codes and conventions GENRE

NARRATIVE STRUCTURE

Narrative: the sequence of events of the story.

Crime thriller films often use closed narrative with a clear, structured ending. There would most likely only be an open narrative (no clear ending) if there is a sequel, but this is still rare.

• Most crime thrillers would use a linear narrative, as the film is often based around the ongoing investigation of the crime or the unfolding of the crime itself. As the audience is typically following the characters on the solving (Se7en) or committing (Reservoir Dogs) the crime, a linear narrative is easier to follow than a non linear narrative.
• The narrative in crime thrillers can either be single stranded or multi stranded. A good example of a multi stranded narrative is Reservoir Dogs, as the back stories and motives behind the different criminals and Mr Orange are all shown and give more context to the plot.
• Reservoir Dogs is also a good example of an unrestricted narrative, as the points of view of all of the gangsters is shown. John Wick could also be an unrestricted narrative, as it shows many of the characters fear or admiration of John Wick.

TODOROVS NARRATIVE STRUCTURE

Tzvetan Todorov was a Bulgarian sociologist who suggested that narratives often followed a set pattern:

• Equilibrium
• Disruption of equilibrium
• Recognition of disruption
• Attempt to repair the disruption
• A restored/new equilibrium

This narrative theory can be applied to many films, such as Star Wars or Die Hard. Although there are some films that will not fit the theory, the theory is flexible enough so that many films will fit.

THE RESTORED EQUILIBRIUM DOES NOT NEED TO BE POSITIVE: for example, at the end of Seven [spoliers], Mills shoots John Doe and is arrested. Although Doe is dead and the killings have stopped, he still managed to complete his Seven Sins killings, Mills wife and child are dead, and Somerset stays with the police.

CHARACTER TYPES

EDITING

• Crime thrillers often use rapid cuts in order to create disorientation (Se7en) or to show action (Batman). This editing is obvious to the audience but works in favour of the atmosphere it is creating.
• If the scene is not dramatic, continuity editing is used to make it easier for the audience to follow the story and not the editing (the opposite effect of rapid cuts)
• Cross cutting can also be used to suggest two scenes are happening at the same time, or that they are related.
• Match cuts are also used (like in all genres) to contribute to continuity. However crime thrillers often use sound matches and graphical matches.
• Editing is used to further establish the atmosphere and the genre, as well as making it simple for the audience to follow (when it isn't creating disorientation).

THIS VIDEO has examples of match action and sound match.

There are many types of characters found in both crimes and thrillers - however, both genres include these (among others):

• The protagonist - the 'good guy' in the story. Can solve the crime, or get revenge on someone who wronged them. Traditionally a strong, tough male character (such as Det Somerset and Mills in Seven, or John Wick in John Wick). Although there can be a clear good vs evil (such as in Batman), the hero in some crime thrillers can have flaws, although they are still inherently good (such as Det Mills in Seven), or they can be an anti hero seeking revenge (such as in John Wick), or they can all be equally as 'bad' (as in Reservoir Dogs).
• The antagonist - the 'bad guy' in the story. Commits the crimes (such as the Joker in Batman or John Doe in Seven), wrongs the protagonist (Iosef Tarasov in John Wick), or seen as more immoral and distrustful than the others (Mr White in Reservoir Dogs). Depending if the film leans more towards crime or thriller, the antagonists can be more obviously violent ( Iosef or the Joker), or more violent off screen, making them seem more menacing or creepy (John Doe). Can be shown as being psychopathic, being sadistic, lacking empathy, or being delusional BUT can also just be a 'bad guy'.
• Law enforcement - the detectives or the police. Can be a major part of the story (Seven), helping the hero (Batman), or can be opposition to the main characters (Reservoir Dogs).
• The victim/s - can be random, or specifically targeted. Can be important to the protagonist/villain, or be strangers.
• The love interest - can be targeted by antagonist as they are often close to protagonist (Joker and Rachel, John Doe and Tracey Mills).
• Characters with a dark/troubled past.
• Characters who aid the protagonist or the antagonists - the friends or the 'minions'.

