When motion pictures are being produced, the filmmakers are entitled with the role of assessing the target audience to ascertain the specific adjustments which will make the film fit in the society. With time, there are certain attributes that get outdated such that they will appear awkward to the prevailing generation. A study of Singin’ in the Rain, a 1952 comedy by Arthur Freed, will reveal that the setting, subject matter, and style are some of the attributes which highlight the generation gap between contemporary audience and the audience of the mid twentieth century who were the original target of the film.
Setting involves the depiction of time and space in a film set. A critical viewer will tend to study the various properties that the producer puts in the frame in order to decode the time frame of the film. The cellular phone, for example, is a modern item which the contemporary viewer will expect to see the actors using to communicate. In contrast, the film viewers of the 1950s will understand that land lines are the common modes of phone communication. The same case applies to other codes of civilization such as the automobiles. In this light, Kathy Selden’s vehicle comes out to the modern viewer as a classical antique especially in its newness. But the viewers of the era in which the film was produced will interpret it as an example of the cars that grace the 1950s motor showrooms.
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The subject matter, which involves the making of sound films, is another feature that marks the contrasts in the expectations of contemporary viewers and those of the year of its production. Set in the time when the motion picture was undergoing various developments such as the introduction of sound, it is more of a historical artifact to the viewers of today. It reminds them of a time when filmmaking was becoming a more refined art. The viewer watching the film in 1952, on the other hand, views the film as a journalistic account of the discoveries of filmmakers which are still underway. Considering that the film industry still had a long way to go by the time of Singin’ in the Sun ’s production, the viewers of the 1950s understand from the subject matter that the filmmakers are working tirelessly to better their films.
As far as style is concerned, the extensive use of music in the film is another highlight of the contrasts in the audience expectations when time frame is put into consideration. With sound in film being a central concern in the film, the producer of Singin’ in the Sun presents directors in attempt to bring in music as part of the sound they intend to surprise their viewers with. When the film was being released, music was often fed to the audience through live performances. The film, therefore, serves as an enlightenment to the 1952 viewer who views it to understand that music can be recorded and stored for future entertainment. To the contemporary viewer, however, the idea of s musical in film will be understood as a normal inclusion because the idea has been exhaustively been reproduced over time.
In conclusion, when Singin’ in the Sun is viewed by viewers who are over half a century apart, the setting, subject matter and style are major attributes that will highlight contrasts in the expectations of the 1952 viewers and the contemporary audience. Modern civilization, for example will inform the contemporary viewer that there are certain must-haves that the actors that do not possess. The development of the film industry as the subject matter, on the other hand, which further involves the inclusion of music, is an eye opener to the 1950s viewer while it serves historical purpose to contemporary viewers.
