Idea 1:
Our first idea was that there is a young boy who is very popular in high school he gets all the girls, his funny, very attractive, plays football, his the typical ideal boyfriend for a high school girl. We decided that he would start to date 3 of the most popular girls in the school who are best friends and eventually there other friends told the girls when they found out that the boy there dating is dating all of them. The 3 popular girls then became arch enemies, and wanted to hurt each other. The hate they had turned into a big argument over face book until one of the girls said lets talk on msn and sort this out properley. So they did and when they spoke on msn they decided there not going to fight over a boy and made a plan to get him back. The ways the girls try to get the boy back are very humorous and they never seem to go right. In the end the boy gets the girls back for trying to get him in the first place by dating there best friend.
Idea 2:
Our second idea was that there is a very pretty boy, who’s sweet, and knows how to talk to the ladies, he gets all the attention he needs and he has a best friend who’s not so pretty. He knows he can get any girl he likes so he uses it to his advantage. And one day his at a party, he sees a girl he is very attached to and he begins to like her. He then realises that she doesn’t like him and his determined to prove his friend that he can get her because there’s not one girl he can not get. He begins to do anything and everything for this girl until he gets to the point where he thinks she really does just not like him. He then goes to another party, and the girl secretly is beginning to like him. She also turns up to the party and she sees him kissing another girl. Just when she was about to tell him how she felt she saw this and she ends up heartbroken and runs out the party where he then chases her, and try’s his best to get her before its too late...
Idea 3:
There’s a couple and there a couple everyone in the college knows about, every boy fancies the girl and would want her has a girlfriend and most girls would love to date the boy, the relationship is going well and nothing can really in the way. One day in the college a new boy arrives and has in the same class has the girl the teacher puts them together to work on a project and they start to talk. The boy begins to like the girl not knowing that the girl has a boyfriend. Not just any boyfriend at that 'The Top Boy' boyfriend. The girl’s boyfriend seems to clock on that the new boy likes her and he warns his girlfriend to make him know before its too late, the new boy then tells the girl that he likes her and she tells him he can’t because she’s no good for him. The girl’s boyfriend sees the girl and new boy talking about this and his holding her hand, the girl’s boyfriend tells the girl she has to set him up so he can deal with him. She refuses as she slowly falling for him but she refuses to tell her boyfriend that. The boyfriend and girl split up has he threatens her to do so, and she continues to refuse, the boyfriend try’s to get back with the girl in humorous ways before the new boy gets her...
Idea 4: (Main Idea)
Characters
3 Boys:
# Kymani - 17, Black Hair, Brown Eyes, Mixed Race.
# Khiri - 17, Brown Hair, Brown Eyes, Mixed Race.
# Kieran 17, Brown Hair, Brown Eyes, Mixed Race.
3 Girls:
# Chyante - 16, Brown Hair, Brown Eyes, Mixed Race.
# Courtney - 16, Black Hair, Brown Eyes, Mixed Race.
# Cassandra - 16, Brown Hair, Brown Eyes, Mixed Race.
The story is based in Kymani's house.
Kymani and Chyante are brother and sister. Chyante is Kymanis younger sister who he is very protective over no boys can talk to her in a relationship way, and the 3 boys, Kymani, Khiri and Kieran who are best friends make sure of this. The 3 boys are best friends they class each other as family because there so tight, nothing and no one can come in between them, there all very good looking boys who get any girls they want, they have no respect for girls and they all use the same chat up lines on the girls which is how they get girls. The 3 boys know each other inside out. Where as with the 3 girls their also best friends they tell each other everything. The storyline is that basically Khiri, Kymani and Kieran are in Kymanis rooms getting ready to go out to a party, whilst there getting ready they fail to realise that Chyante and her friends are also getting ready to go to a party. Because the boys are so intrigued by the phone calls there getting from girls they don’t pay any attention to the girls that night. The boys are in Kymanis room and there phones begin to ring they all run to the phones and answer it, the screen would then split into 3 and we would see and hear the way the boys talk to girls. They then come off the phone and we see them talking and making jokes until Khiris thirsty and he decides he wants a drink and goes out the bedroom to get one, whilst he is about to do this, Chyantes secretly sneaking out her room to grab her mascara from the bathroom, when she turns around from closing her door Khiris standing in front of her and he asks her where she thinks she going dressed like that. She replies, once they have there talk, eventually Khiri tells her she looks beautiful and she can’t believe he said that to her and he cant believe he did either after, they both freeze and walk off to where they were going in the first place. Slowly has the days pass, they begin to see each other secretly and begin to like each other allot however the 3boys know that if there’s anything they cant do in there click is date or have a relationship with a family member. So for Khiri and Chyante to be seeing each other and Kymani finding out will cause some serious problems. The boys have a sleepover the week later at Kymanis house and Chyantes in her room whilst the boys fall asleep after playing play station and smoking Khiris still awake and sneaks into Chyantes room, they kiss and hug and talk about them until Kieran wakes up and sees them together whilst he’s on his way to the bathroom. Kieran gets mad and start arguing with Khiri but eventually calms down as they talk about it, and decide not to tell Kymani. But has they continue to see each other and get more serious, Chyante feels she wants to tell her brother has she doesn’t want to hide from him anymore. They tell him and after fighting and arguments they sort it out and he lets them be on one condition that he treats her right and drops every other girl on his line.
