Film Industry Terms Glossary

A-List: An actor who's name is so relevant and famous that it has enough power to draw in an audience through that alone. Accompanying Dyre's Star Power theory, where stars are used as marketing tools in order to promote media products.

Arthouse: A movie type with a niche appeal, typically more challenging and obscure films. Arthouse cinemas are small, opposite to a multiplex. 

Big 5: The production and distribution companies that release the largest number of films each year and approximately command 80% of the US/Global Box Office. 

The current Big 5 are Universal, Paramount, Warner Bros., Walt Disney, and Columbia. 

Blockbuster: The term stems from Anita Elberse's book of the same name, she argues that entertainment conglomerates produce fewer products but spend more on each product to create a larger profit.

Box Office: The place where tickets are sold in the theatre/cinema, a measure of money earns on cinematic release, and reflects a film's success based on revenue and opening statistics. 

Certification: The label given to theatrically released content based on audience suitability based on issues such as sex, violence, profanity, or substance abuse. These certifications are government mandatory, but ratings vary between countries. 

CGI: An acronym for Computer Generated Imagery, it is the creation of special effects through computer software. 

Distribution: The process of distributing or making a film available to view, through theatrical distribution, P(VOD), TV, DVD, or streaming platforms. 

Festival Circuit: The cycle of festivals that films appear at throughout the year for promotion and prestige. The Big 5 of film festivals are; Berlin, Toronto, Cannes, Venice, and Sundance. 

Franchise: An establishment of a name spanning various products and media texts. Some of the biggest film franchises are; Marvel, Star Wars, Scream, and Halloween.

Gant Rule: A phenomena pointed out by film critic Charles Gant, where a successful mass market film tends to earn 10x the UK box office figures in the US. 

Genre: Coined by theorist Rick Altman, and described by Richard Nowell in his book Blood Money as; "a system of communication compromising two components, the label and the corpus. A name is assigned to a number of films because they are considered to share similarities that distinguish them from other films." Essentially, a genre is a set of conventions and signifiers separated into various subgroups followed by filmmakers and distinguished by the audience. 

Home Cinema: A home cinema is an at home audio-visual system intended to replicate the cinema experience. These systems are very expensive, and are often unable to replicate the experience due to at home sound systems not converting the intended theatrical system audio. The limit of seats is between 10-30, depending on the region, otherwise it would be classed as a cinema. 

Hybridity: The combination of multiple genres in order to increase audience appeal. E.g. romance and comedy (rom-com), zombie movie and rom-com (com-rom-com).

IP: Intellectual Property; existing books, plays, musicals, or stories used by production companies for their films. They can be well known like Working Title's Bridget Jone's Diary (2001), or more obscure like Warp's Submarine (2010). 

IMAX: An abbreviation of Image Maximum, IMAX is a technique of widescreen cinema using high-resolution cameras. The image is then approximately 10x larger than a standard film, and is viewed in IMAX theatres which have a tall aspect ratio and steep seating. IMAX technology is typically used by higher budget films as the equipment is expensive and time consuming to use. 

Multiplex: A single cinema containing multiple screens that can play different films simultaneously. 

 

(P)VOD: Abbreviation for (Premium) Video On Demand, it is the ability to access a film from a streaming service without being restricted by a broadcasting schedule. PVOD is the release of a film online and in theatres simultaneously, disregarding the release window.

Release Window: The 90 day gap between a film's theatrical release and its release onto DVD or streaming.

SFX: Abbreviation for special effects, they are illusions created through computer softwares in films. 

3D/4D: Respectively meaning 3-Dimensional or 4-Dimensional, they are technologies used in filming in order to further immerse the viewer into the film. 3D films using different cameras as the left and right eye, combined together and viewed through 3D glasses. 4D does this as well as adding seat movements, smells, temperatures, and other sensory effects to immerse the viewer. 

Gramsci: Hegemony

Antonio Gramsci 

(b. 1891- d. 1937)

Antonio Gramsci was an Italian Marxist philosopher, journalist, linguist, and politician.

What is Hegemony? 

The definition of hegemony is "the political, economic, and military predominance of one state", and "a group or refine which exerts undue influence within a society."

