“People keep asking if I'm back and I haven't really had an answer...But now, yeah, I'm thinkin' I'm back!”[1]

To what extent does the ‘John Wick’ franchise confirm the idea that “genres are instances of repetition and difference”?

A film genre is a motion picture category based on similarities in either the narrative elements or the emotional response to the film. Most theories of film genre are borrowed from literary genre criticism. Every film is categorised into a specific genre and every genre contains a set of codes and conventions which hold value to the theme. Over decades films have blurred every boundary when it comes to characterisation and fulfilment of conventions for some genres. One film that breaks this idea is the ‘John Wick’ franchise. It is a true pure action based plot that adapts action genre convention throughout the entire storyline. This essay will discuss to what extent does ‘John Wick’ adapt and reinforce the importance of action genre values and how change and development is crucial to the health and evolution of the action genre. In addition, this essay will also explore some theories from key figures in the film industry, and their impact on the direction the action genre is moving towards, as well as give an answer to what extent ‘John Wick’ showcases “repetition and difference”[2] in the action genre over time.

‘John Wick’ is a film series, directed by Chad Stahelski and written by Derek Kolstad. This franchise consists of three chapters, with the third to be released in 2019. The film trilogy is widely known for their “eponymous antihero”[3], Keanu Reeves. Already, just by analysing the main star of the film series, it is evident that the ’John Wick’ films aim to be widely mainstream; this is because they make use of an actor with an already large, established fan base which the ‘John Wick’ franchise can benefit largely from. Keanu Reeves, who plays the role of John Wick, experienced a past of major successful film roles some of which made huge box office global success. Reeves’ break through film was the 463.5 million USD grossing film ‘The Matrix’[4]. The acting abilities and style man it perfect for Keanu Reeves to fit into the role of the ‘Boogeyman’ nicknamed by one of the Russian antagonists in the film. The ‘John Wick’ films have been highly commended for their explosive storytelling, “visual panache”[5], “cathartic violence”[6] and “unique”[7] feel in comparison to “most other action films”[8]. Looking into reviews of the films, we can see it is highly acclaimed. Often critics have exclaimed that the film is “simple yet done really well”[9]. Similarly, the ‘John Wick’ films have been referred to as refreshing and enabling audiences to see “its action in all its deserved glory”[10] which gets many audiences anticipated to queue up and wait for the film. One critic even went ahead to say the film “makes you want to scream “That was awesome!” at the screen constantly.”[11] It seems that the ‘John Wick’ franchise is challenging the typical predictable nature of the action genre - In other words these films utilise this repetition and difference notion to their advantage.

There is consistent appraise of Wick’s distinctive style, there is still an extremely vast amount of criticism that the franchise receives. Critics have made reference to the repetitious nature of the ‘John Wick’ franchise; one review claims action films are “suffering from a terrible affliction”[12] and mentioning the ‘hell bent’ filmmakers who create action films in such a way that one critic compares to “constantly sneezing”[13] meaning it’s too repetitive. It is clear that action films such as the ‘John Wick’ films are constantly being the subject to criticism for their stereotypical, repetitive approach. This reinforces how the action genre is an instance of repetition. Reinforcing the ‘difference’ within the action genre is the shifts between the first ‘John Wick’ film and the second. It is clear that the second film ‘John Wick: Chapter 2’ was far more stirring in audiences, described as being “more bonkers than the first”[14] film and even compared to other films claiming it was “even crazier than the ‘Mad Max: Fury Road’ ”[15]. This reinforces the idea that the ‘John Wick’ franchise does promote difference. This is because it is typical of action films to not only expand into creating more films of the same title, but also by attempting to increase the emotional effect on audiences as they make more additions to their franchise.