Opening Sequence:
The opening scene begins where we see a long shot of the house, you hear non diegetic music start which is played until dialogue is heard, the music is very lively, we then see a medium shot of feet running upstairs, we then see a close up of a girls lips in the mirror putting on her lip-gloss slowly, we then see a close-up of a girls eye on the mirror putting on her mascara, the shot then changes to a medium shot of a spliff being rolled up by a boy, and a bed with a mobile phone on it and magazines and play station pads. We then see an extreme close up on the phone ringing with a girls name on the screen, the non diegtic music then stops and we hear the ringing. A match on action the takes place where a hand picks up the phone and the screen splits into 3 where we see three different boys faces and they all say 'Yoooo' we hear them talking to the girls one by one, the scene then changes to a birds eye view on the girls room, where three girls are lying down and sitting on a bed and there talking reading magazines and getting ready at the same time. We then go back to the boy’s room and see Khiri getting up from the bed and he goes out the door to get a drink, we then see Chyante coming out of her room to get a drink. We then see a shot over the shoulder shot of them talking and then a medium shot of them walking away after. You can tell this is a rom-com because there is no violence in the beginning, the atmosphere is very loved up, and the music isn’t eerie, the bright background senses the happier effect than a dark background which symbolises a thriller or horror.
Character Analysis:
Kymanis the oldest, he’s very cheeky and hates being ignored. Out of the three boys his the one that can fight the best and always gets in arguments and fights over his sister.
Kieran’s the cleverest, he knows how to talk to the police when Kymani gets in trouble with them, he doesn’t smoke and he has manners, just not to girls.
Khiris the one who gets the most girls, he’s funny, the hyper, and the one who sorts out all the problems in the click.
Chyantes very pretty, she gets all the boys, which gets her brother angry, she’s polite and very clever, she likes to play netball, and loves celebrities and music.
Cassandra’s chyantes closest friend, she’s cute, she loves music and her hair, and she can’t live without her mobile phone. She’s very cheeky when she wants to be.
Courtney’s the 'ghetto' one who loves tracksuits and money, she’s also very pretty and gets boys, but she’s more interested in money and having a laugh with her girls.
Friday 18 December 2009
Template Of Our Questionnaire
Here is the template to our questionnaire:
1. What gender are you?
Female ___ Male ___
2. What age are you?
15-16 ___ 17-18 ___ 19-20 ___ 21-23 ___ 24+ ___
3. What genre in films do you prefer?
Romantic Comedies
Horror
Thriller
Other _____________________________
4. Do you watch romantic comedies?
Yes ___ No ___ Sometimes ___
5. What would attract your attention to watch a romantic film?
6. What do you dislike about a romantic comedy?
Predictable Story Lines
Too Unrealistic
‘’Perfect’’ Looking Actors
Too Dramatic
Other ________________________________________________
7. Would you prefer a romantic comedy if you could relate to it?
Yes ___ No ___
8. What do you prefer?
American Romantic Comedies
English Comedies
Why …………………………………………………………………………..
…………………………………………………………………………………
9. What lifestyle do you prefer in romantic comedies?
‘Urban Lifestyle’ ____ ‘Posh Lifestyle’ ___
10. What point of view would you prefer to see a romantic comedy from?
1st Person ____ 3rd Person _____
11. What emotion are you normally left feeling with at the end of a romantic comedy?
12. Why do you watch romantic comedies?
We appreciate that you have taken time out to complete our questionnaire!
