现代传达故事的主要方式。

神话性故事：电影往往被视为现代神话，它们通过类型片的形式提供了一种文化共鸣，不仅娱乐观众，也传达了核心的文化价值和教训。

世俗故事：类型电影提供了一种世俗的叙事方式，它们通过重现和解决问题来引起共鸣，这些问题可能是历史性的，或者是更深层次的、根植于集体心理的问题。

集体心理：电影类型通过符合我们共同的心理预期和内心深处的认同感，来构建和加强社会共性。

Grant强调，类型电影不仅仅是娱乐的工具，它们还是文化对话的载体，通过讲述故事来处理和反映社会问题和人类经验。

# data[].attributes.body
• Intertextuality 互文性

指文本之间的相互关联和引用，后现代电影经常引用、模仿或回应其他电影或文化文本，从而创造出丰富的意义层次。

• Hybridity 杂合性

是指混合不同类型的特征或元素，后现代电影通常不满足于单一类型的限制，而是混合多种类型来创造新的观看体验。

• ‘Every text participates in one or several genres, there is no genreless text.’“

每个文本都参与到一个或几个类型中，没有无类型的文本。”

（雅克·德里达）

著名哲学家德里达认为，文本总是参与到某种类型中，不存在完全无类型的文本。这表明每部电影都在某种程度上受到已有类型规范的影响。

# data[].attributes.body
Selective view of the past:

• Upper-middle class/aristocracy • Country houses or elegant town squares

社会阶层的选择：这类作品经常聚焦在上中阶级或贵族阶层的生活，略过了历史上的其他阶级和社会群体。

• Lots of faithful period detail • Sunlight, green fields and private parks

场景与环境：它们倾向于呈现乡村庄园、优雅的市镇广场这样的地点，且通常包含大量精确复原的历史细节，创造出一个对过去生活的理想化展现。

• Tennis, croquet, punting

休闲活动与教育机构：常见的活动包括网球、槌球和划船等上层社会的娱乐方式，而教育背景则往往是著名的大学和私立学校。

• Oxford and Cambridge Universities, private schools • Home Counties, India of the British Raj, Italy

地理和文化背景：涉及的地点往往具有象征意义，如英格兰的家庭郡、英国殖民时期的印度、意大利等，这些地点反映出某种文化上的浪漫化和怀旧感。

• Literary sources and classical music

文化元素：文学作品和古典音乐常被用作故事的基础或背景，以加强作品的文化深度和历史感。

• English cast with theatrical background

有戏剧背景的英国演员阵容

• Emphasis on atmosphere and character

重视氛围和角色

# data[].attributes.body
• The question is “whether we look at or through the clothes.” (Bruzzi 1997)

问题是“我们是看着衣服，还是透过衣服看。”

• Costume does not always have to be subordinate to the narrative.

服装不必总是从属于叙述。

• Costume can develop its own discourse, not merely serve as an index of character, furthering the plot or conveying faithful historical detail.

服装可以发展出自己的话语系统，不仅仅是作为人物性格的指标，推动情节发展或传达忠实的历史细节。

• “[S]ymbolic carriers of period detail – costume, hair, décor – are […] intertextual sign systems with their own logic which constantly threatens to disrupt the concerns of narrative and dialogue.”

“作为时期细节的象征载体——服装、发型、装饰——是各自带有逻辑的互文符号系统，这种逻辑不断地威胁要打断叙述和对话的关注。”（库克 1996:67）

这段话探讨的是服装在电影中的角色和意义，以及它与叙述和观众接受之间的关系。布鲁齐提出的问题“我们是看着衣服，还是透过衣服看”暗示服装可以被理解为超越其表面装饰作用的东西。也就是说，观众可能不只是简单地欣赏服装的美学，而是通过服装来理解电影中的角色和背景。

布鲁齐和库克的观点是，服装在电影中可以拥有独立于叙事的功能，不仅仅是补充故事或者提供角色信息。服装可以形成自己的话语系统——这意味着服装、发型和装饰等视觉元素有自己内在的逻辑和含义，可以与影片的文本内容（如对话和叙事结构）相互对话，有时候甚至挑战和扰乱叙事的流畅性。库克的观点强调了这些视觉元素的互文性，即它们能够引发观众对其他文本或文化现象的联想，从而为观众提供一种不同于传统叙述的电影体验和理解方式。