PROPPS CHARACTER TYPES

Vladimir Propp was a Russian folklorist and critic in the 1920s, and noticed that in stories (especially folk stories), there seemed to be set characters that would appear, and play similar roles in a story. His theory stated that, in a story, there will be:

• The VILLAIN: the character who opposes/actively creates struggle for the hero. [Joker, John Doe, Moriarty]. Can be an individual or a group.
• The HELPER: the character who helps the hero in their quest [John Watson, Robin]. Usually a friend/colleague in a crime thriller.
• The FALSE HERO: disrupts/ takes credit for the heroes actions. Can claim the reward and the acclaim without doing anything to deserve it. Can also be the villain. The audience can be aware they are false (Scar in Lion King) or it can be a revelation.
• The PRINCESS/PRIZE: acts as the heroes reward. Can be less common in crime thrillers. Can be a stronger love interest.
• The HERO: leads the narrative. Admired for moral traits (Somerset, Mills) and wins the prize (however, can be an anti hero - lacking heroic attributes, they are not perfect and can have questionable morals, but does what they feel is right. Think Dexter, Jessica Jones, Constantine, John Wick. Common in CTs.)
• The DONOR: provides the hero with an object, often after testing them [Lucius Fox in Batman]. (Propp said this object was magical -> his theory was based off folklore)
• The DISPATCHER: sends the hero on their quest. Can make the villain known and invites the hero to defeat them (think Nick Fury [Avengers], Gabriel [Constantine], Amenadial [Lucifer]).

NOTE:Characters rarely fit into just one character type. For example, it is not uncommon for the helper to also be the donor, or for the villain to be the false hero. The 'prize' character could also be the 'helper', and a helper could end up being the villain. The character types are versatile and can change throughout a story.

Crime-thriller films are a hybrid sub-genre. As thriller films are characterized by the atmosphere they create(causing anxiety and suspense in the audience), crime thriller films combine the atmospheric elements from a thriller while following a criminal storyline. The plot could follow a serial killer, a murder, a robbery, or some sort of conspiracy. However, some crime thriller are less good vs evil then bad vs worse (such as John Wick), and focus more on the revenge on the protagonist, or can focus on the inner workings of a gang (like Reservoir Dogs).

CODES AND CONVENTIONS OF CRIME-THRILLERS

by Deana Kent

COSTUME

COLOURS

MISE EN SCENE

LIGHTING

SOUND

GESTURE CODES

COSTUME: characters would typically be in clothes that indicate their character (i.e. police officers will be in uniform, or wear smart -casual clothes with their badges, while civilians will be in 'normal' clothes). Clothes are usually dark (regardless of good vs evil) because of moral overlap, although the 'bad guys' will typically wear suits (John Wick) or clothes reflecting their personality (John Doe wore plain, anonymous clothing).

COLOURS: used to represent the atmosphere in the film - some use dingy, dark colours to create a dense, depressing atmosphere, some use artifical, neon colours to make it intense and alien (with the colours representing the scene (red = violence, blue = sadness), some use contrasting light/dark for a stark emphasis on the conflict.

LIGHTING: naturalistic lighting is often used to add to verisimilitude and create a grittier atmosphere. However, sometimes unnatural light is used (such as reds and blues) to make the audience feel uneasy and add uncertainty to the scene. Use of unnatural light can also reflect the action in the scene (red lights used in violent fight scenes/expressions of anger). Low key lighting and the use of shadows also signifies conflict, as it cuts up the frame and obscure parts from the audiences view.

ACTORS [GESTURE CODES]: Unless there is comic relief, actors typically show serious facial codes, with their body language reflecting the mood of the scene (hunched over under a grey sky, pacing in frustration in a stressful situation etc).

MAKEUP: Naturalistic, discrete makeup is often used to keep the audiences attention on the story. However it can be used to reflect the characters feelings (smudged eyeliner under crying eyes). Make up can also be used to create 'injuries' - cuts, scars, bruises, etc - often seen in crime thrillers.