Thank You :)
1. What gender are you?
Female ___ Male ___
2. What age are you?
15-16 ___ 17-18 ___ 19-20 ___ 21-23 ___ 24+ ___
3. What genre in films do you prefer?
Romantic Comedies
Horror
Thriller
Other _____________________________
4. Do you watch romantic comedies?
Yes ___ No ___ Sometimes ___
5. What would attract your attention to watch a romantic film?
6. What do you dislike about a romantic comedy?
Predictable Story Lines
Too Unrealistic
‘’Perfect’’ Looking Actors
Too Dramatic
Other ________________________________________________
7. Would you prefer a romantic comedy if you could relate to it?
Yes ___ No ___
8. What do you prefer?
American Romantic Comedies
English Comedies
Why …………………………………………………………………………..
…………………………………………………………………………………
9. What lifestyle do you prefer in romantic comedies?
‘Urban Lifestyle’ ____ ‘Posh Lifestyle’ ___
10. What point of view would you prefer to see a romantic comedy from?
1st Person ____ 3rd Person _____
11. What emotion are you normally left feeling with at the end of a romantic comedy?
12. Why do you watch romantic comedies?
We appreciate that you have taken time out to complete our questionnaire!
Thank You :)
Friday 4 December 2009
Questionnaire Summary
After researching through the different genres and gaining an understanding of the codes and conventions through different analysis, I have decided to do a romantic comedy as my final piece as 40% of people aged between 15-20 preferred romantic comedy to any other genre. I gathered this information from my questionnaires which where handed out around the college and out side of the working environment into my family home. By doing this gathered that majority of females asked aged 15-19 favoured romantic comedies rather than watch a horror or a thriller, some of the reasons given for this for this was that they found a romantic comedies more interesting and funny, and it was they liked the idea they could watch a film without being scared of what is going to happen and afraid of what will happen next. A large amount of females aged 15-20 said that the only thing they disliked about watching a romantic comedy was that it is too unrealistic and the story lines are sometimes predictable.
The most popular style of romantic comedy was American Rom Com’s which were preferred by both male and female. In the questionnaire they were asked to define why they preferred American comedies and both genders answered because they hadn’t really seen many British Romantic Comedies and because the actors are funnier and the actors in American Romantic Comedies are at a better standard of acting. Also 30% of females who took part answered they favoured an American comedy to an English one for the reason that the actors are more “glamorous” and English films always look low budgeted.
The question 9 was ‘what lifestyle do you prefer in romantic comedies?’ they had the choices of ‘urban lifestyle’ and ‘posh lifestyle’ and 80% of the participants answered ‘urban lifestyle’.The participants where also asked what point of view they prefer to see a romantic comedy from and 17 / 30 people said that they prefer to see it in 1st person. 13/30 said they find it hard to stay engaged into a film being told in 1st person. Overall the main question of the questionnaire was ‘why do you watch romantic comedies’ and the males aged 20-23 stated that they watch it because they get dragged to watch it with there female companions.
The participants were then asked, other than this why would you go to the cinemas to watch a romantic comedy females aged between 20-23 stated that they would watch a romantic comedy because it makes them feel better and they feel that sometimes they can relate to the film in situations wise. The younger generation of females aged between 15-19 stated they watch romantic comedies because its entertaining and they make them smile and they feel they have better knowledge on how boys think and what they want, however a lot of the males asked also response was slightly different from the age15-19 as they stated that they would watch a romantic because they are funny and there are always dilemmas in the end which they find amusing, The males aged 23+ stated that they would watch romantic comedies because they feel they’re sometimes interesting to watch, where as the females aged 23+ replied in a unexpected way as they would prefer to watch a horror or thriller but if they where to watch a romantic comedy it would be because they are interested in watching it through the reviews off the mass media.
Due to the feedback I received on my questionnaire, I have decided that I will be doing Romantic Comedy with a target audience of people aged between 15-20. Mainly because of the positive feedback we received from this particular age group.
The most popular style of romantic comedy was American Rom Com’s which were preferred by both male and female. In the questionnaire they were asked to define why they preferred American comedies and both genders answered because they hadn’t really seen many British Romantic Comedies and because the actors are funnier and the actors in American Romantic Comedies are at a better standard of acting. Also 30% of females who took part answered they favoured an American comedy to an English one for the reason that the actors are more “glamorous” and English films always look low budgeted.
