High Concept Films

According to Justin Wyatt the lofty archetype movie is valued by some in the contain constancy and derided by others. He states, Whereas creative executives much(prenominal) as Katzenberg would stress the originality of a proud archetype idea, media critics would suggest that senior game school imagination actually represents the zero point of creativity. Discuss the hardness of both points of view with reference to eradicator 2 Judgment Day (James Cameron, 1991) and one other contract. The spunky innovation moving-picture show represents the economically invested interests of Hollywood, as the high conceptionion choose is produced to be highly marketable.With Hollywood simply creation a profit seeking business, the high concept film provided an assurance of misfortune office revenue in a time when the industry was in decline. It dismiss be argued that this diversity in filmmaking merely altered the style of Hollywood films, allowing film makers to thrive conc eptually in childliker recitals. Conversely, it washbowl in like human racener be argued that this resulted in the production of creatively bankrupt films, where the importance of marketability far outweighs that of creativity, originality and Byzantineity.This essay imp contrivance argue both sides of this debate with reference to exterminator 2 Judgment Day (Cameron, 1991) and Jaws (Spielberg, 1975). James Camerons Terminator 2 Judgment Day (1991) is an example of a director exploring complex conceptual meaning beyond the simple high concept annals. Whereas Steven Spielbergs Jaws (1975) is an example whereby the simple mindedness of a high concept film not yet limits creative geographic expedition, but also breeds consecutive similar films such as sequels and remakes.High concept filmmaking emerged from a post-WWII America, where Hollywood studios were struggling to produce a product that would re-energise decreasing profits. The 1948 Paramount case saw the autonomou s court decide that the Big Five Hollywood studios were monopolizing the film industry (Balio 1990, p. 5). This decree was concluded on the basis that the Big Five (Paramount, Warner Bros. , MGM, Twentieth Century Fox, and RKO) owned studios, worldwide distribution, and controlled theatre chains indeed monopolizing the production, distribution and exhibition of the industry (Balio 1990, p. ). This verdict saw the studios separated from exhibition as not only was block booking and unfair film distribution convicted, but the Big Five also had to split their theatre chains (Balio 1990, p. 5). The paramount decree in conjunction with the raising middleclass, suburbanisation, and the domestication of the television, saw Hollywood profits drop significantly. Where middle-class Americans whitethorn deplete had more time and money, this was predominantly spent on domesticated items and vacations (Balio 1990, p. ). In addition, the move to the suburbs had audiences drawn away from city theatres and instead take to watching television more conveniently (Balio 1990, p. 3). As a result movie attendance halved, and thousands of theatres were closed down (Balio 1990, p. 3). It accordingly becomes drop off that Hollywood needed products that would return profits to the industry. Where Hollywood was struggling to survive in a diminishing industry, it also had to compete with rivalling television entertainment.This caused for Hollywood to differentiate its product and furthermore encouraged coaction with the new entertainment medium, which consequently bread the high concept film. Hollywood differentiated its product technologically for the most part, by means of gimmicks such as 3D experimentation, different widescreen technologies, and colour film (Balio 1990, p. 24). During the 50s, colour films were being produced as a superior product to black and white television however the novelty promptly wore off (Balio 1990, p. 24).Widescreen and 3D techniques were also ex plored with technology such as Naturescope, Panavision, and CinemaScope again these brought audiences back to the cinema, however they were no more than temporary attempts (Balio 1990, p. 26-28). It became discernible that specific demographics had to be targeted much like television does in pose to market films in(predicate)ly to audiences (Balio 1990, p. 28). This saw a collaboration between film and television as old films were aired on television to fill time slots Hollywood generated revenue through with(predicate) telefilm production and foremost, film marketing had access to television (Balio 1990, p. 8,31-32). This consequently bread the high concept film, as a film had to be sold in a single sentence when restricted to a short TV ad slot thus associating the term with marketable plots (Wyatt 1994, p. 8). Its reasonable to believe that high concept films were and so designed to be sold (Wyatt 1994, p. 14). With the term high concept unarguably associated with films t hat Hollywood favour in return of predictable commercial success, theres no doubt that theyre heavily influenced by marketing and merchandising desegregation (Wyatt 1994, p. 7).This creates a style of filmmaking that has an emphasis on star personas, fashionable subject matter, presold premise, and the ability to be fling (Wyatt 1994, p. 12). The pitch is generally a single sentence summary of a film, which will at start-off sell the film to studios, and secondly it will create the marketing hook that catches the attention of audiences during ad campaigns (Wyatt 1994, p. 8). This influences the archivess