An Independent film can stray artistically from the norm, it does not need to adhere to generic patterns and
can be experimental with any aspect. It is a movie financed outside of the mainstream studio system,
challenging cinematic form, and therefore, creating something individual.
In the US teen dramas, I have studied, the main codes and conventions are ‘the outsider’, social events and
parental conflict. Miscommunication between the younger and older generation is a dominant theme in Rebel
Without A Cause and even Ferris Bueller’s Day Off. While journeys of growth in coming of age movies often
derive from the protagonist being different in some way, not ‘fitting’ in with peers - Jim is an example of this.
However, alternatively teens may have too much social confidence and intelligence, orchestrating the narrative
as seen through Ferris.
Specialist Writing Option B claims that ‘Independent cinema does not adhere to generic patterns and is more
fluid in terms of genre codes’. This suggests that independent cinema has freedom in how they can explore
themes and conventions. They can be innovative with their narrative and characters, not being confined to
stereotypical archetypes like mainstream Hollywood. Juno could be said to fit this idea of independent cinema
as conventions mentioned above, are not included or as prominent in Juno as ‘normal’ teen films. Additionally,
the indie style soundtrack by the Moldy Peaches and distinctive hand-drawn editing of the opening symbolise
artistic freedom and personal creativity of Jason Reitman.
Juno is not a victimised or sexualised female lead which automatically sets her apart from usual protagonists.
She comes across to the audience as a complex, multifaced character demonstrating intellect and responsibility
– positive attributes that can often be disregarded in mainstream teenage representation. How she reacts to
her pregnancy is very unexpected, disparaging the situation. Whether this is a coping mechanism or just the
character’s nature, it reflects the independent status of the film being an alternative approach to teen
pregnancy. Instead of being a mortified girl needing to hide and maintain social status, Juno embraces her
situation selflessly and takes control, which is unanticipated by the audience watching. The film highlights teen
maturity through idiosyncratic, wordy dialogue and how they communicate with their family. Representation as
a whole is ultimately very ‘independent’ in comparison to mainstream. Therefore the film agrees with the key
idea in the specialist writing of genre fluidity.
Bleeker is introduced through a series of staggered close-ups which subverts generic archetypes. It can be
argued that Bleeker’s representation is an unconventional jock; stereotypically jocks often connote a muscular,
athletic male figure that focuses on sport. However, through the use of close-ups spectator attention is drawn
to the mise en scene of Bleeker’s costume: an oversized headband and tight bright yellow shorts which does
not fit this mould. While the use of a sporty outfit adheres to the expectations of a jock, deliberate use of
small, tighter shorts creates a more feminine appearance which challenges traditional representation of jocks
being masculine. Additionally, the headband produces comical imagery which suggests the film is criticising the
established ideological viewpoint of male representation in mainstream teen dramas. This idea is further
supported through close ups of his face which enables the audience to view the emotions conveyed by Michael
Cera and depicts Bleeker as sensitive and empathetic. Once again Juno problematises the ‘norm’ by presenting
Bleeker as emotionally expressive which undoubtedly mirrors society’s stereotypes of a female character
instead of a chauvinist male.
Another way Juno agrees with the specialist writing is through the theme of abortion which is not widely
explored within Hollywood and often catastrophised, abortion being non-negotiable. Despite feminist
undertones, the presentation of the abortion clinic suggests the film may oppose the controversial concept
through Juno challenging audience expectations of aborting her pregnancy. Mise en scene depicts a dull colour
palette for the centre with muted tones, the clinic looks insanitary due to low-key and limited natural lighting.
This negative portrayal is further enhanced by the unpleasant receptionist, outdated décor and deserted
parking lot. Cinematography and sound also helps create this idea through soft diegetic sound of fingernails
beginning with a special shift to an extreme close up of Juno’s reaction. The shot then changes to her POV; the
audience inside her eyes and mind as the sound becomes unnaturally loud through editing. A young girl stares
back reflective of Juno’s guilt through her subsequent troubled expression. Juno is bigger in the frame every
time the spectators view her which shows her growing anxiety, before a pattern shift of 7 finger shots in a row
with guttural, cacophonic sound. The straight cut back to Su-chin with anti-abortion propaganda suggests the
can be experimental with any aspect. It is a movie financed outside of the mainstream studio system,
challenging cinematic form, and therefore, creating something individual.