According to his Marxist philosophy, Gramsci defines cultural hegemony as "the ruling class's domination of the value system and mores of a society, so that the ruling class's perspective is imposed". This means that an imposed idea is maintained in order to control society, examples being; heterosexuality, traditional male and female gender roles, the existence of class, etc...

A counter-hegemonic representation in the media would be; a homosexual relationship, a female killer, etc...

Possible influences for my film: 

The hegemonic roles and slasher archetypes, the counter-hegemony of a female killer, Laurie's counter hegemony within the rules of the clique. 

Resources: 

https://en.wikipedia.org/wiki/Hegemony

Bordieu: Cultural Capital

Pierre Bordieu 

(b. 1930- d. 2002)

Pierre Bordieu was a French sociologist. 

What is Cultural Capital? 

Cultural capital is defined as: 

"The distinctions that develop between individuals and groups due to differences in access to education, family background, occupation, and wealth, giving them advantages and serving as a signifier of an individual's status with a group or society." (SociologyDictionary). 

Bordieu, along with Jean-Claude Passeron, coined this term in their 1977 essay "Cultural Reproduction and Social Reproduction".  There are three types of capital; embodied, objectified, and institutionalised. 

To simplify, cultural capital means that the more knowledge one has in a certain area, the better regarded they are in society. There are elements of "high culture" like opera, classical music, and philosophy, that are more highly regarded in society, and elements of "pop culture" like soaps, pop music, and celebrity gossip, that are often dismissed. However, one can be seen as having high cultural capital in a certain field, and be well regarded. For example; the celebrity gossip journalist Perez Hilton is seen negatively in wider society, but is considered as knowledgable and having a high cultural capital within those interested in celebrity gossip. 

Possible influences for my film: 

Using intertextual references of various horror and slasher films, the older films such as Psycho (1960) are seen as having high cultural capital, and can elevate my film from being negatively considered as a low budget slasher. 

Resources: 

https://sociologydictionary.org/cultural-capital/

https://en.wikipedia.org/wiki/Cultural_capital

Baudrillard: Simulacrum

Jean Baudrillard 

(b. 1929 - d. 2007)

Jean Baudrillard was a French philosopher and cultural theorist. 

What is Simulacrum?:

According to his 1981 book "Simulacres et Simulation", Baudrillard defines simulacrum as:

"The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true."

In the book, he examines:

 "the relationships between reality, symbols, and society, in particular the significations and symbolism of culture and media involved in constructing an understanding of shared existence." (Wikipedia) 

According to Baudrillard, symbols and signs have replaced meaning in society, and that the human experience is a simulation. 

Simulacra refers to "copies that depict things that either had no original, or that no longer have an original", while simulation is the "imitation of the operation of a real-world process or system over time."

Possible influences for my film: 

The conventions of slasher could be seen as simulacra, my evaluation question responses are a simulacrum of previously established codes and signifiers. 

Resources: 
https://en.wikipedia.org/wiki/Simulacra_and_Simulation

Dyre: Star Theory

Richard Dyre

(b. 1945 - )

Richard Dyre is an English academic and film professor. 

What is Star Theory?: 

Star theory is the idea that "celebrities are commodities manufactured by institutions." According to Dyer, celebrities are:

"constructed to represent real people in order to relate to audiences and sell a media product." 

He also says that individual stars have specific selling points, for example reality TV star turned businesswoman Kylie Jenner's lips, or A-List actor Morgan Freedman's voice. 

Dyre also coined the idea of "paradox of the star": a star has two simultaneous representations, "ordinary and extraordinary". The ordinary is the representation of regular people, but the extraordinary is certain qualities that place them above the average person. Following this, he also believed that a star is also "present and absent": they are present in daily life (consumption), but absent as they are inaccessible to the average person. This idea also ties with Baudrillards hyper-reality, or simulacrum theory. 

Star power is in reference to the power a star has in engaging or attracting an audience for a media text or product. For example: Working Title's Cats (2019), has an A-List ensemble cast, attracting as many audience demographics as possible. 

Star vehicle is when a star is the driving marketing aspect of a media text or product. For example, Working Title's Green Zone (2010), is driven by A-List actor Matt Damon's star power, who acts as the star vehicle for the films marketing. 

Possible influences for my film: 
As I am an indie producer making a micro-budget film, I will not be able to include any stars in my film as this is very expensive, and will make me less commercially appealable. 