USE OF SPACE: Important in creating atmosphere - long, wide shots can be used to establish the scene and create isolation, while invasive close up shots can be used to make the scene feel claustrophobic and threatening. Rapid switching between the two creates disorientating feelings and add to the chaos of the scene.

MAKEUP

• Sound is essential in thrillers for establishing the tense, suspenseful atmosphere. This can be achieved by having slow, deep music building to a crescendo (such as in Jaws), or by having an ominous, high pitched drone. However, tension can also be achieved by the use of silence. If used correctly, it forces the audience to pay close attention to smaller details, and creating a sense of foreboding, making the audience fear something bad is about to happen (silence is often used before jump scares).
• In crime thrillers, sound can vary depending on which way the film leans. In films such as John Wick, loud, intense music is used to punctuate the action (especially in fight scenes), while quieter music is used in tenser scenes.
• Sound is also used to create verisimilitude. For example, the sounds of cars and footsteps add to an urban environment, while loud club music can give realism to a club/ underground rave scene. The use of pleonastic sound also contributes to the genre by emphasizing sounds such as punches or weapons being drawn in fight scenes (such as in the 'Dark Knight's interrogation scene).

USE OF SPACE

CINEMATOGRAPHY

ICONOGRAPHY

Iconography: props and images used to present the genre.

SETTING

[part of Mise en Scene]

• Close ups/extreme close ups:commonly used to show emotions of a character (e.g. if they are reacting to something in front of them, such as a violent crime or if they find out something disturbing), or to emphasis the importance of an object/event, creating anticipation.
• Rapid pans/tracks: in intense/emotional scenes, the camera often moves frantically, or has rapid cuts between angles (e.g. Se7ens final scene), to mimic the turmoil/panic in the scene. Pans/tracks can also be used to follow the characters in a way so the audience pays attention to the story rather than the camera movement.
• Long/Extreme long shots: these are used to establish the setting of the story (typically showing a city or other urban areas in crime thrillers). However these can also be used to show the isolation of a character.
• High vs low angles: high angles are often used on the protagonist or the victim, to show weakness or vulnerability (especially if they are at the protagonists mercy). Low angles are used to give that character power, as they are looming over the camera. When combined with a POV shot, it pushes the power difference between the character and the person the viewpoint is from.
• Over the shoulder: by positioning the camera behind a character in a way that obscures their features, it adds to the uncertainty of the scene, especially if it is a 'bad' or powerful character, as it hides parts of the character from the audience, making it seem like a power shift has taken place. This is different from an over the shoulder shot used in typical conversation scene, as it is used to show both the characters in the conversation and establish the 180 degree rule.
• Tilted: by using a tilted angle, especially when used as if it is a victim on the floor, it adds to the menace of the character above the camera and conveys the vulnerability of the victim.
• Two shots: these are used to show the relationship between two characters in the frame (if they are allies, enemies, or strangers). This is normally discrete, although it can be made obvious through lines cutting through the screen or having colours separating the two.
• Depth of focus: unless the character is injured/drugged, crime thrillers typically have a deep field of focus, as it brings more of the frame into focus, and makes the audience focus more on the story than the camera work.

Typical iconography in crime thrillers includes:

• Weapons (knives, guns, bombs, etc)
• Confined spaces (claustrophobia)
• Bars/fences (breaks up the frame)
• Crime scenes/dead bodies
• Run down/abandoned buildings
• Nightclubs/diners
• Drugs
• Blood
• Cars (police cars, sports cars, etc)
• Money
• Alcohol

There are common themes in the settings of crime thriller films:

• POLICE STATIONS: further emphasises the crime aspect of the film.
• ABANDONED BUILDINGS: conveys isolation of characters - contributes to uncertain atmosphere.
• CITIES/URBAN ENVIRONMENTS: makes it seem more realistic - makes the audience anxious.
• CRIME SCENES: verisimilitude of real crime scene (police, detectives, forensics).
• ORDINARY HOMES/BUILDINGS: makes it seem closer to home - realness makes audience anxious.
• DESOLATE PLACES (deserts/fields on the edges of towns): makes characters seem isolated - no one to help them, adds to suspense and danger.