# data[].attributes.headline
EGONLAB HORROR STORY - THE MOVIE (AW21 COLLECTION)

# data[].attributes.subject
EGONLAB HORROR STORY - THE MOVIE (AW21 COLLECTION)

# data[].attributes.attachment_link.title
EGONLAB HORROR STORY - THE MOVIE (AW21 COLLECTION)

# data[].attributes.body
https://www.janbarci.com/head-strong/

# data[].attributes.attachment_link.description
As part of National suicide awareness month, I developed an initiative raising awareness around men's mental health. Creating a series of graphic tees and digital campaign with 100% of the profits donated to Calm, the UK's leading movement against suicide. Credits: Creative Director: Jan Barcikow

# data[].attributes.headline
Primal Scream - 2013 - Full Length - Official

# data[].attributes.subject
Primal Scream - 2013 - Full Length - Official

# data[].attributes.attachment_link.title
Primal Scream - 2013 - Full Length - Official

# data[].attributes.attachment_link.title
THE LAUNDROMAT, Prada 'The Postman Dreams'

# data[].attributes.body
https://www.youtube.com/watch?v=U59C2FFhJio

# data[].attributes.attachment_link.title
Mugler - Angel Elixir - the Film starring Hunter Schafer

# data[].attributes.attachment_link.title
SHOWstudio: Hotel Skovgaard, Room 77 - Camilla Skovgaard / Ali F. Mostafa

# data[].attributes.attachment_link.title
zach beech on Instagram: "sasha b  On my way! (ft queen dethroned/ pedo sympathiser)

song @sashaburavsky 
prod @3o_theo 

full vid in bio"

# data[].attributes.attachment_link.description
188 likes, 9 comments - z_bleach on January 10, 2022: "sasha b  On my way! (ft queen dethroned/ pedo sympathiser)

song @sashaburavsky 
prod @3o_theo 

..."

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by zach beech (@z_bleach)

# data[].attributes.attachment_link.title
Through the Storm - Vogue Italy  (Fashion Film)

# data[].attributes.attachment_link.description
Director Isaac Lock embraces freedom, movement and joy in a spirited new film debuting Nanushka’s SS22 collection

# data[].attributes.attachment_link.description
GORDON VON STEINER / VOGUE ITALIA
film & edit gordon von steiner
photography steven meisel
make-up pat mcgrath
hair guido paulo 
set design mary howard
manicure jin soon choi
production prodn

# data[].attributes.attachment_link.title
VOGUE ITALIA / BROKEN ENGLISH / GORDON VON STEINER / STEVEN MEISEL

# data[].attributes.attachment_link.description
FILMED & EDITED BY GORDON VON STEINER
PHOTOGRAPHED BY STEVEN MEISEL
VOGUE ITALIA STEVEN MEISEL APRIL 2013 COVER VIDEO
FEATURING EDIE CAMPBELL & KAREN ELSON
PRODUCTION BY PRODn / ART + COMMERCE
MUSIC BY LAURA SHEERAN

# data[].attributes.attachment_link.readable_text
Short film premiered at V Magazine.

Featuring Esme Creed-Miles.

Styled by Ellie Grace Cumming.

CAV EMPT - Energy Surplus

Experimental film for Japanese cult brand Cav Empt. Co-directed with Nick Knight.

Fashion & Freedom: Rei Nadal - The Fall of the Corset: Edith

Fashion Film commissioned by SHOWstudio to be part of the 'Fashion & Freedom' exhibition at Manchester Art Gallery. 2016.

One Minute Meditation - Steven Ma

Teaser for upcoming luxury goods brand Steven Ma (05/01/2021)

Steven Ma
Ellie Grace Cumming
Stavros Karelis
Giovanni de Marchi

John Alexander Skelton commissions a film for his Collection VIII presentation in January 2020.

Ryan Skelton performs 'Under Milk Wood' by Dylan Thomas.

# data[].attributes.attachment_link.description
Short film premiered at V Magazine. Featuring Esme Creed-Miles. Styled by Ellie Grace Cumming. CAV EMPT - Energy Surplus Experimental film for Japanese cult brand Cav Empt. Co-directed with Nick Knight. Fashion & Freedom: Rei Nadal - The Fall of the Corset: Edith Fashion Film commissioned by SHOWstudio to be part of the 'Fashion & Freedom' exhibition at Manchester Art Gallery.