Resources: 
https://cpb-eu-w2.wpmucdn.com/blogs.grammar.sch.gg/dist/a/4/files/2013/10/Richard-Dyer-Paradox-of-the-Star-1s9gq0n.pdf
https://www.mytutor.co.uk/answers/9006/GCSE/Media-Studies/What-is-Richard-Dyers-star-theory/

Bechdel Test

Allison Bechdel

(b. 1960)

bechdeltest.com states that: "The Bechdel Test, or Bechdel-Wallace Test is a simple test which names the following three criteria: (1) it has to include at least two women, who (2) must talk to each other abut (3) something besides a man."

Background: 

The test was first seen in the 1985 comic, D*kes To Watch Out For, in the strip, The Rule, made by Allison Bechdel. 

Bechdel credits her inspiration to be her friend Liz Wallace, who in turn was inspired by Virginia Woolf, specifically an excerpt from her 1929 essay "A Room Of Ones Own"; "And I tried to remember any case in the course of my reading where two women are represented as friends."

The test however, should not be used as a representation of feminist media, rather the inclusion and frequency of women within narratives.  

the original comic, "The Rule"

In modern media: 

The Bechdel Test is now used in mainstream media, in film as well as TV, books, and video games. 

Although more and more films pass the test every year, many only do when women talk about marriage or babies. 

There is a higher tendency to pass the test in genres such as fantasy and science fiction, credited to be due to an avoidance of traditional gender stereotypes. 

Industry and finance: 

Studies have been linked to the passing of the test, and a film's financial success. 

In 2013, Vocativ found that the films of that year passing the test earned $4.22 billion and the failed earned $2.66 billion in the US. 

A FiveThirtyEight study with films released from 1990 to 2013 found that the films that passed the test had a 37 percent higher return on investment in the US.

The Creative Artists Agency and Shift7 analysed data from the top-grossing films of 2014 to 2017 in the US. Female-led films and those passing the test financially outperformed others. Since 2012, films which grossed over $1bn, all passed the test.

Inspiration for my film: As the film is targeted towards teenage girls, and has a mostly female cast, I think it is important to make sure it passes the test in the opening. In the locker scene, there are (1) two female characters that are named (Mandy and Laurie), that (2) talk to each other about (3) something other than a man (Marion's disappearance and their weekends).

Altman: Genre

Rick Altman

(b. 1945 - )

(Charles) Rick Altman is a professor of cinema and literature. 

What is Genre?: 

In his book "Blood Money", Richard Nowell defines genre as:

"a system of communication comprising two components, the label and the corpus. A name is assigned to a number of films because they are considered to share similarities that distinguish them from other films, thus bringing order to relative chaos."

The term was revised in Altman's 1999 book "Film/Genre". In short, genre is categorised through "similarities and differences". While consuming a media text, and audience has a repertoire of elements, or expectations of the film depending on its genre. If a film is too similar to others they have seen they will be dissatisfied, but they cannot be too different and stray from audience expectation. 

Altman lays out 4 criteria a film pattern needs in order to be categorised as a genre through the film cycle; the producer (blueprint), the distributor (label), the audience (contract), and the student (structure). 

The producer (blueprint): With the producer, genre is used to minimise risk of film production, through analysing popular films and trends (film cycles) of the time. This is known as the blueprint for a production. 

The distributor (label): To communicate what is being sold, the label uses genre codes and conventions within the marketing of a film to easily communicate about the product with the audience.

The audience (contract): The audience signs an unseen contract, using their understanding and conventions/codes of the genre to set their expectations for a film. This is used to understand the text, but if it subverts expectations, the contract is broken and audiences are left ungratified (UGT).

The student (structure): The student compares various media texts in order to identify and study a film genre. Using the repertoire of elements, texts are grouped and defined as a genre. 

What is the Repertoire of Elements?: 

The repertoire of elements is a structure allowing for genre to be identified. This is seen through; iconography, camera, editing, sound, narrative, values, performance, colour/lighting, fonts, wording, and representations. 

Regarding the repertoire of elements, in his book "Blood Money", Nowell says:

"only by treating film-types (genre) as complex networks of elements designed to provoke diverse types of audience engagement and fulfill different commercial objectives, can the conditions underwriting production and the mobilization of content be identified."