The question 9 was ‘what lifestyle do you prefer in romantic comedies?’ they had the choices of ‘urban lifestyle’ and ‘posh lifestyle’ and 80% of the participants answered ‘urban lifestyle’.The participants where also asked what point of view they prefer to see a romantic comedy from and 17 / 30 people said that they prefer to see it in 1st person. 13/30 said they find it hard to stay engaged into a film being told in 1st person. Overall the main question of the questionnaire was ‘why do you watch romantic comedies’ and the males aged 20-23 stated that they watch it because they get dragged to watch it with there female companions.
The participants were then asked, other than this why would you go to the cinemas to watch a romantic comedy females aged between 20-23 stated that they would watch a romantic comedy because it makes them feel better and they feel that sometimes they can relate to the film in situations wise. The younger generation of females aged between 15-19 stated they watch romantic comedies because its entertaining and they make them smile and they feel they have better knowledge on how boys think and what they want, however a lot of the males asked also response was slightly different from the age15-19 as they stated that they would watch a romantic because they are funny and there are always dilemmas in the end which they find amusing, The males aged 23+ stated that they would watch romantic comedies because they feel they’re sometimes interesting to watch, where as the females aged 23+ replied in a unexpected way as they would prefer to watch a horror or thriller but if they where to watch a romantic comedy it would be because they are interested in watching it through the reviews off the mass media.
Due to the feedback I received on my questionnaire, I have decided that I will be doing Romantic Comedy with a target audience of people aged between 15-20. Mainly because of the positive feedback we received from this particular age group.
Codes and Conventions Of A Horror And Thriller
A horror film is usually going to start of with music being played, the music will be played at a certain pace depending on how the director wants the audience to feel at that present moment in time, either way the music is to make the audience feel anxious or tensed, it creates a eerie atmosphere. This type of genre strives to encourage fear and apprehension from their viewers by colliding supernatural into reality situations. Modernized horrors usually contain graphic violence or bloody gore. Horror films differentiate due to the years which make it harder to compare or group them largely which results in contrasts between them which become very clear.
The typical settings of A Horror Film Are:
o Preliminary introduction into ordinary lifestyle
o Type of bizarre murder/death – killer maybe known or unknown
o Credits follow horror theme – creepy font, title movement, image eg pumpkin, weapon, etc
o Main characters introduced – young/ youthful
o Teenage kids – easy target also vulnerable – home alone
o Teenagers usually a couple – football jock boyfriend and cheerleader blonde bimbo girlfriend.
o Mysterious phone calls – dubbed sinister voice “Who’s There…?”
o Family ties broken
o Sisters killed by brothers e.g: Halloween
o Sometimes unsuccessful acts of heroism
o Victim unprotected
o Superhuman killer – doesn’t die successfully = sequels
Some information was gathered from: http://smay-fuller-suttonmediaas.blogspot.com/2008/12/codes-and-conventions-of-horror-film.html
Codes and Conventions of A Thriller Film:
Thriller are typically set in claustrophobic spaces such as:
* planes
* coffins
* under water
* boot of a car
* elevator/lift
* walk in freezer
* tube trains
* white van
* small room
* car
* prison cell
* narrow alleyways
* multi-storey car parks
and the lighting is always seem to be very dark and Chiaroscuro - light against dark - creates a sense of illusion, nightmare whilst also being aesthetically pleasing. The director always uses surprises and twists to play with the viewers mind, and the different camera angles and quick cuts to draw suspense, the music that is added to create tension, there's typically always mirrors and stairs, flashbacks and time sequences are also used to make the audience think and your most likely to always see the film from a killers point of view.