The influence behind the ‘John Wick’ films is predominantly from Hong Kong cinema. A huge aspect of the ‘John Wick’ films is ‘gun fu’, which is "close-quarters shooting incorporated with martial arts, with all the grace and agility of a ballet performance.”[16]  In other words it is a very sophisticated stunt play with gun fighting, this was easier for Reeves due to the fact he had past experiences in action gun scenes “Keanu Reeves pulled off the technique with remarkable accuracy and aplomb”[17]. This was seen in both films but was more prominent in the second. However, this “technique didn’t actually originate in John Wick. Gun Fu was popularized by filmmaker John Woo in his 1986 cult classic Hong Kong thriller, ‘A Better Tomorrow’[18].

It has been said that “The John Wick movies accomplish what Hong Kong action flicks did a quarter-century ago”[19]. This hugely reinforces the idea that repetition is apparent in the action genre. Films will always revert back to the original conventions of the genre in order to be successful. Needless to say, ‘A Better Tomorrow’, has a huge influence on today’s modern films, another source claims that ‘John Wick’ makes “the most dynamic use of the fighting style”[20] from the film - an instance of repetition.

Just from the opening, audiences have seen how “every exchange of lead in John Wick is painstakingly mapped out and executed with silky smooth precision.”[21] The main character “glides through moves with practiced ease, rolling, ducking and grappling like a bearded ninja, only throwing bullet rain instead of punches”[22] essentially, he appears as this “badass main character”[23]. This reinforces Vladimir Propp's character theory. Propp suggested that every narrative has eight different character types, some of these character types include the villain and the hero - which can clearly be seen in the opening scene. This is not only apparent in the ‘John Wick’ franchise but also widespread in the action genre - supporting the idea that the action genre repeats itself. Similarly, these same narrative roles also fit under Levi Strauss' theory of 'binary opposites' which entails that the majority of narratives in media forms such as books and film contain opposing main characters. The fact that these theories apply to this film, as well as so many other action films, clearly suggests there is a repetitive use of connections in the action genre.

One historical film that plays a role in the direction that the action genre is going in, originally comes from Hong Kong cinema. It is considered one of the first martial arts films shown to the western world. This movie is non-other than Bruce Lee's ‘Enter the Dragon’[24]. Bruce Lee plays a martial-arts expert determined to help capture the narcotics dealer whose gang was responsible for the death of his sister. Lee enters a kung fu competition in an attempt to fight his way to the dealer's headquarters with the help of some friends. This is an action, thriller based movie that was produced by Warner Bros during 1973. This film links strongly to the ‘John Wick’ franchise for several reasons including: the action convention, narrative patterns, stylisation, mise-en-scene, music, editing and along with other. More importantly, it provides synergy with aspects that include martial arts fighting, stunts, actors and actresses, camera-work but mainly the narrative storyline is what links these two films so tightly. It is easy to see that the ‘John Wick’ films were definitely impacted by ‘Enter the Dragon’ hugely; as it is clear they have been inspired by many of the narrative concepts from the film. When comparing the two texts, ‘Enter the Dragon’ and ‘John Wick’, although they may represent different values and ideologies, they both follow very similar conventions and have a lot of similar iconography. Both films provide emotional connections to the main characters which cause them to act a certain way for even explain why they do things. Even though, ‘John Wick’ reinforces elements of typical action genre conventions, i.e. the narrative structure. ‘John Wick’ modernises those elements by implementing other elements such as different plot twists or things as simple are costume the characters wear and the location it’s based in.

This strongly reinforces David Buckingham’s theory of ever changing media. Buckingham mentions that “Genre is not simply given by the culture; rather it is a constant process of negotiation and change”[25]. This explains the huge similarities between the two films despite the difference in the zeitgeist they represent and who/where they were produced (by). This concept of change is hard evidence that genre over time is shaped according to the society and people’s ideologies at the era they live in. Taking this into consideration, this does confirm that the ‘John Wick’ films do show visual evidence to argue that it is “instances of repetition and difference”[26].

The action genre is considered one of the most ‘stereotypical’ genres because of all the consistent iconography and convention is entails. Daniel Chandler is the theorist who claimed conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and/or form (including structure and style) which are shared by the texts which are regarded as belonging to them. The ‘John Wick’ films definitely fall under many of the conventions of action such as the “themes”[27] like “gun fights”[28] or “revenge”[29] etc. Also, the visual style, as mentioned before is another aspect of conventional mise-en-scene.