Resources:

https://cpb-eu-w2.wpmucdn.com/blogs.grammar.sch.gg/dist/a/4/files/2013/11/Altman-Handout-1s9r2m3.pdf

O'Reilly: Web 2.0

 Tim O'Reilly  

(b. 1954 -)

Tim O'Reilly is an Irish-American author, publisher, and business owner. 

What is Web 2.0?

Web 2.0 explains how the internet is driven by users through digitisation and technological accessibility, disrupting industries and converging (Jenkins) the lines between producer and consumer (prosumer).

Web 2.0 moves from a top-down model like the hypodermic needle and creates a two-way flow. User Generated Content (UGC) is an example of this, as consumers produce content that they feel is not gratifying (UGT) their needs. 

Digitisation:

"The process of changing from analog to digital form, also known as digital enablement." (Gartner Glossary). For example, the process of changing from VHS to DVD is a form of digitisation.

Disruption:

"The act or process of disrupting something. A break or interruption in the normal course or continuation of some activity, process, etc." (Marriam-Webster dictionary). This refers to the disruption caused by streaming platforms like Netflix or Spotify, and platforms such as Youtube where you can self-distribute, means that content is released directly to consumers. 

Convergence:

Convergence (Jenkins) refers to the line between producer and consumer blurring (prosumers) through digitisation. Instead of a top down model like the hypodermic needle theory, it becomes a two way flow.

How is Web 2.0 seen in the industry?:

- The 2009 Warp film Le Donk and Scor-Zay-Zee, was shot in 5 days with a $48k production budget. This is an example of digitisation and the accessibility of technology, as a tentpole Working Title film like 2019's Cats would take a longer time and require a much larger budget. 

 - The film Not Okay (2022) was released directly onto Hulu (a disruptor), and was extremely successful within it's target demographic. This means that indie or smaller budget films still have a greater chance at being successful without having to rely on a traditional distributor.

- Convergence is seen in the book series "After" by Anna Todd. She originally published the series as fanfiction of the singer Harry Styles, and after gaining traction on the Wattpad website, it was made into a  successful film franchise. 

How is Web 2.0 seen in my opening?:

- Digitisation has made production cheaper meaning a producer with a micro-budget like me is able to make a high resolution (1080 HD) film opening. 

- A consumer like me was able to produce a film opening that I self-distributed on Youtube, this is due to convergence (Jenkins).

- The disruption of streaming platforms means that an indie producer like me is able to self- distribute a film onto Youtube.

Katz and Blumler: Uses and Gratifications Theory

Background and development: 

It develops from passive media theories such as the hypodermic needle model from the 1940s, which places the power in the media and removes agency from the consumer. Theorists Katz and Blumler developed a new idea basing their findings on Maslow's hierarchy of needs, making it an active audience theory, similarly to Hall's reception theory. 

What is the Uses and Gratifications Theory? 

Maslow's hierarchy of needs

The Uses and Gratifications theory is an active audience media consumption theory. The theory is based off of Maslow's hierarchy of needs, and explains how users consume media for their personal use and gratification. This explanation means that users can consume the same media product for different needs, for example; a group of children may watch a horror film to feel scared, and a group of adults may watch it for their enjoyment. 

The theory begins with the audience. If an individual has a certain need, they will search for a media product to fulfil it. If this product gratifies their need, they will continue consuming the product. However, if it doesn't, they will search for another product until their need is gratified. This is best seen in the example of a TV show; if the audience feels gratified the show will be renewed, but if they don't it will be cancelled. 

The 5 key elements: 

1. Media use is goal-directed. The audience knows what they need and where to find it. 

2. The responsibility lies in the audience. The individual needs to link the media product to their needs, rather than the product finding the audience. 

3. The media product is competing with other sources in order to satisfy the individual's needs, but there are multiple ways for them to be satisfied. 

4. Modern media and traditional media are in competition with one another. 

5. Audiences are self aware of their needs making them active users. 

What does the audience need?: 

There are 5 needs an individual seeks fulfilment for:

- Cognitive needs: attainment of knowledge (information)

- Effective needs: attainment of emotional fulfilment (emotions)

- Personal Integrative needs: attainment of self-identification and representation (personal identification)

- Social Integrative needs: attainment of socialisation with others (social interaction)

- Tension Free needs: attainment of release or distraction (escapism)

Possible influences for my film: 

Asking for audience feedback to see what needs are met for each individual. Applying the different needs for the audience into the opening to fulfil as many as possible and have a larger reach. 

source: 
https://thinkinsights.net/strategy/gratifications-theory/

Four Quadrant

What does Four Quadrant film mean? 