# data[].attributes.body
"place on stage"

setting

无论是选择的还是构建的，真实的还是超现实的，布景的功能多种多样，既可以定位观众，也可以贡献戏剧冲击力，还可以为电影的叙事增添意义。

costume

通过暗示角色的社会地位，服装可以增强叙事或故事

暗示角色的心理状态

暗示电影中的角色发展

作为电影统一性所依赖的道具。任何一部分服装都可能成为道具

Figure Behavior

演员表情的恰当性和导演对演员动作的控制

角色行为的恰当性或不恰当性应根据特定场景的设置和该特定角色的整体构成来判断

lighting

他可以控制设置或人物行为对观众的影响[并且可以强调框架的预期中心焦点]

# data[].attributes.attachment_link.title
BURBERRY "OPEN SPACES" - BEHIND THE SCENES

# data[].attributes.attachment_link.title
THE BATTLEFIELD, Prada 'The Postman Dreams'

# data[].attributes.attachment_link.title
PRADA presents "CASTELLO CAVALCANTI" by Wes Anderson

# data[].attributes.body
Shooting scripts:

(Behind-the-scene editing)

When we see directors on set what are they often doing?

当我们在片场看到导演时，他们通常在做什么？

(saying action)

Pointing?

指点？

Looking through the viewfinder or making this hand gesture

Why?

通过取景器观看或做出此手势

为什么？

Because the director's job actually begins long before this moment.

因为导演的工作其实早在这一刻之前就开始了。

In fact, a rolling camera is the final step in designing, arranging and framing each shot. It is the last piece in a puzzle called mise-en-scene.

事实上，滚动相机是设计、安排和取景每个镜头的最后一步。 这是“场景调度”拼图中的最后一块。

(Classical films mise-en-scene)

Mise-en-scene isn’t just a theoretical concept. It is the essence of filmmaking and something that every director does whether they realize it or not.

场景调度不仅仅是一个理论概念。 这是电影制作的本质，也是每个导演都在做的事情，无论他们是否意识到。

(Hanging texts)

What is

Mise en scene?

Lets get started (music)

(Hanging texts)

Mis en scene

(Hanging texts)

Mis en scene

Noun French

The placement of actors and scenery on a stage for a theatrical, film or television production.

戏剧、电影或电视制作中演员和布景在舞台上的布置。

Translated from French miss en scene means placing on stage. A theater term for the process of deciding what to include in the scene,

mise en scene 翻译自法语，意思是“放置在舞台上”。 戏剧术语，指决定场景中包含什么内容的过程，

(A diagram of mise en scene)

And where it should go on the stage. One of the biggest champions of miss-en scene was French film critic Andre Bazan (with his picture) bazar divided filmmaking into two basic approaches:

以及它应该在舞台上的什么地方。 法国电影评论家安德烈·巴赞（Andre bazin）（和他的照片）是“错过场景”的最大拥护者之一，巴扎尔将电影制作分为两种基本方法：

(With a picture divided in half

Mise-en-scene | montage)

Mise-en-scene and montage . Montage filmmakers create from the combination and juxtaposition of multiple images

场景调度和蒙太奇。 蒙太奇电影制作者通过多个图像的组合和并置进行创作

While miss-en-scene filmmakers concentrate on storytelling in a single image.

而失景电影制片人则专注于用单一图像讲述故事。

Consider this, infamous shot from Citizen Kane. The wide-angle and deep focus allows us to see each character and their performance: the blocking, staging, and composition show us who has power and who does not and the uninterrupted take allows us to interpret all of these dynamics ourselves at our own pace without editing.

考虑一下《公民凯恩》中臭名昭著的镜头。 广角和深焦让我们能够看到每个角色和他们的表演：布景、舞台和构图向我们展示了谁拥有权力，谁没有权力，而不间断的拍摄使我们能够按照自己的节奏来解释所有这些动态，而无需担心。 编辑。

Traditional definitions of mine-en-scene are limited to everything we can see but sound design..(sound)

And music..(music)

场景调度的传统定义仅限于我们能看到的一切，除了声音设计..（声音）

还有音乐..（音乐）

They can also be crucial pieces to the overall miss-en-scene. This can be a tricky concept to understand. so here’s an analogy:

(Hanging texts)

也可能是整个场景的关键部分。 这可能是一个很难理解的概念。 所以这是一个类比：

（悬挂文字）

Mise en scene

Mise en scene can easily be understood as a math problem instead of two plus two equals four

场景调度

Mise en scene 很容易理解为数学问题，而不是二加二等于四

(Hanging texts)

2+2=4

(Hanging image)

These elements equal one shot. Each with its own part to play in the overall meaning of a shot. Does this mean that everything we see is part of the mise-en-scene?

