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Casino film genre

casino film genre

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I wrote it in my free time, after developing an interest in audience interaction with Media texts during my Media AS course.

It is more expanded than my current writing style, as over the AS-level period I have devloped my writting to be more concise.

How far does the cinematography, narrative and representations of characters meet the expectations of a contemporary audience?

Over a period of time, specific audiences construct expectations of different types of media, related to either what they have been told, or perhaps what the media have exposed them to in the past.

Indeed, it could be argued that the success of a film to a large degree, rests on whether or not such expectations are met, surpassed, else the audience successfully surprised.

Certainly, such expectations have to be addressed by the film, if it is to be considered satisfying for the audience, and in this way, elements within the film, such as character representations, the narrative and cinematography are all important components which allow this to be achieved.

Additionally, the social and political context in which the film is being viewed must be considered, as it is against this background that their expectations will have been formed.

Most often, it is the genre of a film that initially attracts the audience. Genre classifies all types of media into identifiable categories, according to their shared elements and with the categorisation of its genre, comes certain expectations.

Casino Royale presents the audience with an action, adventure and thriller and therefore crosses the boundaries of several genres. By knowing the genre of Casino Royale, the public can assume to what extent they may enjoy the film.

Casino Royale appears to be aimed at both males and females as it includes various elements of action and romance. It is also clear that the film would be specifically for teenagers upwards as there are phases in the film which would be difficult for anyone younger to appreciate.

The narrative within Casino Royale centres around the theme of terrorism, and a contemporary audience would most certainly expect this to be addressed.

Such attacks, believed to be as direct results of the foreign policies of both Great Britain and the USA, resulted in unprecedented implications within the media.

Casino Royale follows a linear narrative and is portrayed in a naturalistic style, although there are flashback scenes at the beginning of the film.

Todorov produced a structure which implies that all films have an equilibrium, disruption, recognition of disruption, attempt to repair disruption and reinstatement of equilibrium.

Although Casino Royale has significant elements of this narrative structure it only fits to a certain extent as there are sections within the film which do not correspond to this structure.

For example, the use of flash backs at the beginning of the film when Bond is enduring his first kill and achieves double 0 status and the unexpected twist at the end of the film.

The use of these unforeseen elements within the film, contributes to a more charismatic film to watch, undeniably confusing them with the twists within the narrative, but also providing the target audience with the exuberance which they expect from a film of this genre.

For example, when Bond is being tortured near the end of the film, we hear screams of Vesper in the other room, yet are not allowed to see what is happening to her.

This causes suspense and anticipation for the audience, a technique which Martin Campbell, the director is known for.

The story of Casino Royale is portrayed successfully due to the accuracy of Mise-en-Scene. Although the settings within the film vary enormously, each one has been formed to create a believable world.

Campbell includes sub titles at the beginning of each change of country. This device successfully maintains fast-paced scene changes without the need to develop each country portrayal, in order to communicate the setting to the audience.

In Mbale, Uganda, where Le Chief is first introduced to the viewers dressed in a black suit, pathetic fallacy is used to highlight the pessimism of the scene.

The rain is an introduction into the exchange about to be made between Le Chief and the rag-tag gang of men. The men here are black, and are portrayed to be the belittled by Le Chief.

There are young boys playing with guns in the street, giving the appearance of an extremely undeveloped country. In Madagascar, a similar cultural representation is evident.

For example, when Bond is chasing the bomber, the scene is successfully created for the audience, with the realisation of the social and economic development in this country.

It has been created to appear as a less developed country, with stampedes of roaring men dressed in pitiable clothing, taking part in undeveloped social and cultural activities, such as watching animal fights.

They move boisterously, and speak with undue cause. This mise-en-scene is effectively juxtaposed with the sincerity of the Double O headquarters in the UK.

The building is exposed to the audience after a jump cut transition, causing the Houses of Parliament to look dramatically imposing.

The characters are clothed to accentuate their power and the further progressed society, modelling smart black suits. The stark contrast between these two places is significant and would certainly be expected by the contemporary audience as most would assume the western world to be far more economically, culturally and socially developed.

It is clear, connotations are able to be made of this theory, and it is obvious that these characters perhaps are more developed or have multi-roles within films now, rather than being segregated into categories.

For example, Bond, the Hero of the story is presented as courageous and fearless and his main objective within the film is to stop trade between the terrorist businesses.

However, this is juxtaposed with the excessive killing he participates in along the way- ironically not the actions of a hero.

Moreover, the typical hero in a film would not typically reveal any weaknesses, yet throughout the torture scene, Bond is portrayed as a weak character to Le Chief the villain.

He is positioned in the camera shots on the left- the weaker side- and Le Chief is portrayed on the right.

Without realising it, the audience are cognitively recognising bonds of disadvantage. In addition, Bond is also taken advantage of when he gets poisoned during the poker game, which adds a vulnerability to his character.

Also within this Bond film, the role of the Heroine is unclear, as there are two significant women, Solange, the Femme Fatale and wife of Dimitros, and then Vesper.