A four quadrant film refers to a film that appeals to all four major demographics or “quadrants”, these are; male, female, young (under 25), and old (over 25). 

Larger budget films often appeal to a four quadrant audience as they aim to be as commercially successful as possible. Working Title, the subsidiary of the vertically integrated conglomerate Universal uses this as they aim for commercial success. This is contrasted by the indie film company Warp, which has a niche target audience as they focus on representing minorities. 

Example of a four quadrant film: 

This Working Title film appeals to a four quadrant audience: 

The High Note (2020) 

The protagonist is played by Dakota Johnson, a young, conventionally attractive female. This appeals to a young female audience through the Uses and Gratifications theory of personal identification, appealing to younger and older women, as well as attracting a male audience through Mulvey’s male gaze theory. The other protagonist is played by Tracee Ellis Ross, an older female, which serves as personal identification for older women, and attracts a male secondary audience. Ice Cube plays in a supporting role allowing for personal identification with an older male audience. 

Inspiration for my film: 

As we are indie producers making a slasher film, we are appealing to a niche audience. This means that the four quadrant approach is not as needed for our film, but if it was a full length feature we would have an older cast playing police officers, parents, or teachers in order to appeal to a secondary older demographic. 

Hall: Reception Theory

Stuart Hall 

(b. 1932- d. 2014)

Stuart Hall was a British-Jamaican theorist, sociologist and political activist. 

What is Reception Theory? 

Reception theory is an active audience theory, meaning that meaning is found in the text and then interpreted by the audience, compared to passive audience theories such as the hypodermic needle, assuming meaning is conveyed directly from a media text. Hall developed this theory in his 1973 essay "Encoding and Decoding in the Television Discourse", where he explained the theory along with his concept of encoding (creating meaning) and decoding (understanding the meaning). 

There are three types of readings, or meanings created by the audience:

- preferred reading: the way in which the original author intended the text to be recieved based on the meaning they had created

- negotiated/contested reading: only certain aspects of the preferred reading are accepted and the rest are not recognised or rejected

- oppositional reading: the conscious or subconscious rejection of the authors preferred reading

 

For example; based on their political views, a person would interpret a political speech differently, agreeing completely, partly agreeing, or disagreeing completely. 

Possible influences for my film: 

When considering the primary and secondary target audiences for my opening, I would ask for audience feedback in order to have an idea of the possible readings that could be applied.

Barthes: Narrative Enigma

Roland Barthes 

(b. 1915- d. 1980)

Roland Barthes was a French theorist, philosopher and semiotician. 

What is Narrative Enigma? 

Narrative enigma is defined as the intentional withholding of exposition in order to create mystery and suspense. 

An example of narrative enigma being used in an opening is Pretty In Pink (1986), which shows shots of the bedroom and the protagonists body parts, building up to reveal her face. 

An example where narrative enigma is not upheld is the opening of Bridget Jones' Diary (2001), where the protagonist immediately reveals exposition through a voiceover. 

Possible influences for my film: 

In my opening, I would want to build up narrative enigma to create suspense and mystery, especially around the killer's identity. I would reveal exposition visually rather than through dialogue. 

Todorov: Narrative Structure

Tzvetan Todorov 

(b. 1939- d. 2017)

Tzvetan Todorov was a Bulgarian-French historian, philosopher and literary critic.

What is Narrative Structure? 

Todorov analysed properties of hundreds of different narratives, and found a general theory that fits them all. 

The 5 part structure consists of: 

Equilibrium- the stable situation or routine and opening of the narrative

Disruption- disturbance caused breaking the routine

Recognition- realisation of caused disturbance within the narrative

Attempt to resolve- fixing the disturbance in order to regain balance

New equilibrium- new balance and stability created after the occurrence of the disruptor

This structure is illustrated in the diagram below. 