这些元素等于一击。 每个人都有自己的角色，在镜头的整体意义中发挥作用。 这是否意味着我们所看到的一切都是场景的一部分？

Yes

Everything.

(Hanging image)

Mise-en scène

Traditional

naturalistic and theatrical

So now, lets put them to practice there are two basic traditions in mise-en-scene: naturalistic and theatrical

现在，让我们将它们付诸实践，场景调度有两个基本传统：自然主义和戏剧主义。

With naturalistic mise-en-scene, the world in the film is meant to match our own. It should be familiar and realistic.

凭借自然主义的场景布置，电影中的世界与我们自己的世界相匹配。 它应该是熟悉且现实的。

With theatrical mise-en-scene, we are presented with exaggerated worlds unintended to be normal.

通过戏剧性的失景，我们呈现了一个原本不正常的夸张世界。

Think of Tim Burton’s expressionist mise-en-scene, the exaggerated sets, costumes, and props. These elements draw our attention because of their uniqueness and strangeness.

想想蒂姆·伯顿的表现主义场景布景、夸张的布景、服装和道具。 这些元素因其独特性和陌生性而引起我们的注意。

But that doesn't mean a filmmaker like David Finches' mise-en-scene is any less considered or affected.

但这并不意味着像大卫·芬奇这样的电影制片人的场景调度就不会受到任何考虑或影响。

So whether you’re dealing with a grounded domestic drama or a hyper-stylized fantasy film, the miss-en-scene should align with those visions.

因此，无论您正在处理一部接地气的家庭剧还是一部超风格化的奇幻电影，场景错觉都应该与这些愿景保持一致。

So what does it look like when it all comes together?

那么当这一切结合在一起时会是什么样子呢？

Let's do an exercise:

The thing is bursting at the seams with fascinating miss-en-scene.

我们来做一个练习：

这件事充满了迷人的错视场景。

If you haven’t seen it its about the Torrance family who move into the empty overlook hotel as caretakers for the winter.

如果你还没看过，它讲述的是托伦斯一家搬进空荡荡的俯瞰酒店作为冬季看护人的故事。

On and it’s a horror movie

And this shot is one of the most unsettling in the entire film.

这个镜头是整部电影中最令人不安的镜头之一。

Starting with production design we first see props and set design namely the toy vehicles and the carpet. As the camera zooms out the carpet is revealed with a striking and intense design.

从制作设计开始，我们首先看到道具和布景设计，即玩具车和地毯。 当镜头拉远时，地毯呈现出引人注目且强烈的设计。

This theme of mazes that runs throughout the shining is once again used to make Dany seem trapped and surrounded.

这种贯穿整个《闪灵》的迷宫主题再次被用来让丹妮看起来像是被困住了、被包围了。

The sound design and soundtrack also bring contrast to the rise-en-scene.

声音设计和配乐也给场景带来了对比。

We hear two things: Dany’s vocalization as he plays with his toys and ominous swelling from the musical score

我们听到两件事：丹尼玩玩具时发出的声音和乐谱中不祥的肿胀

How about the cinematography?

电影摄影怎么样？

The lighting is high key and even, nothing menacing there until you remember that this is a horror film, where we expect shadows and darkness.

灯光高调而均匀，没有任何威胁，直到你记住这是一部恐怖片，我们期待的是阴影和黑暗。

Dany is shot at a high angle and center-framed with deep depth of field and a slow zoom-out.

灯光高调而均匀，没有任何威胁，直到你记住这是一部恐怖片，我们期待的是阴影和黑暗。

Finally, the cherry on the top of this shot is the blocking Danny is seated innocently playing when a new prop is introduced.

最后，这个镜头最精彩的是当一个新道具被引入时，丹尼正无辜地坐着玩耍。

All of this adds up to making him appear isolated and vulnerable.

所有这些加起来让他显得孤立而脆弱。

Something is wrong

Someone or something is watching Dany even If you don’t know what comes before or after this moment

即使你不知道这一刻之前或之后会发生什么，也有人或某物正在注视着丹妮

The mise-en-scene in this shot is full of visual storytelling is designed in every day to be unsetting

这个镜头中的场景布景充满了视觉故事讲述，旨在每天都令人不安

# data[].attributes.body
when crafting a story one of the first things a filmmaker has to decide is what genre does their story fit into

在制作故事时，电影制片人必须决定的第一件事就是他们的故事适合什么类型

Genre is an important aspect of storytelling, the way to let your audience know what to expect and sometimes surprise them.