James Preston Poole mentions “Cinematographer, Dan Lautsen, supplements Reeves’s central performance with a stylized look that feels unique from most other action films.”[30] which make it clear that the ‘John Wick’ films do engage in the difference in action films. Moreover, “action movies are generally set in cities and other built up urban areas. This generally done as when rushing past building you gets a better sense of speed and action than you would if you were rushing through the countryside”[31]. This is true for the ‘John Wick’ films and suggests another convention is fast pace. This can be in terms of the camera work, editing, music or even the actions taking place in the film. We can see a large number of these conventions in the film. There is one specific scene wherein the antagonist is seen falling off his motorcycle and being chased by a mysterious character in a Ford Mustang. This anonymous character walks out of the car to take a gold plated card that belongs to one of the villains. Then attention is taken to an underground Russian mafia gang where they are relocating due to the fact that the leader is scared of the main character John Wick. We then understand from the character’s speech is that the gang group holds a car that belongs to Wick. During this speech the audience sees a bunch of sequences of John taking out one member at a time whilst this speaks is occurring. The mafia leader gets a call from the protagonist saying "You have my car"[32] in Russian. Straight after, the leader hears an engine start. After this point a series of action set pieces take place in the film where there is a constant battle between protagonist figure against the gang of antagonist group member representing some ‘binary oppositions’[33] which is a theory formed by Levi Strauss which mean complete opposites.

We can make note of the iconography that is conventional of the action genre such as motorcycles, cars, mysterious, unknown characters, gangs and more. This links nicely into Barthes’ theory of ‘enigma codes’[34] which argues that every narrative is interwoven with multiple codes. The idea of these ‘codes’ is a concept that is typically affiliated with the action genre. The unknown character reinforces this - as his character is an instance of an ‘enigma code’[35]. We can also apply Tzvetan Todorov's narrative theory to the entire film series. He suggests that all narratives follow a three part structure where they begin with ‘equilibrium’[36], where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when equilibrium is restored. As this is the opening scene and already there is a fight scene this subverts the theory of Todorov as it does not fit to his style of narrative. You can also argue that it does fit the structure of Todorov as it is in an alternative universe where assassination is a social norm, which already makes it equilibrium.

To conclude, it appears that the ‘John Wick’ franchise does reinforce difference and repetition in the action genre. Throughout history, the action genre has thrived off repetition of techniques and styles but also adding new and unique conventions as time goes on. Action film genre directors and film makers in different time periods apply their current ideologies to their work, which gives a visual representation of the society they are in. Over decades it will very noticeable that the action genre is being modified and is evolving because new values are applied to the genre. The ‘John Wick’ film franchise compliments this respected genre and it does it justice for being successful at following current and historic conventions as well as applies different motifs to the genre. Simple things like one liners such as “You wanted me back... I'm back!”[37] promote the intensity of the genre. This quote also relates to the action genre itself as conventions over time come and go to maintained engagement and stability in this mainstream film style.  To current action genre viewers the theme is considered one of the most ‘stereotypical’ genres because of all the consistent iconography and convention it entails. However, when you take a step back you could spot the evolution of the genre and see how simple laws of the genre changed and some stayed the same. The most important thing to remember is that conventions come and go as society changes, but sooner or later the elements will return, reinvigorated for newer generations!

Works cited:

Books:

Altman, R. (1999). Film/Genre. London: British Film Institute.

Esther C.MYau and Tony Williams. (2017) HONG KONG NEO-NOIR.

Rance, P. T. (2005). Martial arts. London: Virgin Books.

Lacey, N. (2006). Narrative and genre: key concepts in media studies. Basingstoke: Palgrave.

Neale, S. (2000). Genre and Hollywood. London: Routledge.

Tasker, Y. (2006). Action and adventure cinema. London: Routledge, Taylor & Francis Group.