Example:

This theory can be seen in the film Shrek (2001). The film opens showing Shrek's life living alone in his swamp, the equilibrium stage. The fairytale characters that are banished by Lord Farquaad then create disruption as they invade his swamp. After Shrek recognises this, he sets off to find Lord Farquaad and makes a deal with him, he will find Princess Fiona in exchange for him taking back all the fairytale characters. This is the attempt to repair the damage. However, Princess Fiona is an ogre and she ends up marrying Shrek and moving into his swamp, which is the new equilibrium. 

Male Gaze and Voyeurism

The Male Gaze: 

What is the Male Gaze?: 

The Oxford Dictionary defines the male gaze as: 

"the perspective of a notionally typical heterosexual man considered as embodied in the audience or intended audience for films and other visual media, characterised by a tendency to objectify or sexualise women." 

The male gaze is a feminist theory, coined by Laura Mulvey in her 1975 essay "Visual Pleasure and Narrative Cinema".  It refers to the act of depicting women in film, from a heteronormative masculine perspective, objectifying women for their visual pleasure. Mulvey claims the male gaze to have three perspectives: 

- the man behind the camera

- the male character 

- the male spectator

In this post I will discuss; background, psychology of the theory, spectatorship/voyeurism, and rejection of the theory.

Background: 

The first documentation of "the gaze" or "le regard" was introduced by the French philosopher Jean-Paul Sartre in 1943. He described it as "the act of gazing at another human creates a power difference, felt by the gazer viewing the gazed as an object rather than a human being." 

The first use in cinema was by John Berger in 1972's "Ways of Seeing", where his theory stated that "men act and women appear", with women being aware of their obligation of performance towards the male viewer.

It most notably appears in Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema".  In this essay, she states, "In a world ordered by sexual imbalance, pleasure in looking has been split between active male and passive female." (808), relating the representations of women and men in cinema to the patriarchal structure of society. These representations deny the post-feminist theory of agency, or a woman's control over her actions and body, dehumanising her and being viewed as a body rather than a person. 

Psychology of the theory: 

Mulvey based her essay on several Freudian psychoanalytical concepts: 

Male Castration Anxiety: Upon viewing the woman, her lack of phallus poses the threat of castration to the male, and therefore displeasure. This unconscious anxiety of the male in turn leads to the over sexualisation and passive role of women onscreen, through voyeurism and fetishisation. 

Voyeurism: The behaviour of looking as a sexual pleasure . Mulvey states it is about "asserting control and subjecting the guilty person through punishment or forgiveness." By viewing and fragmenting the female body, the anxiety of castration is reduced. 

Scopophilia: The receiving of pleasure from looking, relating to the effects of the male gaze on both men and women. When the pleasure is derived from sexual attraction, it falls under the voyeuristic pleasure. However, when women view film from the male perspective, their pleasure is derived from self-identification and narcissism. 

Narcissism: Receiving pleasure from the contemplation of one's self, in this case women identifying with their onscreen objectification. 

Spectatorship: 

When viewing a film, the viewer assumes the role of the active male or the passive female. Mulvey states that the male gaze consists of "three different looks"; the camera, the audience, and the characters. They all share the perspective of the active male viewer, relating to the concept of scopophilia or pleasure from viewing. This is in turn separated into two categories; voyeurism, where the subject is viewed from a distance and the viewer projects onto them, or narcissism, where the subject is recognised within it's viewer.

Due to this system of viewing, Mulvey believed women must identify with male characters and their perspective in order to enjoy films. 

Onscreen, the male perspective is physically distinguishable in the camera's sight line and women are objectified to appeal to the male character, or male viewer. This is reinforced by the patriarchal hegemony (Gramsci), as well as other forms of media. 

Rejection of the gaze:

Camille Paglia, a feminist academic writer, rejected the theory of the male gaze, by prioritising the post-feminist theory of agency. She says "I've been very vocal about my opposition to the simplistic theory of the male gaze... (it is) the victim model of feminism applied to the works of culture."

The female gaze was idealised later, with the idea consisting of a female assuming the position of the dominant male, and viewing through this perspective, removing the objectification of women. 

Queering the gaze, consists of a same sex viewer and object, therefore queering the passive and active or male and female roles. However, this is also criticised by many feminist theorists, specifically regarding the lesbian gaze, referring to the fetishisation occurring from the heterosexual male. 

references:

- Male Gaze

- Visual Pleasure and Narrative Cinema

- Female Gaze 

- Three Perspectives