Oct 28, 2009
#3 How does Tze Chun “construct” us as an audience?
As Ryosuke demonstrated in class, he showed us a graph illustrating how audience construction occurs. It starts with the sender then the process continues with the receiver, the frame of the genre then how we, as the audience, perceive the information presented. The “sender” is the narrator of the film, Children of Invention, and the immediate relationship is that the media is presented as a film. As the audience watches the film we instantly start thinking about the imagery outside of what we see on the screen. The audience is constructed in such a manner that we can relate and connect with the characters in the film through watching their body language, emotions and their reactions. As we watch the film, we relate their emotions with ours in our own lives. As the audience, we are able to connect with the characters because we see their struggle and relate emotionally. Tze presents his film in such a way that we witness the families’ lives day to day. The audience engages with the characters as if we were living their lives with them. Tze constructs his audience by showing the characters emotions and feelings, because he does this we are able to feel like the characters
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Tze Chun does an excellent job of constructing his audience in the film "Children of Invention". The film is narrated in such a way that, as Lindsey says, the audience can "relate and connect with... characters... through watching their body language, emotions, and reactions". In addition to these things, I think that Chun uses a mixture of intesity and subtle humor to further the viewer's experience.
ReplyDelete"Children of Invention" explores the idea of motherhood, as earlier class texts have also done. Elaine, the mother of Tina and Raymond, seems to be a good, if slightly foolish parent. Aspects of the film such as the multiple jobs that Elaine juggles and the living environment of the family (an unfinished apartnment building). Contrasting the precocious Raymond with the younger Tina constructs the audience to feel the very real fear of losing what is important to a person (in this case one's children) as well as the fear of inadequacy.
Additionally the often close framing of the camera consciously and unconsciously curl around the viewer, giving the film a tense feel while keeping the viewer alert and promoting an aware viewing experience.
I think Lindsay and Cora have a good eye on the point about the following statement that ". . . . through body language, emotions and reactions" because these factors are really important for constructing audience impartially.
ReplyDeleteFor instance, when I watch the foreign movies, I often have to guess the meaning of the conversation and the development of the movie because of my poor skills about English. If a movie is composed only by conversation and argument without English subtitles, I am really hard to figure out the movie. At that time, the factors, the character's body language, emotions, and reactions, are going to be really helpful tools for me as a non-native English speaker.
Therefore, that the sender composes any movies with the factors means that it would be able to construct much more audiences impartially in terms of interpretation on the receivers. This would also mean that it can cause much more arguments and considerations about the movie.