High Concept Films

According to Justin Wyatt the juicy construct remove is reputed by some in the pullulate industry and derided by others. He states, Whereas fanciful executives frequently(prenominal)(prenominal)(prenominal) as Katzenberg would stress the originality of a utmost innovation idea, media critics would purport that laid-back plan actually represents the zero point of creative thinking. dis perplexe the validity of twain points of view with name and address to terminator 2 nonion day ( crowd Cameron, 1991) and one other charter. The high construct take on represents the economically invested interests of Hollywood, as the high impression guide is produced to be highly marketable.With Hollywood just now being a profit seeking business, the high plan carry provided an assurance of box office revenue in a duration when the industry was in decline. It can be argued that this change in filmmaking merely altered the style of Hollywood films, al piteousing film makers t o thrive imageually in simpler storeys. Conversely, it can similarly be argued that this resolvinged in the proceeds of creatively bankrupt films, where the importance of marketability far outweighs that of creative thinking, originality and labyrinthianity.This essay will argue two sides of this debate with reference to terminator 2 Judgment Day (Cameron, 1991) and Jaws (Spielberg, 1975). crowd together Camerons Terminator 2 Judgment Day (1991) is an fashion model of a theater director exploring coordination compound purposeual meaning beyond the simple high design narration. Whereas Steven Spielbergs Jaws (1975) is an example whereby the simplicity of a high concept film non only limits creative exploration, to a greater extentover as well as breeds consecutive similar films such(prenominal)(prenominal) as mishaps and remakes.High concept filmmaking emerged from a post-WWII America, where Hollywood studios were struggling to produce a product that would re-energ ise decreasing get. The 1948 Paramount case saw the Supreme tap decide that the Big Five Hollywood studios were monopolizing the film industry (Balio 1990, p. 5). This social club was concluded on the basis that the Big Five (Paramount, Warner Bros. , MGM, Twentieth blow Fox, and RKO) owned studios, worldwide distri neverthelession, and controlled theatre chains in that respectfore monopolizing the production, distribution and order of battle of the industry (Balio 1990, p. ). This verdict saw the studios separated from exhibition as non only was block booking and unfair film distribution condemned, but the Big Five also had to divorce their theatre chains (Balio 1990, p. 5). The overriding decree in conjunction with the raising middleclass, suburbanisation, and the domestication of the telly, saw Hollywood profits drop significantly. Where middle-class Americans may have 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 worn away from city theatres and instead take to watching goggle box more conveniently (Balio 1990, p. 3). As a result movie attendance halved, and thousands of theatres were unlikable down (Balio 1990, p. 3). It therefore becomes exit that Hollywood needed products that would happen 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 support coaction with the new entertainment medium, which consequently wampum the high concept film. Hollywood differentiated its product technologically for the most part, by 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 b inadequacy and white television however the storyty qui ckly wore off (Balio 1990, p. 24).Widescreen and 3D techniques were also explored 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 evident that specific demographics had to be targeted much like television does in order to market films triumphfully 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 telefilm production and foremost, film merc payising 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 enclosure with marketable plots (Wyatt 1994, p. 8). Its reasonable to imagine that high concept films were therefore designed to be sold (Wyatt 1994, p. 14 ). With the term high concept unarguably associated with films that Hollywood favour in return of predictable commercial success, theres no doubt that theyre hard influenced by merchandising and merchandising integration (Wyatt 1994, p. 7).This throws a style of filmmaking that has an emphasis on brilliance personas, fashionable landing field matter, presold enter, and the ability to be pitched (Wyatt 1994, p. 12). The pitch is by and large a single sentence summary of a film, which will at first sell the film to studios, and secondly it will create the market hook that catches the attention of audiences during ad campaigns (Wyatt 1994, p. 8). This influences the narratives of high concept films as theyre mould to be pitched. Wyatt notes that this produces an idea that is very straightforward, comfortably communicated, and easily comprehended (1994, p. ). some(prenominal) films value this simple narrative approach, such with Snakes on a sail (2006) being a film simply ab out snakes on a plane American Gangster (2007) is about Frank Lucas and the gangster last during the 1970s Star Wars (1977) is about epic intergalactic space battles. The use of stars also become prominent in the high concept film, as stars not only attract audiences, but they can also be prone to specific star personas, both of which favour marketing (Wyatt 1994, p. 10). For example pot Wayne or Clint Eastwood in a western film is instantly recognizable.Fashionable subject matter involves cashing in on whats popular culture, such as the upstart 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 be already successful and have pre established audiences, which Wyatt suggests is limiting new ideas, relying heavily upon the replication and combination of previously successful narratives (1994, p. 3). This is most evident in the abundance of comic book adaptations over the years mostly superhero 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 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 starre d Richard Dreyfuss, Roy Scheider and Robert Shaw, for each one of which were prominent film and television actors that were featured in the Jaws trailer.yet, the fact that Jaws (1975) was a presold premise would have been the primary studio attraction 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 franchise, and similar Hollywood productions. For the most part critics condemn such high concept films as creatively bankrupt, claiming that theyre the zero point of creativ ity relying heavily upon the replication and combination of previous successful narrative (Wyatt 1994, pp. 13). macrocosm a novel adaptation, this is no doubt relevant 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 touch however is in regards to the 3 Jaws (1975) sequels, each of which used the same 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 Shark sharpshoot (1999). In addition to this, the Friday the thirteenth (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 presence of the killer. To continue this f urther, Friday the 13th (1980) established a repetitive franchise of 10 films, again exploiting a simple high concept narrative. These examples clearly indicate a utilization to duplicate and exploit high concept films, which I believe is where creative potential is most hindered in this debate. Also considered a high concept film is James Camerons Terminator 2 Judgement Day, as it in like manner 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 narrati ve 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 studied 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 199 8, p. 249). By contrasting Sarah Connor from Terminator 2 (1991) 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 evolution in the narrative, but also as a reflection of Hollywood feminist culture (Radner 1998, p. 260). The Hollywood egg-producing(prenominal) 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, period also inverting the rationality of men with the enate mother (Radner 1998, p. 250). Cameron has used Sarah Connors system 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 save humanity, and in doing so appears to jeopardise her saneness (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 summary, the high concept film is undoubtedly produced at the cost 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 alone 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 clay 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, a nd is the primary reason for its success through to coetaneous cinema.Therefore to brand it a creative burden is to ignore the current success and progress of the industry, and to praise it is to ignore the creativity explored in lower concept films. Reference List American Gangster, 2007, transaction picture, Ridley Scott, USA. Balio, T 1990, Introduction to sort 1, Hollywood in the Age of Television, London, pp. 3-40. Batman, 1989, interrogative sentence picture, Dir. Tim Burton, USA. Batman Begins, 2005, gesticulate 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, New Hollywoods 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. sorrel 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.