West, D. (2006). Chasing dragons: an introduction to the martial arts film. London: I.B. Tauris.

Journals:

Hendricks, W. O. (1973). Methodology of Narrative Structural Analysis. Semiotica, 7(2). doi:10.1515/semi.1973.7.2.163

Levi-Strauss, C. (1955). The Structural Study of Myth. The Journal of American Folklore, 68(270), 428. doi:10.2307/536768

Websites:

15, 2. F. (2017, February 15). "John Wick: Chapter 2" May Be The Best Action Film Of The Decade (So Far). Retrieved January 10, 2018, http://www.burntx.com/2017/02/15/john-wick-chapter-2-may-best-action-film-decade-far/

Bay, K. (2016, February 04). 3 Ways John Wick is Deeper Than You Realized – Kiva Bay – Medium. Retrieved January 10, 2018, from https://medium.com/@kivabay/deeper-than-expected-symbolism-in-john-wick-6aa922bb992d

Catsoulis, J. (2017, February 09). Review: ‘John Wick: Chapter 2,’ a Roman Holiday With Shots Not Sparks. Retrieved January 10, 2018, https://www.nytimes.com/2017/02/09/movies/john-wick-chapter-2-review-keanu-reeves.html

Debruge, P. (2017, February 06). Film Review: ‘John Wick: Chapter 2’. Retrieved January 10, 2018,  http://variety.com/2017/film/reviews/john-wick-chapter-2-review-keanu-reeves-1201977230/

Dyer, J. (2016, July 19). John Wick. Retrieved January 10, 2018, https://www.empireonline.com/movies/john-wick/review/

Huls, A. (2015, February 02). Why John Wick is the best action movie in recent memory. Retrieved January 10, 2018, http://www.theloop.ca/why-john-wick-is-the-best-action-movie-in-recent-memory/#

John P. McCarthy. Violent ‘John Wick’ offers an antihero who’s hard to like. (n.d.). Retrieved January 10, 2018, http://catholicphilly.com/2014/10/us-world-news/culture/movie-review-john-wick/

Robledo, S. J. (2017, February 09). John Wick: Chapter 2 - Movie Review. Retrieved January 10, 2018, https://www.commonsensemedia.org/movie-reviews/john-wick-chapter-2

Robledo, S. J. (2017, February 09). John Wick: Chapter 2 - Movie Review. Retrieved January 10, 2018, from https://www.commonsensemedia.org/movie-reviews/john-wick-chapter-2

Shahid, A. (2013, October 29). Barthes' Enigma Code Theory! Retrieved April 18, 2018, from https://prezi.com/y6nbre6ivft4/barthes-enigma-code-theory/

Sianolivia Follow. (2014, November 19). Genre Theory - David Buckingham. Retrieved April 18, 2018, from https://www.slideshare.net/sianolivia/i-decided-to-look-at-david-buckinghams-theory-of-genre

Taylor, M. E. (2017, February 14). 15 Things You Never Knew About John Wick. Retrieved January 10, 2018,  https://screenrant.com/john-wick-2-sequel-facts-trivia-keanu-reeves/

Young, K. (2013, January 07). Action Movie Conventions. Retrieved January 10, 2018, https://prezi.com/g9yoc3du1ghq/action-movie-conventions/

Moving Image:

Enter The Dragon (1973, Robert Clouse, Hong Kong)

John Wick: Capter One (2014, Chad Stahelski, David Leitch, United Kingdom)

John Wick: Chapter Two (2017, Chad Stahelski, United Kingdom)

John Wick: Chapter Three (2019)

The Matrix (1999, Lana Wachowski, Lilly Wachowski, USA)

Works consulted:

Books:

Altman, R. (1999). Film/genre. London: British Film Institute.

Dixon, W. W. (2000). Film genre 2000: new critical essays. Albany: State University of New York Press.

Krutnik, F. (2010). In a lonely street: film noir, genre, masculinity. London: Routledge.

Tasker, Y. (2012). Spectacular bodies: gender, genre and the action cinema. Hoboken: Taylor and Francis.

