In what ways does your media product use, develop or challenge forms and conventions of real media products?
As seen from the above selection of Sight & Sound covers, it is clear that our cover conforms to many typical elements of both the genre and the house style. Firstly, we have used the same masthead and barcode style as the typical publication. However, one thing that we have no included is the white border around the image as demonstrated by the other covers. Although, our image somewhat conforms to the typical house style. We have correctly identified that the vast majority of publications include the director on them, although there are exceptions to this rule such as The Revenant or The Neon Demon. However, we felt that as it was a niche film for a niche magazine, it would be more appropriate to market the director than the main star of the film such as a publication such as Empire would. Stylistically, we have met these covers somewhere in the middle. The covers range from black and white chiaroscuro lighting to bright and vibrant (such as the Charlie Kaufman cover). Therefore, we have shown an understanding of the visual conventions of these magazines and have slightly challenged them by using a colour splash against the graffiti.
We have also used the same colour and formatting for the tug and splash including the font. Whilst some editions such as Orson Wells or del Toro do differ from this consistent style- we chose that for a less mainstream film, Sight & Sound would choose to give us the standard sans font.
Whilst The Revenant issue did use a puff, on the whole, this is not the case for Sight & Sound, so we chose not to include one. Finally, the yellow box surrounding the text ‘Exclusive Interview’ in our splash is consistent with editions such as The Neon Demon, thus demonstrating our attention to detail of the house style and conforming to its conventions.
Therefore, as previously discussed in this blog post, our poster has mostly met the conventions of the Sight and Sound house style and effectively plays homage to the semantic and syntactic elements of the noir genre.