of high concept films as theyre sculpted to be pitched. Wyatt notes that this produces an idea that is very straightforward, easily communicated, and easily comprehended (1994, p. ). numerous films value this simple narrative approach, such with Snakes on a Plane (2006) being a film simply about snakes on a plane American Gangster (2007) is about Frank Lucas and the mobster cul ture during the 1970s Star Wars (1977) is about epic intergalactic space battles. The use of stars also become openhanded in the high concept film, as stars not only attract audiences, but they can also be attached to specific star personas, both of which favour marketing (Wyatt 1994, p. 10). For example John Wayne or Clint Eastwood in a western film is instantly recognizable.Fashionable subject matter involves cashing in on whats commonplace culture, such as the recent string of alien films. These include Cloverfield (2008), District 9 (2009), Battle L. A (2011), Skyline (2010), Cowboys and Aliens(2011) and Predators (2010) to name a few. Pre sold premise is the production of films that are already successful and have pre established audiences, which Wyatt suggests is limiting new ideas, relying heavily upon the procreation and combination of previously successful narratives (1994, p. 3). This is most evident in the abundance of comic book adaptations over the years mostly supe rhero films such as Batman (1989) and Batman Begins (2005), or Superman (1978) and Superman Returns (2006). Its therefore clear that the marketing and commercial aspect of high concept filmmaking influences the narrative and style of films produced in Hollywood. This can foremost be seen as an indictment of Hollywood, as creativity is no doubt limited when favouring those films that are adaptations, sequels or remakes.The film Jaws (1975) is no doubt a high concept film, as the attributes of the pitch, stars and pre sold premise are evident in its production. The film has the simplicity of a high concept narrative, possibly pitched as giant shark attacks swimmers. For example the pitch used in the house trailer was Jaws. See it before you go swimming (Jaws 1975). Therefore the pitch would have sold the concept of the film to studios, and also been used in the marketing for the film. Furthermore, the film starred Richard Dreyfuss, Roy Scheider and Robert Shaw, for each one of whic h were prominent film and television actors that were featured in the Jaws trailer.However, the fact that Jaws (1975) was a presold premise would have been the primary studio tenderness to the film. With Peter Benchleys novel Jaws a bestseller, the film was able to use the novels success in their marketing noting such achievements in the film trailer. These marketing attributes of the film therefore create the simple high concept narrative of Jaws (1975). Directed by Steven Spielberg, he even proclaims a desire for such a simple narrative, I like ideas , especially movie ideas, that you can hold in your hand (Wyatt 1994, p. 13).From this the negative connotation associated with the high concept film is introduced, as Jaws (1975) bread sequels, a enfranchisement, and similar Hollywood productions. For the most part critics condemn such high concept films as creatively bankrupt, claiming that theyre the zero point of creativity relying heavily upon the replication and combination of previous successful narrative (Wyatt 1994, pp. 13). Being a novel adaptation, this is no doubt germane(predicate) to Jaws (1975), however I dont believe it to be a creatively bankrupt film, as there is an art in adapting a novel for screen.Where I do agree however is in regards to the 3 Jaws (1975) sequels, each of which used the aforementioned(prenominal) concept merely with altered plot elements. This is no more than exploiting a successful film by using its generic plot that was so easily summarized for marketing purposes. Furthermore, this high concept film has inspired other similar giant creature films such as Lake Placid (1999) and chisel Attack (1999). In addition to this, the Friday the 13th (1980) franchise could be said to be Jaws (1975) with a man instead of a shark.Both of these films rarely depict the killer killing, and both films have consistent suspense music that plays during the posture of the killer. To continue this further, Friday the 13th (1980) establishe d a repetitive franchise of 10 films, again exploiting a simple high concept narrative. These examples clearly indicate a habit to duplicate and exploit high concept films, which I believe is where creative say-so is most hindered in this debate. Also considered a high concept film is James Camerons Terminator 2 Judgement Day, as it too incorporates Hollywood stars, pres sold premise, and the simplicity of the pitch.Again this film is also a presold premise, as its a sequel to The Terminator which was also successful. Therefore the narrative of this film simply continues from that of The Terminator, however now the terminator must protect the Connor duo. This is simply summarised in the trailer as this time hes back. For good (The Terminator 1984). This sequel brings back stars Arnold Schwarzenegger and Linda Hamilton, with Arnold primarily featured throughout the films marketing. So with the stars and simplistic narrative both a result of Terminator as a presold premise, this film is no doubt a high concept film.As a result of this, critics would assumedly favour Terminator 2 as a marketing plot, as sequels are economically strong due to the ability to be marketed through the previous