These two women are significantly different too. Yet Vesper is initially portrayed as a keen business woman, made to look tough externally, with dark eyes and red lips, hair slicked back off her face- giving a hard and imposing vision.

As the film progresses, she does show a softer, more natural side of her character after the torture scene and where the new equilibrium appears to be established.

Although visibly, this other side of Vesper is maintained until the end of the film, her true intentions have to be questioned again later, when she double-crosses Bond.

In this way, the expectations of the audience are played with throughout the film, as there is always uncertainty surrounding the character of Vesper.

M is a key character who is analogous to Vesper and speaks in such a way. Initially her role as the boss of Bond was played by a man, but in this film Campbell has chosen to use a tough female instead.

She is dressed wearing formal suits, and natural faced, almost extending her masculine role. By M being the boss of Bond, there appears to be almost a mother and child relationship between the two which is ironic in comparison with older films, as this would usually be the other way around.

A resourceful British government agent seeks answers in a case involving the disappearance of a colleague and the disruption of the American space program.

James Bond investigates the hijacking of British and Russian submarines carrying nuclear warheads, with the help of a K. Agent, whose lover he killed.

Agent is assigned to hunt for a lost British encryption device and prevent it from falling into enemy hands. James Bond investigates the mid-air theft of a space shuttle, and discovers a plot to commit global genocide.

That every agent will be named James Bond. One of the Bonds, whose real name is Evelyn Tremble is sent to take on Le Chiffre in a game of baccarat, but all the Bonds get more than they can handle.

It is a wonderfully weird, bold, funny and incoherent mess of a movie. What should stink of embarrassing desperation, instead proves to cheerfully insane, unpredictable and remarkably free of common sense.

The film was intended to be the ultimate spy spoof, an attempt to out-Bond the James Bond movies and their innumerable imitators.

To this end, the untold number of writers and directors involved have opted to take the everything-but-the-kitchen-sink approach to storytelling, mixed with a cut-and-paste style of editing.

It is obvious that no one gave the slightest thought to creating a genuine spy film and instead approached the film with a devil-may-care attitude.

As a satire of Bond films, CASINO is adequate; as a satire of the then trendy-swinging-cool-hip-with-it-now youth films of the era, it succeeds beautifully.

Basically you have a whole bunch of big name stars -- past their prime, but still with box office credibility -- ridiculing the very youth market that was squeezing them off the theatre marquees.

Yet, the film has no malice; it is as bright and breezy as a screwball comedy with just a touch of British absurdity. It is amazing that a film that is so overblown, over produced and over budgeted can still be so light and airy.

Despite a chaotic recipe, the film has a lot of really great ingredients. And, to some extend, the film gets Bond right.

Plus, we hear why more than one celeb wants to be snowed in with Idris Elba. See our favorite Sundance moments. Visit Prime Video to explore more titles.

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Casino Royale presents the audience with an action, adventure and thriller and therefore crosses the boundaries of several genres.

By knowing the genre of Casino Royale, the public can assume to what extent they may enjoy the film. Casino Royale appears to be aimed at both males and females as it includes various elements of action and romance.

It is also clear that the film would be specifically for teenagers upwards as there are phases in the film which would be difficult for anyone younger to appreciate.

The narrative within Casino Royale centres around the theme of terrorism, and a contemporary audience would most certainly expect this to be addressed.

Such attacks, believed to be as direct results of the foreign policies of both Great Britain and the USA, resulted in unprecedented implications within the media.

Casino Royale follows a linear narrative and is portrayed in a naturalistic style, although there are flashback scenes at the beginning of the film.

Todorov produced a structure which implies that all films have an equilibrium, disruption, recognition of disruption, attempt to repair disruption and reinstatement of equilibrium.

Although Casino Royale has significant elements of this narrative structure it only fits to a certain extent as there are sections within the film which do not correspond to this structure.

For example, the use of flash backs at the beginning of the film when Bond is enduring his first kill and achieves double 0 status and the unexpected twist at the end of the film.

The use of these unforeseen elements within the film, contributes to a more charismatic film to watch, undeniably confusing them with the twists within the narrative, but also providing the target audience with the exuberance which they expect from a film of this genre.

For example, when Bond is being tortured near the end of the film, we hear screams of Vesper in the other room, yet are not allowed to see what is happening to her.

This causes suspense and anticipation for the audience, a technique which Martin Campbell, the director is known for. The story of Casino Royale is portrayed successfully due to the accuracy of Mise-en-Scene.

Although the settings within the film vary enormously, each one has been formed to create a believable world. Campbell includes sub titles at the beginning of each change of country.

This device successfully maintains fast-paced scene changes without the need to develop each country portrayal, in order to communicate the setting to the audience.

In Mbale, Uganda, where Le Chief is first introduced to the viewers dressed in a black suit, pathetic fallacy is used to highlight the pessimism of the scene.

The rain is an introduction into the exchange about to be made between Le Chief and the rag-tag gang of men. The men here are black, and are portrayed to be the belittled by Le Chief.

There are young boys playing with guns in the street, giving the appearance of an extremely undeveloped country. In Madagascar, a similar cultural representation is evident.