The typical settings of A Horror Film Are:
o Preliminary introduction into ordinary lifestyle
o Type of bizarre murder/death – killer maybe known or unknown
o Credits follow horror theme – creepy font, title movement, image eg pumpkin, weapon, etc
o Main characters introduced – young/ youthful
o Teenage kids – easy target also vulnerable – home alone
o Teenagers usually a couple – football jock boyfriend and cheerleader blonde bimbo girlfriend.
o Mysterious phone calls – dubbed sinister voice “Who’s There…?”
o Family ties broken
o Sisters killed by brothers e.g: Halloween
o Sometimes unsuccessful acts of heroism
o Victim unprotected
o Superhuman killer – doesn’t die successfully = sequels
Some information was gathered from: http://smay-fuller-suttonmediaas.blogspot.com/2008/12/codes-and-conventions-of-horror-film.html
Codes and Conventions of A Thriller Film:
Thriller are typically set in claustrophobic spaces such as:
* planes
* coffins
* under water
* boot of a car
* elevator/lift
* walk in freezer
* tube trains
* white van
* small room
* car
* prison cell
* narrow alleyways
* multi-storey car parks
and the lighting is always seem to be very dark and Chiaroscuro - light against dark - creates a sense of illusion, nightmare whilst also being aesthetically pleasing. The director always uses surprises and twists to play with the viewers mind, and the different camera angles and quick cuts to draw suspense, the music that is added to create tension, there's typically always mirrors and stairs, flashbacks and time sequences are also used to make the audience think and your most likely to always see the film from a killers point of view.
The History Of Romantic Films
The screwball comedy is a subgenre of the comedy film genre. It has proven to be one of the most popular and enduring film genres. It first gained prominence in 1934 with It Happened One Night, and, although many film scholars would agree that its classic period ended sometime in the early 1940s, elements of the genre have persisted, or have been paid homage to, in contemporary film.
While there is no authoritative list of the defining characteristics of the screwball comedy genre, films considered to be definitive of the genre usually feature farcical situations, a combination of slapstick with fast-paced repartee, and a plot involving courtship and marriage or remarriage. The film critic Andrew Sarris has defined the screwball comedy as "a sex comedy without the sex.
http://en.wikipedia.org/wiki/Screwball_comedy_film
The Kiss (1896) (aka The May Irwin Kiss) although regarded as "disgusting" and scandalous, a Victorian couple May Irwin and John Rice re-enacted a lingering kiss. This was produced for Thomas Edison's film from their 1895 Broadway stage play The Widow Jones; it was the first film ever made of a couple kissing in cinematic history. It then became the most popular film produced that year by Edison's film company (it was filmed at Edison's Black Maria studio, in West Orange, NJ)
The first American feature-length sex film was Traffic in Souls (1913) (aka While New York Sleeps) The original vamp and first movie sex goddess, the full-bosomed Theda Bara, starred in a number of early silent’s for the Fox Film Corporation - her first lurid, slinky vamp appearance (and first lead role) was in Fox's melodramatic A Fool There Was (1915).
It was not until the creation of romantic love in the western European medieval period, though, that "romance" came to refer to "romantic love" situations, rather than the heroic adventures of medieval Romance. These adventures, however, often revolved about a knight's feats on behalf of a lady, and so the modern themes of love were quickly woven into them, as in Chrétien de Troyes's Lancelot, the Knight of the Cart.
http://en.wikipedia.org/wiki/Romantic_comedy_film
Book Research
The Cinemas Book Third Edition BFI Edited By Pam Cook
Part 5: Genre Comedy (Steve Neale)
Romantic Comedies:
Rom Com, has received the greatest attention in recent years, at least in part because of its revival by Hollywood in the mid 1980s under the guise of what Neale and Krutnik have termed ‘the new romance’ (Neale and Krutnik, 1990; Krutnik; 1990: Neale, 1992) In contrast to the screwball films, little has been written on the ‘sex comedies’ of the 1950s and 1960s – films such as Pillow Talk (1959) and Lovers Come Back (1961). There has been a revival of interest in the ‘sophisticated’ comedies of romance, sex, marriage and remarriage that preceded the screwball cycle in the late 1910’s and 1920s, especially those directed by Cecil B. DeMille. (Higashi; 1994; Musser1995.) However, there are as yet no histories of romantic comedy in Hollywood that encompass all these trends. Neale (1992) proposes a number of basic conventions, including ‘the meet cute’, ‘the wrong partner’, the learning process the couple nearly always have to undergo and the initial hostility it eventually dispels. Neale and Krutnik (1990) argue that deviations from the norm are conventional in comedy and hence that ‘subversion’ is a licensed and integral aspect of comedy’s social and institutional existence. And Purdie (1993) has explicitly attacked the views of Balchtin and others, arguing that all forms of comedy involve a recognition of the norms whose transgression they entail, and hence a claim to social membership at the expense not only of those who are comedy’s butts, but also of those who do not get it jokes. Either way, it is likely that, as is the case with most genres, comedy’s ideological significance and impact varies from film to film, cycle to cycle, and audience to audience, and is probably best assessed at specific and local levels rather than through universal generalisations.