In the US teen dramas, I have studied, the main codes and conventions are ‘the outsider’, social events and
parental conflict. Miscommunication between the younger and older generation is a dominant theme in Rebel
Without A Cause and even Ferris Bueller’s Day Off. While journeys of growth in coming of age movies often
derive from the protagonist being different in some way, not ‘fitting’ in with peers - Jim is an example of this.
However, alternatively teens may have too much social confidence and intelligence, orchestrating the narrative
as seen through Ferris.
Specialist Writing Option B claims that ‘Independent cinema does not adhere to generic patterns and is more
fluid in terms of genre codes’. This suggests that independent cinema has freedom in how they can explore
themes and conventions. They can be innovative with their narrative and characters, not being confined to
stereotypical archetypes like mainstream Hollywood. Juno could be said to fit this idea of independent cinema
as conventions mentioned above, are not included or as prominent in Juno as ‘normal’ teen films. Additionally,
the indie style soundtrack by the Moldy Peaches and distinctive hand-drawn editing of the opening symbolise
artistic freedom and personal creativity of Jason Reitman.
Juno is not a victimised or sexualised female lead which automatically sets her apart from usual protagonists.
She comes across to the audience as a complex, multifaced character demonstrating intellect and responsibility
– positive attributes that can often be disregarded in mainstream teenage representation. How she reacts to
her pregnancy is very unexpected, disparaging the situation. Whether this is a coping mechanism or just the
character’s nature, it reflects the independent status of the film being an alternative approach to teen
pregnancy. Instead of being a mortified girl needing to hide and maintain social status, Juno embraces her
situation selflessly and takes control, which is unanticipated by the audience watching. The film highlights teen
maturity through idiosyncratic, wordy dialogue and how they communicate with their family. Representation as
a whole is ultimately very ‘independent’ in comparison to mainstream. Therefore the film agrees with the key
idea in the specialist writing of genre fluidity.
Bleeker is introduced through a series of staggered close-ups which subverts generic archetypes. It can be
argued that Bleeker’s representation is an unconventional jock; stereotypically jocks often connote a muscular,
athletic male figure that focuses on sport. However, through the use of close-ups spectator attention is drawn
to the mise en scene of Bleeker’s costume: an oversized headband and tight bright yellow shorts which does
not fit this mould. While the use of a sporty outfit adheres to the expectations of a jock, deliberate use of
small, tighter shorts creates a more feminine appearance which challenges traditional representation of jocks
being masculine. Additionally, the headband produces comical imagery which suggests the film is criticising the
established ideological viewpoint of male representation in mainstream teen dramas. This idea is further
supported through close ups of his face which enables the audience to view the emotions conveyed by Michael
Cera and depicts Bleeker as sensitive and empathetic. Once again Juno problematises the ‘norm’ by presenting
Bleeker as emotionally expressive which undoubtedly mirrors society’s stereotypes of a female character
instead of a chauvinist male.
Another way Juno agrees with the specialist writing is through the theme of abortion which is not widely
explored within Hollywood and often catastrophised, abortion being non-negotiable. Despite feminist
undertones, the presentation of the abortion clinic suggests the film may oppose the controversial concept
through Juno challenging audience expectations of aborting her pregnancy. Mise en scene depicts a dull colour
palette for the centre with muted tones, the clinic looks insanitary due to low-key and limited natural lighting.
This negative portrayal is further enhanced by the unpleasant receptionist, outdated décor and deserted
parking lot. Cinematography and sound also helps create this idea through soft diegetic sound of fingernails
beginning with a special shift to an extreme close up of Juno’s reaction. The shot then changes to her POV; the
audience inside her eyes and mind as the sound becomes unnaturally loud through editing. A young girl stares
back reflective of Juno’s guilt through her subsequent troubled expression. Juno is bigger in the frame every
time the spectators view her which shows her growing anxiety, before a pattern shift of 7 finger shots in a row
with guttural, cacophonic sound. The straight cut back to Su-chin with anti-abortion propaganda suggests the