films (Wyatt 1994, p13). However, this is a critically narrow perception of high concept films in general. Tho Jaws may be seen as a lack of creativity in relation to its franchise, Terminator 2 has been canvas beyond its simple narrative, granting it more value and meaning. While critics prefer denouncing high concept films, those within the industry favour and encourage the high concept.Wyatt claims that the industry stresses the originality and uniqueness of high concept films, and such Terminator 2 Judgement Day (1991) will be the example (1994, p. 14). While Terminator 2 (1991) may be a high concept film, James Cameron managed to provide a film that can be analysed beyond the simple cyborg narrative (Radner 1998, p. 249). By contrasting Sarah Connor from Terminator 2 (199 1) with her character in the original, its clear that theres a contrasting development of femininity (Radner 1998, p. 253).This can be seen to not only symbolise her development in the narrative, but also as a reflection of Hollywood womens rightist culture (Radner 1998, p. 260). The Hollywood female being that of masculine desire, reducing femininity to her image (Radner 1998, p. 260). In The Terminator (1984), Sarah Connor appears fragile, rounded and fecund, being typically feminine (Radner 1998, p. 260). However, in Terminator 2 (1991) after the term of her pregnancy the same character appears much more masculine and irrational (Radner 1998, p. 249-250).This therefore defies the Hollywood model of femininity, while also inverting the rationality of men with the maternal mother (Radner 1998, p. 250). Cameron has used Sarah Connors body as not only a symbol of her evolution and a reflection of Hollywood culture itself, but also to encompass the complex somewhat contradictory character that shes become (Radner 1998, p. 251). While fearing for her sons life, she arguably neglects her maternal instincts in order to extradite humanity, and in doing so appears to jeopardise her sanity (Radner 1998, p. 252).In addition, she also helps to humanize the cyborg that she once feared (Radner 1998, p. 251). This is clearly a complex character transformation through the two Terminator films, and to discard such characterisation as creatively bankrupt would be nothing but generalisation and ignorance. With that, its clear that the high concept film can be conceptually superior to what critics may give them credit for. In reference to sequels, remakes and adaptations, theres no doubt that the critical view of high concept filmmaking put forth by Wyatt is valid.This is evident with the Jaws (1975) franchise as well as the other previously mentioned films as the incentive to exploit popular ideas discourages the exploration and creation of new original ideas. In s ummary, the high concept film is undoubtedly produced at the monetary value of lower concept films, as low concept films rarely have the same marketing potential that has been discussed. However with reference to Terminator 2 (1991) comes the validity of the opposing argument, as this film has encouraged feminist analysis and reflection despite its marketing value and simple narrative.In addition, Terminator 2 (1991) doesnt stand just as a superior high concept film, as technically any film can be analysed beyond the surface narrative. This proves that while the high concept film has its commercial placement in Hollywood, there still remains a place for it artistically. Where marketing and economic interests may produce a simple style of filmmaking, filmmakers are still encouraged and challenged to explore artistically elsewhere in the production of such films. The high concept saved the Hollywood film industry financially, and is the primary reason for its success through to conte mporary cinema.Therefore to brand it a creative burden is to ignore the current success and progress of the industry, and to assess it is to ignore the creativity explored in lower concept films. Reference List American Gangster, 2007, act picture, Ridley Scott, USA. Balio, T 1990, Introduction to Part 1, Hollywood in the Age of Television, London, pp. 3-40. Batman, 1989, motion picture, Dir. Tim Burton, USA. Batman Begins, 2005, motion picture, Dir. Christopher Nolan, USA. Battle L. A, 2011, motion picture, Dir. Jonathan Liebesman, USA. Cloverfield, 2008, motion picture, Dir. Matt Reeves, USA.Cowboys and Alien, 2011, motion picture, Dir. Jon Favreau, USA. District 9, 2009, motion picture, Dir. Neil Blomkamp, USA. Friday the 13th, 1980, motion picture, Dir. Sean S. Cunningham, USA. Jaws, 1975, motion picture, Dir. Steven Spielberg, USA. Lake Placid, 1999, motion picture, Dir. Steven Miner, USA. Predators 2010, motion picture, Dir. Nimrod Antal, USA. Radner, H 1998, rising Hollywo ods New Women Murder in Mind Sarah and Maggie, in Steven Neal (ed), Contemporary Hollywood Cinema, London, pp. 247-262. Shark Attack, 1999, motion picture, Dir. dockage Misiorowski, USA. Skyline, 2010, motion picture, Dir.Colin Strause Greg Strause, USA. Snakes on a Plane, 2006, motion picture, Dir. David R. Ellis, USA. Star Wars, 1977, motion picture, Dir. George Lucas, USA. Superman, 1978, motion picture, Dir. Richard Donner, USA. Superman Returns, 2006, motion picture, Dir. Bryan Singer, USA. Terminator 2 Judgement Day, 1991, motion picture, Dir. James Cameron, USA. The Terminator, 1984, motion picture, Dir. james Cameron, USA. Wyatt, J 1994, A critical redefinition the concept of the high concept film, in High Concept Movies and Marketing in Hollywood, University of Texas, pp. 8-20.