For example, when Bond is chasing the bomber, the scene is successfully created for the audience, with the realisation of the social and economic development in this country.

It has been created to appear as a less developed country, with stampedes of roaring men dressed in pitiable clothing, taking part in undeveloped social and cultural activities, such as watching animal fights.

They move boisterously, and speak with undue cause. This mise-en-scene is effectively juxtaposed with the sincerity of the Double O headquarters in the UK.

The building is exposed to the audience after a jump cut transition, causing the Houses of Parliament to look dramatically imposing.

The characters are clothed to accentuate their power and the further progressed society, modelling smart black suits.

The stark contrast between these two places is significant and would certainly be expected by the contemporary audience as most would assume the western world to be far more economically, culturally and socially developed.

It is clear, connotations are able to be made of this theory, and it is obvious that these characters perhaps are more developed or have multi-roles within films now, rather than being segregated into categories.

For example, Bond, the Hero of the story is presented as courageous and fearless and his main objective within the film is to stop trade between the terrorist businesses.

However, this is juxtaposed with the excessive killing he participates in along the way- ironically not the actions of a hero.

Moreover, the typical hero in a film would not typically reveal any weaknesses, yet throughout the torture scene, Bond is portrayed as a weak character to Le Chief the villain.

He is positioned in the camera shots on the left- the weaker side- and Le Chief is portrayed on the right. Without realising it, the audience are cognitively recognising bonds of disadvantage.

In addition, Bond is also taken advantage of when he gets poisoned during the poker game, which adds a vulnerability to his character. Also within this Bond film, the role of the Heroine is unclear, as there are two significant women, Solange, the Femme Fatale and wife of Dimitros, and then Vesper.

These two women are significantly different too. Yet Vesper is initially portrayed as a keen business woman, made to look tough externally, with dark eyes and red lips, hair slicked back off her face- giving a hard and imposing vision.

As the film progresses, she does show a softer, more natural side of her character after the torture scene and where the new equilibrium appears to be established.

Although visibly, this other side of Vesper is maintained until the end of the film, her true intentions have to be questioned again later, when she double-crosses Bond.

In this way, the expectations of the audience are played with throughout the film, as there is always uncertainty surrounding the character of Vesper.

M is a key character who is analogous to Vesper and speaks in such a way. Initially her role as the boss of Bond was played by a man, but in this film Campbell has chosen to use a tough female instead.

She is dressed wearing formal suits, and natural faced, almost extending her masculine role. By M being the boss of Bond, there appears to be almost a mother and child relationship between the two which is ironic in comparison with older films, as this would usually be the other way around.

The use of such visual codes and iconography surrounding the portrayals of M and Vesper, both women from the western world, could also be said to highlight the loss of gender discrimination towards women, and the rise in feminism, with women taking on more masculine roles in our society.

This is a crucial aspect in fulfilling the expectations of a modern day audience, as women would feel offended to see only recognition of the Femme Fatale within the film, only portrayed as the helpless woman.

By including contrasting portrayals of women within the story, women then become better considered within the target audience, and it will have far greater appeal.

The way in which different ethnicities are portrayed within the film both meets and challenges expectations of the audience. Initially the men in Uganda provide the stereotypical black man villains, causing trouble, and also in Madagascar, Bond is chasing somebody of a similar ethnicity.

However, if the film had only portrayed ethnic minorities in the UK in this negative light, it is obvious that many would find this offensive and could argue that it does not accurately reflect this section of our society.

Therefore, Campbell has cleverly contradicted this stereotype at the poker game, when Bond has lost all his poker chips and he is acquainted to a black member of the CIA.

He is working along a similar aim of Bond and some of his chips as he feels Bond has a better chance of defeating Le Chief. The use of this character causes previous portrayals of the ethnic characters to be less significant, as it is made clear by this character that ethnicity is not important in the character representation, and that the reason for the choice of the negative portrayal of the black people in Uganda and Madagascar are purely for the reason that in these countries they form the majority of the public.

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Full Cast and Crew. A tale of greed, deception, money, power, and murder occur between two best friends: Share this Rating Title: Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Top Rated Movies Nominated for 1 Oscar. Learn more More Like This. Full Metal Jacket Lock, Stock and Two Smoking Barrels Edit Cast Cast overview, first billed only: Ginger McKenna Joe Pesci Nicky Santoro James Woods Lester Diamond Don Rickles Billy Sherbert Alan King Andy Stone Kevin Pollak Pat Webb Dick Smothers Frank Marino John Bloom Don Ward Pasquale Cajano Remo Gaggi Melissa Prophet Jennifer Santoro Bill Allison John Nance Vinny Vella Edit Storyline This Martin Scorsese film depicts the Janus-like quality of Las Vegas--it has a glittering, glamorous face, as well as a brutal, cruel one.

Edit Did You Know? Trivia Vincent Pastore were a deleted role of Brian Anderson. Later in the film, while Piscano is ranting to his brother-in-law about his bosses, she can be seen again, still wearing the same cast but the two scenes take place nearly a decade apart.

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