类型是讲故事的一个重要方面，它让观众知道会发生什么，有时甚至会给他们带来惊喜。

Today we will explore many kinds of genres what sets them apart and how they similar

今天我们将探讨多种流派的不同之处以及相似之处

(Hanging texts)

What is ?

Genre

(Hanging texts)

In film, a genre is a category based on similarities, either in the plot, aesthetics, or the intended emotional response

在电影中，类型是基于情节、美学或预期情感反应方面的相似性的类别

The word genre comes from the French which means kind or sort.

流派一词源自法语，意思是“种类”或“排序”。

The concepts of genre can be traced to greek philosopher plato who believed there to be only two genres: poetry and drama.

体裁的概念可以追溯到希腊哲学家柏拉图，他认为只有两种体裁：诗歌和戏剧。

Since then a multitude of genres have emerged including horror thriller romance and comedy

从那时起，出现了多种类型，包括恐怖、惊悚、浪漫和喜剧

In fact, most genres can be further divided into more specific categories called sub-genres

事实上，大多数流派可以进一步分为更具体的类别，称为子流派

For example, sub-genres within the action genre include martial arts adventure and of course superhero films

例如，动作类型中的子类型包括武术冒险片，当然还有超级英雄电影

So, now we what genre is let’s explore the purpose of genres and why they’re so important in storytelling.

那么，现在我们什么是类型，让我们探讨一下类型的目的以及为什么它们在讲故事中如此重要。

Genre serves two purposes to set up audience expectations and provide a roadmap for storytellers

类型有两个目的：设定观众期望并为讲故事的人提供路线图

# data[].attributes.attachment_link.title
Fashion Film: Keshou (Layer) | SHOWstudio

# data[].attributes.attachment_link.description
The fashion film from unisex brand Kosmetique Label nods to cyberpunk and horror movies.

# data[].attributes.attachment_link.title
Fashion and futurism in a Japanese hotel of horrors

# data[].attributes.attachment_link.title
LE FRUIT NOIR - A NEO NOIR FASHIONFILM (english version)

# data[].attributes.attachment_link.description
WITH: MAI SUZUKI &YUSUKE YAMASAKI,
MUSIC COMPOSED AND PERFORMED BY KATRIN MICKIEWICZ
CREATIVE DIRECTOR - HEIKO AUFDERMAUER, VISUAL ARTIST – DENNIS BERGANDE, DIRECTOR OF PHOTOGRAPHY - ANDY BERGMANN, PROD. MANAGER / 1.AD - JOHANNA REIMANN, LIGHT OPERATOR - LUKAS BRAUNE, CAMERA ASSISTANT - LUKAS PLODEK, JAVIER ESTUPINAN, SOUNDDESIGN - BENJAMIN DRUMEAUX, FOLEY ARTIST - BJÖRN OBERMANN, BENJAMIN DRUMEAUX, MAKE-UP ARTIST - MIYUKI OYA, NAIL ARTIST - MICA OKI, STYLIST - ANNA HOA MASCHE, SET-CAMERA - CHRISTIAN SCHNEIDER, DRONE FLIGHTS - ROCK'N ROLL PICTURES.
SPONSORED BY PHILOMENA ZANETTI, BRACHMANN MENSWEAR & TESLA MOTORS

# data[].attributes.attachment_link.title
CHANEL N°5, the film Train de Nuit with Audrey Tautou – CHANEL Fragrance

# data[].attributes.attachment_link.title
N°5, the Film with Gisele Bündchen, Michiel Huisman and Lo-Fang – CHANEL Fragrance

# data[].attributes.attachment_link.description
FFFM 2022 NOMINEE - BEST EXPERIMENTAL FASHION FILM


An intergalactic future where the boundaries of gender gradually dissolve, all you need to do is to free your mind, extend your arms and embrace the era of unisex and the era of bosie.

# data[].attributes.attachment_link.title
Moncler's New Short Film 'Moonray' is Sci-Fi B-Movie Gold

# data[].attributes.attachment_link.title
KENZO WORLD – Behind the scenes  the genesis TV Spot Perfume pubblicitario 109''