ADULT ROM-COM EG3: Love Actually

WHAT I ENDED UP APPLYING:

• The voice-overs, however I also showed the characters both while they were on and off-screen while the sound was playing 

POSSIBLE POINTS OF INFLUENCES

• The voice-over is again another convention I have seen especially in rom-coms and teen films

Love Actually

Richard Curtis, 2003

BBFC 15 rating, MPAA R rating

Length: 2'49/7'00

LEAD ACTORS: Ensemble cast 
(but arguably Hugh Grant has the biggest star power here)
GENRE: Romantic comedy 
                  (adult, Christmas-themed)

PRODUCTION COMPANIES: Working Title
                                                           

DISTRIBUTOR: Universal Pictures

BUDGET: $40m
BOX OFFICE: $62.7m (UK), $59.7m (US)
                               $247m (worldwide)
(The Grant Rule, despite this being a big hit, doesn't apply 
here, this is quite a gem for British cinema, and maybe a touch too alien with its Britishness, and taking the mickey out of the USA)

TRAILER:



NARRATIVE, EXPOSITION:

We get the love is all around, we are at a high, we are at Todorov's equilibrium of love being all around, the love will be challenged throughout the film and the characters we follow will find it again. At the end every character has a new equilibrium.

We are at the same location the film will end on, so that is also further symbolising the equilibrium.

GENRE:

Unconventional not to have the main characters who are in love, but it fits due to the ensemble cast, we are not following one couple or love triangle.

SOUNDTRACK:

Voice-over narration. His status as Prime Minister in the film is signified, as well
Non-diegetic incidental music is also added.

REPRESENTATION:

Are people living in poverty going to be in that airport, the victims of war as in the bad state Hugh Grant's prime minister describes.

ADULT ROM-COM EG1: Four Weddings And A Funeral

WHAT I ENDED UP APPLYING

• The protagonist being and getting out of bed 
• Added more narrative enigma rather than having them being in the first shot already

POSSIBLE POINTS OF INFLUENCE:

• The protagonist getting out of bed after realising they're late

Four Weddings 

And A Funeral

Mike Newell, 1994

BBFC 15 rating, MPPA R rating

Opening length:

LEAD ACTORS: Hugh Grant
                                 Andie McDowell

GENRE: Romantic comedy (adult)

PRODUCTION C0s: Working Title
                                         Channel 4 Films
                                         PolyGram

DISTRIBUTOR: Universal Pictures

BUDGET: $4.5m = £2.8m

BOX OFFICE: N/A (UK), $52.7m (US), $245.7m (worldwide)

CRITICAL KUDOS:

ROTTEN TOMATOES:  Critics 95%, Audience 74%        IMDb: 8.0/10

From wiki: 

The film was very well received with critics, currently holding a 95% "Certified Fresh" approval on reviews aggregator Rotten Tomatoes, with the site's consensus stating, "While frothy to a fault, Four Weddings and a Funeral features irresistibly breezy humor, and winsome performances from Hugh Grant and Andie MacDowell."^[6] Film critic Roger Ebert gave the film three-and-a-half stars out of four, calling it "delightful and sly", and directed with "light-hearted enchantment" by Newell. He praised Grant's performance, describing it as a kind of "endearing awkwardness".^[7]The film had its detractors. Writing for the Chicago Reader, Jonathan Rosenbaum called the film "generic" and "standard issue", stating that the audience shouldn't "expect to remember it ten minutes later".^[8] Time magazine writer Richard Corliss was less scathing, but agreed that it was forgettable, saying that people would "forget all about [the movie] by the time they leave the multiplex," even joking at the end of his review that he had forgotten the film's name.^[9] The character of Carrie was voted one of the most annoying film characters of all time in a British online poll.^[10]

TRAILER:

IDENTS:

Polygram Filmed Entertainment being the most superior here.

TITLES:

Inter-Titles, one on black and one on a cake

Polygram Filmed  Entertainment and Channel Four are the distributors of the film. Working Title is the production company. White serif font on black background. A flower-like emblem. "invite you to" is breaking the convention of neutral writing, and signifies the comedic and absurd nature of the film. The emblem signifies romance. The  of a serious background can be seen as the serious, romantic element of the narrative.

Followed by titles on live action.

THE OPENING SHOT:

...

NARRATIVE, EXPOSITION:

...

MISE-EN-SCENE:

...

EDITING:

...

GENRE SIGNIFIERS:

...

REPRESENTATION:

GENDER: ...

ETHNICITY: ...

SEXUALITY: ...

AGE: ....

CLASS/STATUS: ...

ABILITY/DISABILITY: ....

REGIONAL IDENTITY: ...

NORMATIVE OR COUNTER-HEGEMONIC?

...

SOUNDTRACK:

....

TRANSITION TO MAIN FILM:

....