Websites:

 (n.d.). Retrieved January 11, 2018, from http://www.sothetheorygoes.com/action/

Bay, K. (2016, February 04). 3 Ways John Wick is Deeper Than You Realized – Kiva Bay – Medium. Retrieved January 11, 2018, from https://medium.com/@kivabay/deeper-than-expected-symbolism-in-john-wick-6aa922bb992d

Bradshaw, P. (2015, April 09). John Wick review – the action sequences grind on and on. Retrieved January 11, 2018, from https://www.theguardian.com/film/2015/apr/09/john-wick-review-keanu-reeves-in-humourless-violent-generic-action-film

Brand, N., & About Noah BrandNoah Brand is a writer and editor, and quite possibly also a cartoon character from the 1930s. His life, when it is written, will read better than it lived. He is usually found in Portland, Oregon, directly underneath a very nice hat. (2013, February 19). Six Male Stereotypes Hollywood Needs to Let Go Of -. Retrieved January 11, 2018, from https://goodmenproject.com/arts/six-male-stereotypes-hollywood-needs-to-let-go-of/

Film genre. (2018, January 07). Retrieved January 11, 2018, from https://en.wikipedia.org/wiki/Film_genre

Heritage, S. (2017, July 27). A John Wick expanded universe – Hollywoods most idiotic idea yet? Retrieved January 11, 2018, from https://www.theguardian.com/film/2017/jul/27/john-wick-keanu-reeves-expanded-universe

Montpelier, R. (2017, August 01). Study: Stereotypes About Gender, Race, and Age Still Abound in Film. Retrieved January 11, 2018, from https://blog.womenandhollywood.com/study-stereotypes-about-gender-race-and-age-still-abound-in-film-e08d741a7a8b

OSullivan, M. (2017, February 09). Review | John Wick: Chapter 2: Stylish, hyperviolent, and almost irrationally satisfying. Retrieved January 11, 2018, from https://www.washingtonpost.com/goingoutguide/movies/john-wick-chapter-2-stylish-hyperviolent-and-almost-irrationally-satisfying/2017/02/09/8a1b8d9e-ee1b-11e6-9973-c5efb7ccfb0d_story.html?utm_term=.563efc2552f4

Rosenberg, A. (2017, February 22). Opinion | In the ‘John Wick’ movies, the women are dead and the men are trapped. Retrieved January 11, 2018, from https://www.washingtonpost.com/news/act-four/wp/2017/02/22/in-the-john-wick-movies-the-women-are-dead-and-the-men-are-trapped/?utm_term=.4bfafd7b45ac

Moving Image:

Ip Man (2008, Wilson Yip, China)

T. (2017, February 10). Retrieved January 11, 2018, from https://www.youtube.com/watch?v=O6p4N4xZUBk

U. (2015, January 22). Retrieved January 11, 2018, from https://www.youtube.com/watch?v=1mBI_9hTUdY

---

[1] John Wick: Capter One (2014)

[2] Neale, S. (2000)

[3] John P. McCarthy

[4] The Matrix (1999)

[5] James Preston Poole

[6] Robledo, S. J.

[7] Bay, K.

[8] James Preston Poole

[9] Huls, A

[10] ibid

[11] Huls, A

[12] ibid

[13] ibid

[14] James Preston Poole

[15] ibid

[16] Michael Edward Taylor

[17] ibid

[18] ibid

[19] Debruge, P

[20] Michael Edward Taylor

[21] Dyer, J

[22] ibid

[23] Robledo, S. J

[24] Enter The Dragon (1973)

[25] Sianolivia Follow. (2014)

[26] Neale, S. (2000)

[27] Young, K

[28] ibid

[29] ibid

[30] James Preston Poole

[31] Young, K

[32] John Wick: Chapter Two (2017)

[33] Levi-Strauss, C. (1955)

[34] Shahid, A (2013)

[35] ibid

[36] Hendricks, W. O. (1973)

[37] John Wick: Capter One (2014)