“…every age is dominated by a privileged form, or genre, which seems by its structure the fittest to express its secret truths” (Fredric Jameson 1991). Taking examples from ONE genre in ONE historical period, assess the validity of this argument.
Can auteur theory help explain the role of the “showrunner” in contemporary quality television drama production? Provide examples to illustrate your argument.
Classic auteur theory understands the director as the major creative force shaping the style and meaning of films. Discuss whether the work of other creative personnel involved in filmmaking (e.g. scriptwriters, producers, cinematographers, sound designers etc) problematize this assertion.
Richard Dyer asserts that stars provide a temporary symbolic escape from the mundane world into a glamourous utopia. Taking ONE star of post-millennial films or television as an example, assess the credibility of this claim.
Using two different film or tv stars as examples, give an account of the meanings of their star characters and how those meanings are created.
“All film genres treat some form of threat …. to the social order” (Thomas Schatz 1981). Consider the validity of this claim in relation to TWO of the following genres: