Such interest, of course, attracts the attention of philologists-linguists to the linguistic, textual side of the film – film text and cinematic discourse.īesides other aspects of research of cinematic discourse identifying the gender component in this type of discourse seems very up to date. Works of art, filming, audiovisual effects and even moviegoers are being researched. Keywords: Cinematic discourse chick flick distorted stereotypes fair stereotypes gender stereotypes Sleepless in Seattle IntroductionĬurrently much attention is paid to the cultural space of the film industry, which is due to both the emergence of new iconic personalities in this area and genre diversity, the “widening” of the cultural range of this sphere. The article concludes that the cinematic discourse of “Sleepless in Seattle”, which includes verbal, non-verbal components, intertext, the role of moviegoers, criticism, and the director has a dominant feminine trait. The study found the presence of both fair and distorted gender stereotypes in the discourse of “Sleepless in Seattle” as an example of “chick flicks”. The article notes that the cinematic discourse of “chick flicks” is a reflection of gender stereotypes (especially feminine-colored). The work shows that the plot of “Sleepless in Seattle”, as a prominent representative of the “chick flicks”, corresponds to the clichéd formula of “chick flicks”: 1. Of greatest interest for our study is the opposition sex – gender, where sex is the “innate binary sign” and gender is the “sign constructed by society.” The material was the cinematic discourse of the film “Sleepless in Seattle”. If you still want more Sleepless in Seattle content after reading this story, check out this piece on some of Tom Hanks’ greatest on-screen meltdowns.The article studies the cinematic discourse of “chick flicks” (from the English “chick flick” – a film about relationships, love, etc., which attracts mainly women) to identify gender stereotypes, as well as the general patterns of plotting “female films”. If there is something you think we left off, make sure to add it in the comments below. This is just a small sampling of everything that went into Sleepless in Seattle. After thinking it over, Delia Ephron came up with the idea of having the father and son still at the building but on their way back to the top just as Annie was able to head down. Initially, Sam and Jonah had already exited the Empire State Building by the time Annie had gotten there, but the Ephron sisters just didn’t like the way it played out. And just like she did with the “NY” scene earlier in the movie, the director called on her sister, Delia Ephron to help make the scene work. The final moments of Sleepless in Seattle (Annie finally properly meeting Sam at the top of the Empire State Building) make for an all-time great romantic comedy ending, but Nora Ephron admitted during the commentary that she initially had trouble when working on that section of the script. The Ending At The Empire State Building Originally Looked Much Different So much red, so much love, so much passion shared by the pair as they finally meet and fall in love. Once Annie and Sam’s paths cross at that moment, there’s an abundance of red - the soccer players, Jonah’s coat, and then Annie’s run to the Empire State Building in the film’s final moments. Partly because of me because I hate blue. But we used a very controlled palette in the movie. It’s just one of those little ideas that production designers sometimes get. And that little group of soccer players is all in red on purpose. One of the ideas of our production designer, Jeffrey Townsend, was to very rarely use red in the moving until the two of them came together. Throughout the first hour-plus of the movie, the color red isn’t used all that much, but that changes when Sam and Annie first cross paths at the Seattle airport, as Ephron revealed in the director’s commentary: Something else that directors (and production designers) really like to play with in movies is color, and it was no different for Nora Ephron and Jeffrey Townsend in Sleepless in Seattle. The Use Of Red And Lack Of Blue In Sleepless In Seattle Wasn’t By Chance
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