Miss Congeniality
(USA/Australia 2000 p.c- Warner Bros. /Castle Rock Entertainment/Village ROADSHOW Pictures/NPV Entertainment/Fortis Films; d – Donald Petrie)
Traditionally classic Hollywood romantic comedy focused on the apparently mismatched heterosexual couple, overcoming conflicts and obstacles in order to move towards their happy union. As a contemporary rom-com, Miss Congeniality follows this formula, but the predictable romance that develops between FBI agents Gracie Hart (Sandra Bullock) and Eric Matthews (Benjamin Bratt) is pushed away from the centre and towards the margins of the narrative which instead focuses on the question of female identity and the performance of gender – contributing to the films queer appeal. Miss Congeniality plays with the conventions of this popular Hollywood genre to provide its audience marriage of masculine and feminine characteristics within Gracie’s personality. Thus it is Gracie herself, rather than the couple who undergoes a significant change. Miss Congeniality makes use of stereotypes and much of the comedy derives from gendered attitudes to hair, make-up, costume and behaviour. The films opening scenes establish Gracie as a social definition of femininity. Consequently she is a misfit who exhibits typically masculine characteristics she is aggressive, violent and clumsy.
Part 5: Genre Comedy (Steve Neale)
Romantic Comedies:
Rom Com, has received the greatest attention in recent years, at least in part because of its revival by Hollywood in the mid 1980s under the guise of what Neale and Krutnik have termed ‘the new romance’ (Neale and Krutnik, 1990; Krutnik; 1990: Neale, 1992) In contrast to the screwball films, little has been written on the ‘sex comedies’ of the 1950s and 1960s – films such as Pillow Talk (1959) and Lovers Come Back (1961). There has been a revival of interest in the ‘sophisticated’ comedies of romance, sex, marriage and remarriage that preceded the screwball cycle in the late 1910’s and 1920s, especially those directed by Cecil B. DeMille. (Higashi; 1994; Musser1995.) However, there are as yet no histories of romantic comedy in Hollywood that encompass all these trends. Neale (1992) proposes a number of basic conventions, including ‘the meet cute’, ‘the wrong partner’, the learning process the couple nearly always have to undergo and the initial hostility it eventually dispels. Neale and Krutnik (1990) argue that deviations from the norm are conventional in comedy and hence that ‘subversion’ is a licensed and integral aspect of comedy’s social and institutional existence. And Purdie (1993) has explicitly attacked the views of Balchtin and others, arguing that all forms of comedy involve a recognition of the norms whose transgression they entail, and hence a claim to social membership at the expense not only of those who are comedy’s butts, but also of those who do not get it jokes. Either way, it is likely that, as is the case with most genres, comedy’s ideological significance and impact varies from film to film, cycle to cycle, and audience to audience, and is probably best assessed at specific and local levels rather than through universal generalisations.
Miss Congeniality
(USA/Australia 2000 p.c- Warner Bros. /Castle Rock Entertainment/Village ROADSHOW Pictures/NPV Entertainment/Fortis Films; d – Donald Petrie)
Traditionally classic Hollywood romantic comedy focused on the apparently mismatched heterosexual couple, overcoming conflicts and obstacles in order to move towards their happy union. As a contemporary rom-com, Miss Congeniality follows this formula, but the predictable romance that develops between FBI agents Gracie Hart (Sandra Bullock) and Eric Matthews (Benjamin Bratt) is pushed away from the centre and towards the margins of the narrative which instead focuses on the question of female identity and the performance of gender – contributing to the films queer appeal. Miss Congeniality plays with the conventions of this popular Hollywood genre to provide its audience marriage of masculine and feminine characteristics within Gracie’s personality. Thus it is Gracie herself, rather than the couple who undergoes a significant change. Miss Congeniality makes use of stereotypes and much of the comedy derives from gendered attitudes to hair, make-up, costume and behaviour. The films opening scenes establish Gracie as a social definition of femininity. Consequently she is a misfit who exhibits typically masculine characteristics she is aggressive, violent and clumsy.
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